Abstract: Professor Marc Berdet gets into a dialogue with the brasilian-french thinker Michael Löwy, to establish the origin of his career; authors who have influenced his theoretical work such as Walter Benjamin and Max Weber, Karl Marx, Gersom Scholem, Georges Sorel, André Breton, Auguste Blanqui, Anna Zeghers, José Carlos Mariátegui, Charles Fourier, among others; and the evolution of a reflection that touches both European and Latin American critical thought.

Resumen: El profesor Marc Berdet entabla un diálogo con el pensador brasileño-francés Michael Löwy, para establecer el origen de su trayectoria; autores que han influido su trabajo teórico como Walter Benjamin y Max Weber, Karl Marx, Gershom Scholem, Georges Sorel, André Breton, Auguste Blanqui, Anna Zeghers, José Carlos Mariátegui, Charles Fourier, entre otros; y el devenir de una reflexión que toca tanto al pensamiento crítico europeo como al latinoamericano.

Resumo O Parque por la Paz Villa Grimaldi foi aberto ao público em Santiago, no Chile, em 1997, em um lugar onde, na época da ditadura militar daquele país (1973-1989), a polícia política de Pinochet torturava até a morte. O parque, um dos primeiros casos de transformação de um lugar de barbárie em um lugar de cultura e memória, mostra, no entanto, que a oposição entre “memória” e “recalque” não é suficiente para resumir a situação atual de confrontação entre uma amnésia organizada pelos (ex-)militares através das leis de (auto)anistia impostas à sociedade no momento da transição democrática e uma luta pelo reconhecimento conduzida pelos familiares das vítimas, seja no Chile, na Argentina, no Brasil ou em qualquer outra parte do mundo. Este caso ilustra que uma memória voluntarista que tenta estruturar uma memória pública pressupõe também um recorte que não impede o lugar escolhido de fazer ressurgir uma memória imprevista.

Abstract The Parque por la Paz Villa Grimaldi opened its doors to the public in 1997, at the place where, at the times of military dictatorship (1973-1989), Pinochet’s political police tortured until death. One of the first cases of a site of barbarism turned into a site of culture and of memory, the park shows however that the opposition between “memory” and “repression” (in the Freudian sense) is not enough to sum up the actual situation of an opposition between an amnesia organized by (ex-)militaries through laws of (auto-)amnesty and the struggle for recognition leaded by families of the victims, be it in Chile, in Argentine, in Brazil, or in another part of the world. It is a good example that a voluntarist memory attempting to structure a public memory also presupposes a cut that doesn’t prevent the chosen site to make resurfacing an unexpected memory.

Abstract: The short text of Walter Benjamin on the Paris Commune, included in the notes of his unfinished book on Paris in the nineteenth century, remains enigmatic. What did the popular insurrection of 1871 mean for the German émigré of the 1930s? How do collective memory and social passions act in a moment of political turmoil, such as that of the strikes of 1936? After Marx, Bakunin and Michel, with Lenin and Luxembourg, and before Lefebvre, Debord and Ross, what lessons did Benjamin learn from the Commune for the coming social movements

Resumen: El texto breve de Walter Benjamin sobre la Comuna de París, incluido en las notas de su libro inconcluso sobre París en el siglo XIX, aún sigue siendo enigmático. ¿Qué significó la insurrección popular de 1871 para el emigrado alemán de los años treinta?, ¿cómo actúan la memoria colectiva y las pasiones sociales en un momento de agitación política, como la de las huelgas de 1936? Después de Marx, Bakunin y Michel, con Lenin y Luxembugo, y antes de Lefebvre, Debord y Ross, ¿qué lecciones aprendió Benjamin de la Comuna para los próximos movimientos sociales?

RESUMO Este artigo trata do modo de escritura do filosofo alemão Walter Benjamin (1892-1940), escritura essa ao mesmo tempo poética e filosófica. Circulando entre os choques da vida moderna e as profundezas do desejo coletivo, ela faz colidir o mais atual com o mais antigo, por meio de um estilo teorizado com ironia pelo próprio autor na margem de suas grandes obras.

ABSTRACT This article deals with Walter Benjamin’s techniques of writing, a writing which is at the same time poetical and philosophical. Moving along the shocks of modern life and the deepness of collective desire, this way of writing makes collide what is more up-to-date with what is more antique by the mean of a style theorized with irony by the author in the margin of his great works.

Abstract Following his idea of the task of the critique, Walter Benjamin makes appear Calderon’s images of happiness into Gryphius’ ruined “original” landscape: the fleeting star of Spanish baroque shines intermittently into the demoniac darkness of Silesian baroque. The baroque is thus only able to meet its own truth through the inversion of its allegorical melancholy into the symbolic moment of redemption. I am aiming at demonstrate how, in Origin of German baroque, a figurative dialectic manifests itself, frozen between symbol and allegory, melancholy and redemption, forerunning the “dialectic images” that will polarize capitalist phantasmagorias between allegory and utopia.

