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Stay blessed, Zain

Death inevitable as it is, bears the mark of finality. When someone leaves us unexpectedly or prematurely, it leaves an even more indelible mark. Zainul Abedin’s transition is our great loss,. ....

Antonio Gramsci , Zainul Abedin , Prison Notebooks , ஜைநூல் அபேடின் , ப்ரிஸந் குறிப்பேடுகள் ,

Wu Tsang's Renewal of the Collective


Featured in
Wu Tsang’s Renewal of the Collective
Two new films by the artist and her cohorts, on view at Lafayette Anticipations, Paris, speak to joint struggles and why collaboration is key
In the second volume of his
Prison Notebooks (1926), Italian communist Antonio Gramsci suggests that critical consciousness stems from the understanding that one’s identity is shaped by historical processes ‘which [have] deposited in you an infinity of traces, without leaving an inventory.’ The notion of an infinitely mutable mosaic of identities that we carry with ourselves (class, gender and race) is at the heart of ‘Visionary Company’, the exhibition by filmmaker and performance artist Wu Tsang and her multidisciplinary collective Moved by Motion, currently at Lafayette Anticipations in Paris. ....

France General , Galeries Lafayette , Pierre Antoine Wu Tsang , Tosh Basco , Pierre Antoine , Fred Moten , Elena Schwarz , George Floyd , Antonio Gramsci , James Balwin , Edward George , Wu Tsang , Dhanveer Singh Brar , Betty Davis , Visionary Company , Prison Notebooks , Lafayette Anticipations , Fondation Des Galeries Lafayette , More We Read All , More Unreadable We Are , Occupied Territory , Black Panthers , பிரான்ஸ் ஜநரல் , கேலரிகள் லாஃபாயெட் , பியர் அன்டோயின் வு ட்ஸ்யாஂக் , தோஷ் பாஸ்கோ ,

"Walter Benjamin, Antonio Gramsci and the Problem of Elitist Traditions" by Frank Voigt


Abstract
The article sheds light on Walter Benjamin’s and Antonio Gramsci’s treatments of elitist traditions. It provides a historical contextualization and brief comparison of the theoretical and political developments of the two contemporaries under this aspect. In the Origin of the German Trauerspiel (1924/25), Benjamin’s historical-philosophical aesthetics are enriched by a history of concepts which increasingly takes up socio-historical aspects. This approach goes beyond Benjamin’s programmatic formulations at the beginning of the 1920s, in which he regarded the work of art as a privileged medium of historical insight that, in theory and method, had to be isolated from history. As for Gramsci, the article elaborates an increasing mediation between social and literary history. This is done, on the one hand, by comparing Gramsci’s statements on Italian Futurism between 1913 and 1922 and, on the other hand, by tracing and examining Gramsci’s criticism of Benedett ....

Antonio Gramsci , Walter Benjamin , Benedetto Croce , German Trauerspiel , Italian Futurism , Nineteenth Century , Prison Notebooks , வால்டர் பெஞ்சமின் , பிநிடெடொ குரோஸ் , பத்தொன்பதாம் சிஇஎன்டியுவ்ஆர்ஒய் , ப்ரிஸந் குறிப்பேடுகள் ,