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Contributors: Francis X. Clooney, S.J., Fayaz A. Dar, Antonio De Caro, Michiko Fukaya, Kayo Hirakawa, René B. Javellana, S.J., Emy Merin Joy, Zubair Khalid, Edith Llamas Camacho, Sidh Losa Mendiratta, Mia M. Mochizuki, D. Max Moerman, Raphaèle Preisinger, Dhruv Raina, Timon Screech, Nicolas Standaert, Guillermo Wilde, Ines G. Županov.
Contributors: Francis X. Clooney, S.J., Fayaz A. Dar, Antonio De Caro, Michiko Fukaya, Kayo Hirakawa, René B. Javellana, S.J., Emy Merin Joy, Zubair Khalid, Edith Llamas Camacho, Sidh Losa Mendiratta, Mia M. Mochizuki, D. Max Moerman, Raphaèle Preisinger, Dhruv Raina, Timon Screech, Nicolas Standaert, Guillermo Wilde, Ines G. Županov.
Indeed, community runs like a thread through many of Benjamin’s writings: from his earliest reflections on the German Student Movement, including his 1911 essay on ‘The Free School Community’, to his ill-fated Habilitation on the Origin of the Mourning Play (1925); and from his early language-philosophical tract ‘On Language as Such and on the Language of Man’ (1916) to his later, more pointedly materialist city portrait ‘Moscow’ (1927). For Benjamin, the term entails not only a critique of ‘national community’ ( Volksgemeinschaft), but equally an effort to delineate a form of ‘ethical community’ ( sittliche Gemeinschaft) and a ‘community of language’ ( Sprachgemeinschaft). In each case, these figures of community are articulated in response to shifting historical circumstances, including two World Wars, and through an engagement with a wide range of interlocutors.
Although Benjamin never systematically expounds the concept of community per se, there is a sense in which it marks a nodal point: an opportunity to rethink the interplay of language, history, and politics in the register of what is common.
Indeed, community runs like a thread through many of Benjamin’s writings: from his earliest reflections on the German Student Movement, including his 1911 essay on ‘The Free School Community’, to his ill-fated Habilitation on the Origin of the Mourning Play (1925); and from his early language-philosophical tract ‘On Language as Such and on the Language of Man’ (1916) to his later, more pointedly materialist city portrait ‘Moscow’ (1927). For Benjamin, the term entails not only a critique of ‘national community’ ( Volksgemeinschaft), but equally an effort to delineate a form of ‘ethical community’ ( sittliche Gemeinschaft) and a ‘community of language’ ( Sprachgemeinschaft). In each case, these figures of community are articulated in response to shifting historical circumstances, including two World Wars, and through an engagement with a wide range of interlocutors.
Although Benjamin never systematically expounds the concept of community per se, there is a sense in which it marks a nodal point: an opportunity to rethink the interplay of language, history, and politics in the register of what is common.


