Bøker av Susan Buck-Morss

"A reconsideration of the first century, before there were chronological centuries, and how it troubles our contemporary boundaries between religion, philosophy, and law"--

Reclaiming the first century as common ground rather than the origin of deeply entrenched differences: liberating the past to speak to us in another way.Conventional readings of antiquity cast Athens against Jerusalem, with Athens standing in for "reason" and Jerusalem for "faith." And yet, Susan Buck-Morss reminds us, recent scholarship has overturned this separation. Naming the first century as a zero point--"year one"--that divides time into before and after is equally arbirtrary, nothing more than a convenience that is empirically meaningless. In YEAR 1, Buck-Morss liberates the first century so it can speak to us in another way, reclaiming it as common ground rather than the origin of deeply entrenched differences.Buck-Morss aims to topple various conceptual givens that have shaped modernity as an episteme and led us into some unhelpful postmodern impasses. She approaches the first century through the writings of three thinkers often marginalized in current discourse: Flavius Josephus, historian of the Judaean war; the neo-Platonic philosopher Philo of Alexandria; and John of Patmos, author of Revelation, the last book of the Christian Bible. Also making appearances are Antigone and John Coltrane, Plato and Bulwer-Lytton, al-Farabi and Jean Anouilh, Nicholas of Cusa and Zora Neale Hurston--not to mention Descartes, Kant, Hegel, Kristeva, and Derrida.Buck-Morss shows that we need no longer partition history as if it were a homeless child in need of the protective wisdom of Solomon. Those inhabiting the first century belong together in time, and therefore not to us.

Susan Buck-Morss highlights new forms of international solidarity and revolutionary subjectivity that can break the impasse of neoliberal capitalism and reactionary nationalism.

Susan Buck-Morss examines and stresses the significance of Critical Theory for young West Germ intellectuals after World War II.Looking at the differences between German and American situations during this time period, Origin of Negative Dialectics convincingly sketches the learning process that ended in antagonism. "[The Origin of Negative Dialectics] is by far the best introduction for the American reader to the complex, esoteric, and illusive structure of thought of one of the most seminal Marxian thinkers of the twentieth century. It belongs on the same shelf as Martin Jay's history of the Frankfurt School, The Dialectical Imagination." ? Lewis A. Coser, State University of New York, Stony Brook

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time—from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons—as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south—Moscow Paris, Berlin-Naples—and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.