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By Georges Didi-Huberman

Los angeles figura del poeta y dramaturgo Bertolt Brecht sirve de guía a Georges Didi-Huberman para mostrar las encrucijadas de l. a. estética del siglo xx, germen de los problemas del arte genuine. Guerra, exilio, vanguardias estéticas, compromiso político y nacimiento de los angeles industria cultural, Cuando las imágenes toman posición presenta las preguntas clave de novelistas, poetas, filósofos y artistas acerca del lugar de los angeles imagen y los angeles imaginación en un mundo convulso.

«Un documento encierra al menos dos verdades, l. a. primera de las cuales siempre resulta insuficiente.»

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The underlying moral would seem to be that, for anyone possessed of the capacity to speak, and so to tell one thing from another, the responsibility to keep on making determinations of significance will never come to an end. And if this is true of our sense of the significance of other persons (of which characterizations go to the essence of their identity and which are, or have proven to be, of merely incidental relevance), why should we think that matters are any different with respect to our sense of ourselves?

Likewise, would the possibility that Yahweh shares many characteristics with Aten do serious damage to our believer’s sense of the distinctive nature of the God whose activity picked out the Israelites amongst all human tribes for the renewal of his covenant? Or would something akin to Simone Weil’s interpretative strategy in her Intimations of Christianity among the Greeks be an acceptable way of accommodating such family resemblances? There seems to be more or less easily imaginable room for either reaction to these particular Freudian claims to be made out, and so for the issue to appear as a matter over which two members of this religious tradition might 30 EXEMPLARS OF IDENTITY reasonably disagree.

It is as if Siegmund and Siegfried are momentary concrete particulars moulded from that underlying substance, each a distinct realization of one and the same stuff, hence each identical to and distinct from the other. And just as Siegfried’s identity is not graspable except as a reincarnation of his father, so it is not graspable as essentially distinct from his sister Sieglinde, or his father’s father, or from Brunnhilde––no more than he experiences it as separable from that of his (father’s, and so of course his father’s father’s) 4 It is, however, worth noting that this patrilineal continuity is mediated by women, more specifically by sisters who are also lovers: it is Sieglinde who christens Siegmund, as Brunnhilde prophetically calls Siegfried into existence, even if both thereby further their father’s wishes; and one might argue that the ultimate purpose of this lyric drama of intergenerational destiny is that one of those women should acquire apocalyptic wisdom.

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Cuando las imágenes toman posición by Georges Didi-Huberman


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