"There is no world of thought that is not a world of language," Walter Benjamin remarked, "and one only sees in the world what is preconditioned by language." In this book, Samuel Weber, a leading theorist on literature and media, reveals a new and productive aspect of Benjamin's thought by focusing on a little-discussed stylistic trait in his formulation of concepts.
Weber's focus is the critical suffix "-ability" that Benjamin so tellingly deploys in his work. The "-ability" (-barkeit, in German) of concepts and literary forms traverses the whole of Benjamin's oeuvre, from...
"There is no world of thought that is not a world of language," Walter Benjamin remarked, "and one only sees in the world what is preconditioned by...
Die Beitrage dieses Bandes lenken den Blick auf einen blinden Fleck universitarer Selbsterkenntnis: auf die von aussen diktierten Bedingungen, denen zumal die Geisteswissenschaften stets unterliegen, ohne sich daruber Rechenschaft abzulegen. Konigliche Erlasse, institutionelle Praktiken, wechselnde technische Standards regulieren die Zugange zu den Gegenstanden und Erkenntnissen von Philosophen, Psychologen, Philologen, Sprachen, Paradigmen, Adressatenund Ubertragungsgeschwindigkeiten des Wissens liegen ausserhalb professoraler Souveranitaten. Die in ganz unterschiedliche historische...
Die Beitrage dieses Bandes lenken den Blick auf einen blinden Fleck universitarer Selbsterkenntnis: auf die von aussen diktierten Bedingungen, denen z...
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the...
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and ...
Demarcating the Disciplines was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
With publication of this volume, Glyph begins a new stage in its existence: the move from Johns Hopkins University Press to the University of Minnesota Press is accompanied by a change in focus. In its first incarnation Glyph provided a forum in which established notions of reading, writing, and criticism could be...
Demarcating the Disciplines was first published in 1986. Minnesota Archive Editions uses digital technology to make long-unavailable books ...
