Spain: from the indignados rebellion to regime crisis (2011-2016)

Since 15 May 2011 Spain has progressively entered a political and regime crisis in which the main institutional pillars of the political system constructed in 1977-1978 during the transition from the Franco dictatorship to parliamentary democracy suffered from serious wear. This can be analysed following Gramsci's notion of hegemony crisis whose main features fit well with the current situation in Spain. The regime crisis has passed through different stages – the last being the emergence and rise in the polls of Podemos, which emerged in a context marked by the deepening of the crisis and the difficulty of securing significant social victories. To understand the meaning of this current regime crises it is useful to read history, following Walter Benjamin as an open process full of bifurcations with no linear trajectory. Spanish regime crisis opens for the first time since the seventies the possibility of a social and political change whose final sense is still uncertain.     

布卢姆认知领域教育目标分类理论评析

生物学上动植物分类学的理论为布卢姆构造其认知领域教育目标分类理论提供了借鉴。根据人的认知目标是从识记相对简单的知识到非常抽象的思维这样一个渐进过程,布卢姆把教育的认知目标分为六大主类（识记、领会、应用、分析、综合及评价）以及其它亚类。这种理论被证明“对研究和教学两方面都是相当有用的”。但由于布卢姆认知目标分类理论不是认识过程的先后层次,不是行为发展的过程,没有揭示出能力形成的内在机制,也缺乏学习理论的指导,导致了教育实践中的诸多困惑。我们应对布卢姆理论进行深刻的反思,立足本国实际,构建本土的教育目标分类理论。     

Vladimir Iowa Lenin,Part 2: On Rural Proletarianization and an Alternate Food Future

In the second of our two-part review of Vladimir Lenin’s 1917 study of American agriculture, we extrapolate upon Alexander Chayanov’s neoliberal appropriation, Giovanni Arrighi’s treatment of partial proletarianization, the propagandistic “family farm,” agribusiness’s fluctuating territorial embeddedness, agriculture as an industry, and land and rent as commodities themselves. We finish by deploying Lenin’s alternate history as a Benjaminian détournement in the face of what now appear insurmountable obstacles. An alternate food future is not only possible, it is already underway.     

Morality without Intention

Abstract

An examination of how, in literature, silence and veiling are related to moral significance. The paper emphasizes Walter Benjamin’s essay on Goethe’s Elective Affiniites and Nathaniel Hawthorne’s “The Minister’s Black Veil” and poses the question of how the literary can possess moral meaning or effect when, as in these two works, silence and veiling appear as a means of refusing or denying intention. Benjamin’s and Hawthorne’s different critiques of the symbol are presented as the central issue around which the possibility of moral meaning is decided as an intentionless act. Benjamin’s preservation of the moral is interpreted as the cause of the paradoxical and contradictory sources of the expressionless and its critical violence as well as the veiling and secrecy he identifies as forming the true work of art. Against this account, Hawthorne’s story is read as the refusal of any preceding secret as the basis of a moral claim and thus as the defining category of the work of art.     

Undelivered: the space/time of the sacred in Bataille and Benjamin

Bataille’s work of the 1930s on the sacred has strong echoes of Walter Benjamin’s writing on space and messianic time. In bringing together Bataille’s theoretical and fictional writings, alongside key Benjamin texts, this article seeks to develop our understanding of a perversely grounded sacred.     

本杰明·卡多佐与美国侵权行为法的现代转向

19世纪末20世纪初,美国经济和社会的转型要求法律作出新的调整。卡多佐通过一系列判决,在侵权行为法的制度、原则和理论等方面取得了方向性的突破,积极推动着侵权行为法的现代转向。卡多佐的司法实践遵循渐进的路径。这一方面是受当时社会经济发展水平的制约,另一方面则是源于卡多佐本人务实的＂法官立法＂观的影响。     

The Expressionless: Law, Ethics, and the Imagery of Suffering

The essay discusses law’s inability to address the phenomenon of human suffering and, at the same time, investigates a possible theoretical kinship between Walter Benjamin’s notion of ‘the expressionless’ and Emmanuel Levinas’s understanding of suffering as the foundation of an interhuman ethics. The kinship between Levinas and Benjamin is examined with reference to suffering in the visual arts and, more specifically, in Matthias Grünewald’s Isenheim Altarpiece and Francis Bacon’s crucifixion triptychs. The essay argues that in the crucifixion scenes of both Grünewald’s medieval altarpiece and Bacon’s triptychs, suffering is what constitutes ‘the expressionless’. After every detail of the image, every element of attribute, motif, composition and colour have been accurately depicted, a residue still remains, an ethical truth that cannot be appropriated into a meaningful unity but that nevertheless calls for a response. While law must always give suffering a utilitarian value in its attempts to assign responsibility for the injury occurred, the essay argues that the fragmentariness in all true art that Benjamin calls ‘the expressionless’ is akin to Levinas’s understanding of the constitutional uselessness of suffering, its essence as ‘for nothing’.

浅析本雅明的“韵味”与“机器复制”

文章以本雅明美学中的"韵味"与"机器复制"等关键词为对象,阐释其主要特征与意义。从而说明本雅明在古典艺术和自现代社会以来产生的艺术之间确定了一条界线,即随着机器时代的到来,传统艺术的韵味消失于机器复制时代的艺术中了。     

Thinking the law with and against Luhmann,Legendre, Agamben

After the failure of all enterprises in legal ontology, and after the success of all enterprises in legal system internal theodicy, the field of legal theory is now open to receive a range of more complex, less universalist, less politicised, but also more personally shaped, more fragile suggestions. My article focusses on three such ways of dealing with the law question: the work of Pierre Legendre, a French psychoanalyst and specialist of the history of administrative law and Christian religion, the work of Niklas Luhmann, the recently deceased founder of a new German schoolof sociological systems theory, and that of Giorgio Agamben, an Italian philosopher whose re-opening of the discussion on the Benjaminian notion of bare life and its relationship to law has provoked worldwide attention. This revised version was published online in July 2006 with corrections to the Cover Date.     

Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema

Walter Benjamin's signature hypothesis of 'dialectics at a standstill' rehearsed in his 'Theoretics of Knowledge, Theories of Progress' permits visual images to be elasticized from a then condition in history and culture to a now site of contemporary reality in order to be critiqued in their entirety. Putting this hypothesis to the test, Rajan juxtaposes two late eighteenth-century works of art by East India Company Painters with two late twentieth-century films by Mira Nair and Deepa Mehta to trace trajectories of orientalized desire and unspeakable pleasure as relayed along a woman's body. In all four instances, the central image of woman continues to be an insistent signifier that embodies social values, cultural prejudices and artistic ideals, which, in turn, provide critical, valuable insights into constructions of gendered, aestheticized and sexualized femininity. The image of woman , thus dialectically read, reveals that it is not simply the male colonizer who is always already the oppressor, as is the common assumption, but rather that woman as an abject signifier can be merchandised even by enlightened, postcolonial women. Such a ravaged image of woman remains, therefore, a fixed trope in the hands of male and female artists, traversing coloniality and postcoloniality, and crossing over from art to cinema, with little chance of emancipation. One strategy to grant woman full agency requires the contemporary, feminist viewer to take responsibility and couple aesthetics with an ethical tenor. According to Benjamin, ethics thus defined is a matter of personalized aesthetics. This means that each one of us is entrusted with the responsibility of demanding accountability in the creation of visual culture such that images that demean femininity, disembody female subjectivity, objectify female pleasure and delegitimize desire be judged inappropriate, as incorrect or unappealing visual images and as unavailable for appropriation.