Susan Buck-Mor
Biographic Data
| ID | 279901 |
|---|---|
| NAME | Susan Buck-Mor |
| GIVEN NAMES | Susan |
| FAMILY NAME | Buck-Mor |
| SIGNATURE | BUCK-MOR S |
| VERIFIED | No |
| TOTAL WORKS | 24 |
| TOTAL CITATIONS | 593 |
| AUTHOR COUNT | 24 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 8 |
Year 1: A Philosophical Recounting
L'art antistalinien: Benjamin, Chostakovitch et la fin de l’histoire
Note des traducteurs : La traduction essaie de respecter la dimension orale du texte. La langue franaise ne permet pas de distinguer entre l'avant-garde artistique (avantgarde) et politique (vanguard). Ce dernier terme a t systmatiquement traduit par avant-garde politique ; en l'absence de prcisions, avant-garde rfre l'avantgarde artistique
What Has Happened to the Left Revolutionary Project
This interview documents an email exchange between Susan Buck-Morss, Jonathan Flatley, and Helen Petrovsky on the occasion of the publication of Buck-Morss's Revolution Today
Translations in Time
This text is a modified excerpt from YEAR 1, a project in the reconfiguration of knowledge (as well as a book forthcoming from MIT Press in 2021). The focus is on the first century that starts the numerical countdown to the present. All of the schemata of modernity-time, space, concepts, and categories [as in Kant's First Critique]-are put to the test of comprehending this alleged beginning, and none survives unscathed. Walter Benjamin's understa…
Democracy: An Unfinished Project
This essay criticizes Ahmet Davutoğlu’s proposal that Islamic civilization complete the “unfinished project of modernity” (Jürgen Habermas), by challenging the concept of civilization itself. As scholars in multiple disciplines have demonstrated, civilizations are hybrid constructions that cannot be contained within a uniform conceptual frame, such as Islamic “authenticity.” The past is shared, and the present is as well. The Arab Spring demonstr…
Scholarship Becomes Theory: Learning from Miriam Hansen
These short statements were presented in the roundtable discussion held at the September 2012 Columbia University conference dedicated to Miriam Hansen, “Cinema and the Legacies of Critical Theory.” The discussion was moderated by Eric Rentschler; the panelists included Heide Schlüpmann, Susan Buck-Morss, Anton Kaes, Edward Dimendberg, D. N. Rodowick, and Laura Mulvey
Le don du passé
Este artigo de Susan Buck-Morss, intitulado "Le don du passé" (O Dom do Passado), explora a complexa relação entre passado, presente e futuro, particularmente à luz das obras de Walter Benjamin. Buck-Morss argumenta que o passado não é simplesmente algo a ser herdado passivamente, mas sim um presente que nos é dado e que exige interpretação e ação no presente. A autora examina o conceito de "imagem dialética" de Benjamin, enfatizando a importânci…
Hegel e Haiti
O paradoxo entre o discurso da liberdade e a prática da escravidão marcou a ascensão de uma série de nações ocidentais no interior da nascente economia global moderna. O artigo explora o uso da metáfora da escravidão no iluminismo filosófico europeu, e sugere que a "dialética do senhor e do escravo" hegeliana tem raízes mais na história contemporânea - particularmente, nas notícias que chegavam à Europa da Revolução Haitiana de 1791 - do que na t…
The Gift of the Past
Responding to commentaries on Hegel, Haiti, and Universal History by Sibylle Fischer and David Scott, this essay describes universal history as "theoretical pragmatics," a practice of theorizing that undermines established narratives. Focusing on the singularity of historical events, it provides a decentered genealogy of contemporary globalization. It questions cultural identity as an adequate political orientation, given the non-identity of indi…
Hegel, Haiti and universal history: And, Universal history
In this path-breaking work, Susan Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation. Hegel, Haiti, and Universal History offers a fundamental reinterpretation of Hegel's master-slave dialectic and points to a way forward to free critical theoretical practice from the prison-house of its own debates. Historicizing the thought of Georg Wilhelm Friedrich Hegel and the actions taken in the Haitian R…
Estudios visuales e imaginación global
Why is Visual Studies a hotspot of attention at this time? Whose interests are being served? Is this inquiry merely a response to the new realities of global culture, or is it producing that culture, and can it do so critically? Thinking globally, but from the particular, ‘local’ position of the History of Art and through the medium of the visual image, a distinct aesthetics emerges, a science of the sensible that in our time accepts the thin mem…
Hegel, Haiti, and Universal History
Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation through a fundamental reinterpretation of Hegel's master-slave dialectic. Historicizing the thought of Hegel and the actions taken in the Haitian Revolution, Buck-Morss examines the startling connections between the two and challenges us to widen the boundaries of our historical imagination
Dreamworld and catastrophe: The passing of mass utopia in East and West
This book offers a reevaluation of the twentieth century. It argues that the disintegration of Soviet socialism marked the abandonment of the idea of mass utopia by both sides in the Cold War. One of the casualties of the end of that war was the shattering of dreamworlds of industrialization, mass culture, and historical progress that gave meaning to collective social life in East and West.". "Dreamworld and Catastrophe is an experiment in visual…
Walter Benjamin: Entre Moda Acadêmica E Avant-Garde
Não sou a primeira a notar a ironia de uma reunião de acadêmicos para discutir Walter Benjamin. Mas fico imaginando: uma discussão sobre Walter Benjamin feita por e para acadêmicos que antes o rejeitaram não é uma forma estranha de homenagear a sua obra
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
The City as Dreamworld and Catastrophe
geometric forms in the service of the Revolution, as in the famous civil war poster of Lissitzky, Beat the Whites with t e ed Wedge (1920). Working with Malevich, Lissitzky developed more obscure connections between form and content, as in their stu y for curtains for the meeting room of the C m ittee to Abolish Unemployment. Less well-known among the pr jects of the avant-garde than either directly agitational art or the nonrepresentational art …
Envisioning Capital: Political Economy on Display
Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered
Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction' is generally taken to be an affirmation of mass culture and of the new technologies through which it is disseminated. And rightly so. Benjamin praises the cognitive, hence political, potential of technologically mediated cultural experience (film is particularly privileged).2 Yet the closing section of this 1936 essay reverses the optimistic tone. It sounds a warning. …
The Dialectics of Seeing
The dialectics of seeing: Walter Benjamin and the Arcades project
The Flaneur, the Sandwichman and the Whore: The Politics of Loitering
Benjamin's Passagen-Werk: Redeeming Mass Culture for the Revolution
Susan Buck-Morss, Benjamin's Passagen-Werk: Redeeming Mass Culture for the Revolution, New German Critique, No. 29, The Origins of Mass Culture: The Case of Imperial Germany (1871-1918) (Spring - Summer, 1983), pp. 211-240
The origin of negative dialectics: Theodor W. Adorno, Walter Benjamin, and the Frankfurt Institute
The Origin of Negative Dialectics
Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered
Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction' is generally taken to be an affirmation of mass culture and of the new technologies through which it is disseminated. And rightly so. Benjamin praises the cognitive, hence political, potential of technologically mediated cultural experience (film is particularly privileged).2 Yet the closing section of this 1936 essay reverses the optimistic tone. It sounds a warning. …
Dreamworld and catastrophe: The passing of mass utopia in East and West
This book offers a reevaluation of the twentieth century. It argues that the disintegration of Soviet socialism marked the abandonment of the idea of mass utopia by both sides in the Cold War. One of the casualties of the end of that war was the shattering of dreamworlds of industrialization, mass culture, and historical progress that gave meaning to collective social life in East and West.". "Dreamworld and Catastrophe is an experiment in visual…
Hegel, Haiti, and Universal History
Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation through a fundamental reinterpretation of Hegel's master-slave dialectic. Historicizing the thought of Hegel and the actions taken in the Haitian Revolution, Buck-Morss examines the startling connections between the two and challenges us to widen the boundaries of our historical imagination
Envisioning Capital: Political Economy on Display
The Flaneur, the Sandwichman and the Whore: The Politics of Loitering
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
The City as Dreamworld and Catastrophe
geometric forms in the service of the Revolution, as in the famous civil war poster of Lissitzky, Beat the Whites with t e ed Wedge (1920). Working with Malevich, Lissitzky developed more obscure connections between form and content, as in their stu y for curtains for the meeting room of the C m ittee to Abolish Unemployment. Less well-known among the pr jects of the avant-garde than either directly agitational art or the nonrepresentational art …
Hegel e Haiti