Resumen Siguiendo su idea de la tarea del crítico, Walter Benjamin hace surgir imágenes de felicidad de Calderón en el paisaje “originario” en ruinas de Gryphius: la estrella fugaz del barroco español brilla, intermitente, en las tinieblas demoníacas del barroco silesio. El barroco no encuentra así su verdad sino en la inversión dialéctica de su melancolía alegórica en el momento simbólico de la redención. Intento demostrar cómo se manifiesta, en Origen del drama barroco alemán, una dialéctica figurativa suspendida entre símbolo y alegoría, melancolía y redención, precursora das “imágenes dialécticas” que van a polarizar las fantasmagorías capitalistas entre alegoría y utopía.

RESUMO Este artigo pretende introduzir o conceito de “interpelação fantasmagórica”. O esforço teórico se inspira nos conceitos de “fantasmagoria”, de Walter Benjamin, e de “interpelação ideológica”, de Louis Althusser. A proposta é aliar suas respectivas filosofias em processo a seus materialismos “antropológico” e “aleatório”, a fim de fazer uma análise sociopolítica da estética capitalista de hoje, tal como ela aparece na arquitetura pós-moderna e no design da vida cotidiana. Trata-se também de abrir novas perspectivas de resistências a normatividade do imaginário consumista com uma interpretação crítica das criações culturais (teatro, cinema...) que, conforme a inspiração dos autores, pode desvelar um novo sujeito capaz de surgir na cena da história.

ABSTRACT This article aims at presenting the concept of “phantasmagorical interpellation”. This theoretical effort is inspired from Walter Benjamin’s concept of “phantasmagoria” and Louis Althusser’s concept of “ideological interpellation”. The proposal is to connect their respective philosophical work-in-progress in their “anthropological” and “aleatory” materialisms for a socio-political analysis of today’s capitalist aesthetic as displayed in postmodern architecture and the design of everyday life. It is also to open new perspectives of resistance to the normativity of the consumer imaginary with a critical interpretation of cultural creations (theatre, cinema...) that, following the inspiration of both authors, could reveal a new subject of history able to suddenly appear on the scene of history.

Abstract: Walter Benjamin is ever more present in today's departments of communication studies, and sometimes even used in the communicants' discourses themselves. But there is something in him which resists this instrumentalization. Indeed, in his work, language (political as well as aesthetical) does not offer itself to the communication of a predefined sense, but instead expresses what remains inaccessible to the word. The German philosopher succeed in liquidating the revolutionary posture of the artist still caught in the ideology of communication. This is neither a matter of substituting the content, nor of renovating the form, but - an apparently modest but radically more ambitious objective - of changing the technique.

Resumé: Walter Benjamin est de plus en plus présent dans les départements de communication aujourd'hui, et parfois même utilisé dans le discours des communicants eux-mêmes. Pourtant, quelque chose en lui résiste à cette instrumentalisation: c'est que, dans son œuvre, le langage (politique comme esthétique) ne sert pas à communiquer un sens prédéfini, mais à exprimer cela même qui est refusé au mot. Le philosophe allemand va jusqu'à liquider la posture révolutionnaire de l'artiste encore pris dans l'idéologie de la communication: il ne s'agit ni de remplacer le contenu, ni de rénover la forme, mais, objectif apparemment modeste mais radicalement plus ambitieux, de changer la technique.

Abstract: In the 1980s, Colombian filmmakers Carlos Mayolo and Luis Ospina, emblematic members of the "Caliwood" group, created genre films under the banner of "Tropical Gothic," a fantastic aesthetic that allowed them to criticize the relationships of colonial and postcolonial domination in the Southern Cone. The antithesis of urban phantasmagorias of capitalism imported from the United States, these black phantasmagorias revive the subversive potential of the English Gothic novel as it was recognized by the surrealists. This paper explores the origins of this aesthetic as a sort of challenge launched in 1970 by Luis Buñuel at Álvaro Mutis, as well as part of the vampire aesthetic that, in those years, permeated the stories of cinephile Andrés Caicedo.

Resumen: En los años 1980, los cineastas colombianos Carlos Mayolo y Luis Ospina, emblemáticos del grupo de "Caliwood", realizan películas de género bajo la bandera del "gótico tropical", una estética fantástica que les permite criticar las relaciones de dominación coloniales y postcoloniales del Cono Sur. Antítesis de las fantasmagorías urbanas del capitalismo importado de Estados Unidos, estas fantasmagorías negras retoman el potencial subversivo de la novela negra inglesa tal y como fue reconocida por los surrealistas. Este texto explora su origen como una especie de reto lanzado en 1970 por Luis Buñuel a Álvaro Mutis, así como parte de la estética vampírica que ronda, en esos años, las historias del cinéfilo Andrés Caicedo.