Susan Buck‐mor
Biographic Data
| ID | 3594078 |
|---|---|
| NAME | Susan Buck‐mor |
| GIVEN NAMES | Susan |
| FAMILY NAME | Buck‐mor |
| SIGNATURE | MOR S B |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 476 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 6 |
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…
Non-violent Resistance is Forceful: Interview on OWS with Susan Buck-Morss
Joanna Kusiak: You’re a politically engaged philosopher. You’ve signed a letter of support for Occupy Wall Street and CUNY’s student protests, you talk about OWS during your philosophical seminar and at the same time you claim there is no political ontology. Why? Susan Buck-Morss: My prejudice against ontology comes from reading Adorno and his virulent criticism of existential ontology as he sees it so powerfully expressed in Heidegger, but then …
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…
Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West
dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to politic…
Hegel and Haiti
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. …
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. …
Hegel and Haiti
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
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…
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…
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
Hegel and Haiti
Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West
dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to politic…
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…
Non-violent Resistance is Forceful: Interview on OWS with Susan Buck-Morss
Joanna Kusiak: You’re a politically engaged philosopher. You’ve signed a letter of support for Occupy Wall Street and CUNY’s student protests, you talk about OWS during your philosophical seminar and at the same time you claim there is no political ontology. Why? Susan Buck-Morss: My prejudice against ontology comes from reading Adorno and his virulent criticism of existential ontology as he sees it so powerfully expressed in Heidegger, but then …
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…
History (4 works) · Law (4 works) · Political Economy and Marxism (4 works) · Political science (4 works) · Art (3 works) · Art history (3 works) · Epistemology (3 works) · History (3 works) · Law (3 works) · Philosophy (3 works)