O paradoxo entre o discurso da liberdade e a prática da escravidão marcou a ascensão de uma série de nações ocidentais no interior da nascente economia global moderna. O artigo explora o uso da metáfora da escravidão no iluminismo filosófico europeu, e sugere que a "dialética do senhor e do escravo" hegeliana tem raízes mais na história contemporânea - particularmente, nas notícias que chegavam à Europa da Revolução Haitiana de 1791 - do que na t…
Benjamin's Passagen-Werk: Redeeming Mass Culture for the Revolution
Susan Buck-Morss, Benjamin's Passagen-Werk: Redeeming Mass Culture for the Revolution, New German Critique, No. 29, The Origins of Mass Culture: The Case of Imperial Germany (1871-1918) (Spring - Summer, 1983), pp. 211-240
The Gift of the Past
Responding to commentaries on Hegel, Haiti, and Universal History by Sibylle Fischer and David Scott, this essay describes universal history as "theoretical pragmatics," a practice of theorizing that undermines established narratives. Focusing on the singularity of historical events, it provides a decentered genealogy of contemporary globalization. It questions cultural identity as an adequate political orientation, given the non-identity of indi…
Estudios visuales e imaginación global
Why is Visual Studies a hotspot of attention at this time? Whose interests are being served? Is this inquiry merely a response to the new realities of global culture, or is it producing that culture, and can it do so critically? Thinking globally, but from the particular, ‘local’ position of the History of Art and through the medium of the visual image, a distinct aesthetics emerges, a science of the sensible that in our time accepts the thin mem…
Walter Benjamin: Entre Moda Acadêmica E Avant-Garde
Não sou a primeira a notar a ironia de uma reunião de acadêmicos para discutir Walter Benjamin. Mas fico imaginando: uma discussão sobre Walter Benjamin feita por e para acadêmicos que antes o rejeitaram não é uma forma estranha de homenagear a sua obra
The origin of negative dialectics: Theodor W. Adorno, Walter Benjamin, and the Frankfurt Institute
The Origin of Negative Dialectics
Benjamin's Passagen-Werk: Redeeming Mass Culture for the Revolution
Susan Buck-Morss, Benjamin's Passagen-Werk: Redeeming Mass Culture for the Revolution, New German Critique, No. 29, The Origins of Mass Culture: The Case of Imperial Germany (1871-1918) (Spring - Summer, 1983), pp. 211-240
The Flaneur, the Sandwichman and the Whore: The Politics of Loitering
The dialectics of seeing: Walter Benjamin and the Arcades project
The Dialectics of Seeing
Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered
Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction' is generally taken to be an affirmation of mass culture and of the new technologies through which it is disseminated. And rightly so. Benjamin praises the cognitive, hence political, potential of technologically mediated cultural experience (film is particularly privileged).2 Yet the closing section of this 1936 essay reverses the optimistic tone. It sounds a warning. …
The City as Dreamworld and Catastrophe
geometric forms in the service of the Revolution, as in the famous civil war poster of Lissitzky, Beat the Whites with t e ed Wedge (1920). Working with Malevich, Lissitzky developed more obscure connections between form and content, as in their stu y for curtains for the meeting room of the C m ittee to Abolish Unemployment. Less well-known among the pr jects of the avant-garde than either directly agitational art or the nonrepresentational art …
Envisioning Capital: Political Economy on Display
Visual Culture Questionnaire
1. It has been suggested that the interdisciplinary project of is no longer organized on the model of (as were the disciplines of art history, architectural history, film history, etc.) but on the model of anthropology. Hence, it is argued by some that visual culture is in an eccentric (even, at times, antagonistic) position with regard to the new art history with its social-historical and semiotic imperatives and models of context and text
Dreamworld and catastrophe: The passing of mass utopia in East and West
This book offers a reevaluation of the twentieth century. It argues that the disintegration of Soviet socialism marked the abandonment of the idea of mass utopia by both sides in the Cold War. One of the casualties of the end of that war was the shattering of dreamworlds of industrialization, mass culture, and historical progress that gave meaning to collective social life in East and West.". "Dreamworld and Catastrophe is an experiment in visual…
Walter Benjamin: Entre Moda Acadêmica E Avant-Garde
Não sou a primeira a notar a ironia de uma reunião de acadêmicos para discutir Walter Benjamin. Mas fico imaginando: uma discussão sobre Walter Benjamin feita por e para acadêmicos que antes o rejeitaram não é uma forma estranha de homenagear a sua obra
Hegel, Haiti and universal history: And, Universal history
