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• W4294561019 abstract "Once again it seems we move forward by digression. The chapter initially concerns discussion on the literary figures, Edmond Jabès and Stephane Mallarmé, on the convergence and divergence of their understandings of the Word and the Book. This difference is discussed in terms of a Western Christian understanding of the Word as incarnate and living Spirit and a Hebraic tradition of the Word as exilic, indecipherable, and leading to death. This, on the one hand, guides our further reading of Benjamin’s Kabbalistic leaning, and Foucault’s historiography of especially Christian pastoral power’s understanding of the word made flesh. On the other hand, this difference informs our understanding of architecture as idea and as actuality, as something knowable and as something affective. To look further into that relation of idea and affect, we move to Foucault’s lectures on the punitive society, those lectures where he introduces Panopticism, though our focus is firstly on the administrative functioning of the technique of confinement, the Lettre de Cachet, that Foucault suggests operated as a transformer of how sovereign power was to be thought in the nineteenth century. Our second focus is the manner whereby time-reckoning came to dominate how disciplinary procedures of habit-formation operated. Time-reckoning is the essential mechanism of capitalism’s functioning, in determining corporeal sequestration or confinement. Our question becomes: does Foucault establish something like a mimetic faculty between architecture’s spatial dispersions and the time-sequestration in disciplinary mechanisms? How do we understand the functioning of architecture in these terms? To take this further, we look closely at two short essays by Benjamin on mimesis, again to register if there are correlations between Benjamin and Foucault on how power’s exercise is understood. In sequence, the chapter concludes on critically assaying Benjamin’s Artwork essay as continuing his basic concerns with mimetic reproducibility, his writings on Baudelaire, concerned with the commodification of the literary work of art, the Marxist analysis of the collector, Eduard Fuchs, and Benjamin’s 1935 expose on his arcades project. ." @default.
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• W4294561019 date "2022-01-01" @default.
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• W4294561019 title "Vanity of the Verb" @default.
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• W4294561019 doi "https://doi.org/10.1007/978-981-19-4449-9_5" @default.
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