A01=Eduardo Cadava
Aestheticism
Allegory
Alterity
Aphorism
Author_Eduardo Cadava
Cat's Cradle
Category=AJ
Category=DSA
Category=DSBH
Category=NHA
Consciousness
Copernican Revolution (metaphor)
Critique
Critique of Pure Reason
Cultural critic
Dialectic
Die Wacht am Rhein
Dream world (plot device)
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Evocation
Film theory
Franz Kafka
Gerhard Richter
Gershom Scholem
Gleichschaltung
Hannah Arendt
Henri Bergson
Historical method
Historicism
Historicity
Immanence
Immanuel Kant
Intentionality
Invisible ink
Jacques Derrida
Jacques Lacan
James Strachey
Judith Butler
Kant and the Problem of Metaphysics
Matter and Memory
Medusa's Head
Mein Kampf
Mimesis
Modernity
Nazi propaganda
Nazism
Nietzsche and Philosophy
Of Grammatology
Originality
Paul de Man
Paul Virilio
Philosophy
Photography
Physiognomy
Plotinus
Pragmatism
Precognition
Psychoanalysis
Reproducibility
Samuel Weber
Scholem
Sophistication
Surrealism
Technology
Temporality
The German War
The Pencil of Nature
Theodor W. Adorno
Theory of art
Thought
Tragedy
Tristan Tzara
Walter Benjamin
Werner Hamacher
Work of art
Writing
Product details
- ISBN 9780691002682
- Weight: 28g
- Dimensions: 152 x 235mm
- Publication Date: 23 Aug 1998
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images."
In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.
Eduardo Cadava is Associate Professor of English at Princeton University. He is the author of Emerson and the Climates of History and coeditor of Who Comes after the Subject?
