Guest lecture: Michael Jennings

jennings-poster

The Modern and Contemporary Colloquium (MACC) is delighted to announce its first guest lecture of the Fall 2016 semester. On Monday October 17th, at 6.30pm, in the Event Space of 244 Greene St., Professor Michael Jennings will give a guest lecture on the topic of ‘Walter Benjamin, Judaism, and the Paradoxes of Theology.‘ The lecture will be an excellent and provocative ending to MACC’s reading group on the correspondence of Benjamin and Scholem, but you certainly do not need not to have attended the reading group to join us for the lecture. There is no preliminary reading for the event.

The lecture is open to all. Wine and nibbles will be provided. If you have any questions about the event please email Richard Porteous (richard.porteous@nyu.edu).

Michael W. Jennings is the Class of 1900 Professor of Modern Languages in the Department of German at Princeton University; he holds associate positions in the Departments of Art and Archaeology and French and Italian and in the School of Architecture. Jennings focuses his teaching and research on European culture in the twentieth century. In addition to literature, he teaches on topics in cultural theory and the visual arts, with special emphasis on photography. He is the author of two books on Walter Benjamin: Dialectical Images: Walter Benjamin’s Theory of Literary Criticism (Cornell University Press, 1987) and, with Howard Eiland, Walter Benjamin: A Critical Life (Harvard University Press, 2014). He serves as the general editor of the standard English-language edition of Benjamin’s works, Walter Benjamin, Selected Writings (Harvard University Press, four volumes, 1996ff.) and the editor of a series of collections of Benjamin’s essays intended for classroom use, including The Writer of Modern Life: Essays on Charles Baudelaire (2007); with Brigid Doherty and Thomas Levin, The Work of Art in the Age of its Technological Reproducibility and other Writings on Media (2008); and One Way Street (2016).

For those interested: the image in the poster is a grayscale rendering of Anselm Kiefer’s ‘Urd, Verdandi, Skuld (The Norns)’, 1983. The piece was in part Kiefer’s response to reading Benjamin’s conception of history.

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