In this path-breaking work, Susan Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation. Hegel, Haiti, and Universal History offers a fundamental reinterpretation of Hegel's master-slave dialectic and points to a way forward to free critical theoretical practice from the prison-house of its own debates. Historicizing the thought of Georg Wilhelm Friedrich Hegel and the actions taken in the Haitian R…
Estudios visuales e imaginación global
Why is Visual Studies a hotspot of attention at this time? Whose interests are being served? Is this inquiry merely a response to the new realities of global culture, or is it producing that culture, and can it do so critically? Thinking globally, but from the particular, ‘local’ position of the History of Art and through the medium of the visual image, a distinct aesthetics emerges, a science of the sensible that in our time accepts the thin mem…
Hegel, Haiti, and Universal History
Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation through a fundamental reinterpretation of Hegel's master-slave dialectic. Historicizing the thought of Hegel and the actions taken in the Haitian Revolution, Buck-Morss examines the startling connections between the two and challenges us to widen the boundaries of our historical imagination
The Gift of the Past
Responding to commentaries on Hegel, Haiti, and Universal History by Sibylle Fischer and David Scott, this essay describes universal history as "theoretical pragmatics," a practice of theorizing that undermines established narratives. Focusing on the singularity of historical events, it provides a decentered genealogy of contemporary globalization. It questions cultural identity as an adequate political orientation, given the non-identity of indi…
Hegel e Haiti
O paradoxo entre o discurso da liberdade e a prática da escravidão marcou a ascensão de uma série de nações ocidentais no interior da nascente economia global moderna. O artigo explora o uso da metáfora da escravidão no iluminismo filosófico europeu, e sugere que a "dialética do senhor e do escravo" hegeliana tem raízes mais na história contemporânea - particularmente, nas notícias que chegavam à Europa da Revolução Haitiana de 1791 - do que na t…
Le don du passé
Este artigo de Susan Buck-Morss, intitulado "Le don du passé" (O Dom do Passado), explora a complexa relação entre passado, presente e futuro, particularmente à luz das obras de Walter Benjamin. Buck-Morss argumenta que o passado não é simplesmente algo a ser herdado passivamente, mas sim um presente que nos é dado e que exige interpretação e ação no presente. A autora examina o conceito de "imagem dialética" de Benjamin, enfatizando a importânci…
Democracy: An Unfinished Project
This essay criticizes Ahmet Davutoğlu’s proposal that Islamic civilization complete the “unfinished project of modernity” (Jürgen Habermas), by challenging the concept of civilization itself. As scholars in multiple disciplines have demonstrated, civilizations are hybrid constructions that cannot be contained within a uniform conceptual frame, such as Islamic “authenticity.” The past is shared, and the present is as well. The Arab Spring demonstr…
Scholarship Becomes Theory: Learning from Miriam Hansen
These short statements were presented in the roundtable discussion held at the September 2012 Columbia University conference dedicated to Miriam Hansen, “Cinema and the Legacies of Critical Theory.” The discussion was moderated by Eric Rentschler; the panelists included Heide Schlüpmann, Susan Buck-Morss, Anton Kaes, Edward Dimendberg, D. N. Rodowick, and Laura Mulvey
What Has Happened to the Left Revolutionary Project
This interview documents an email exchange between Susan Buck-Morss, Jonathan Flatley, and Helen Petrovsky on the occasion of the publication of Buck-Morss's Revolution Today
Translations in Time
This text is a modified excerpt from YEAR 1, a project in the reconfiguration of knowledge (as well as a book forthcoming from MIT Press in 2021). The focus is on the first century that starts the numerical countdown to the present. All of the schemata of modernity-time, space, concepts, and categories [as in Kant's First Critique]-are put to the test of comprehending this alleged beginning, and none survives unscathed. Walter Benjamin's understa…
Year 1: A Philosophical Recounting
L'art antistalinien: Benjamin, Chostakovitch et la fin de l’histoire
Note des traducteurs : La traduction essaie de respecter la dimension orale du texte. La langue franaise ne permet pas de distinguer entre l'avant-garde artistique (avantgarde) et politique (vanguard). Ce dernier terme a t systmatiquement traduit par avant-garde politique ; en l'absence de prcisions, avant-garde rfre l'avantgarde artistique
Philosophy (10 works) · Art (9 works) · Epistemology (8 works) · History (7 works) · Law (7 works) · Political science (7 works) · History (6 works) · Philosophy (6 works) · Philosophy (6 works) · Politics (6 works)