Body- and Image- Space: Re-Reading Walter Benjamin (Warwick by Sigrid Weigel

By Sigrid Weigel

The decade has obvious a brand new wave of curiosity in philosophical and theoretical circles within the writings of Walter Benjamin. In Body-and Image-Space Sigrid Weigel, certainly one of Germany's major feminist theorists and a well known commentator at the paintings of Walter Benjamin, argues that the reception of his paintings has thus far neglected a vital point of his idea - his use of pictures. Weigel indicates that it truly is accurately his perform of pondering in photos that holds the major to knowing the total complexity, richness and topicality of Benjamin's theory.

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2, 616; Ill 165). But over and above this, there are correspondences in the dramaturgy of the sexes as presented by each. Foucault examines discourses in which the male subject sees the use of pleasure primarily in terms of the mise en scène of the relationship with the male sexual partner and in which the relationship with woman remains marginalized, since this is considered only in terms of economy (that is, relations between the sexes are considered only in terms of the reproductive function).

2, 577; see CB 74), there are other heroes, multifarious types and figures of the modern city whose positions are distributed among both sexes. PORTRAIT OF THE AUTHORS IN THEIR ARCHIVES It is with these differing constellations that each of these two authors, Foucault and Benjamin, seems to have arrived at his own singular position, at the distinguishing mark of his own experience and attitudes. At first sight no greater contrast seems to be imaginable than that between the images and the discursive methods of the two thinkers: between the penetrative gaze and resolute bearing of the one and the contemplative, somewhat dreamy gaze and stylized gestures of the melancholic of the other; between Foucault’s lucid and systematic analysis of discourses on the one hand and Benjamin’s subtle literary thought-images on the other—although both these portraits would no doubt have appealed to Benjamin as illustrations of the physiognomy of the brooder (Grübler) beneath whose gaze the continuum disintegrates.

At first sight no greater contrast seems to be imaginable than that between the images and the discursive methods of the two thinkers: between the penetrative gaze and resolute bearing of the one and the contemplative, somewhat dreamy gaze and stylized gestures of the melancholic of the other; between Foucault’s lucid and systematic analysis of discourses on the one hand and Benjamin’s subtle literary thought-images on the other—although both these portraits would no doubt have appealed to Benjamin as illustrations of the physiognomy of the brooder (Grübler) beneath whose gaze the continuum disintegrates.

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