William Louis Remley

I argue that Shakespeare's Timon of Athens exemplifies the concept of mourning play that Walter Benjamin had in mind when he wrote The Origin of German Tragic Drama. While others have interpreted the play in various ways, no one has attempted to understand Timon in a Benjaminesque manner that seeks to show the emergence of baroque tragedy as a new aesthetic form at odds with, and liberated from, classical tragedy's mythical foundation and instead premised on historical time and progress. In my discussion, I question the view that Timon possesses inheritable or transmissible human social bonds that can be the subject of annihilation as is the case in Shakespeare's other tragedies. Rather, Benjamin sees in allegory, as illustrated by Timon of Athens, the social condition of modernity replete with suffering, chaos, and violence, but devoid of real human bonds; indeed, it is without human meaning.

In a little remembered event in December 1961, Sartre entered into a debate with Roger Garaudy, as well as other representatives of the Parti Communiste Française (PCF), on the topic of the existence of a universal dialectical law applicable to nature as well as to human thought. In the debate, Sartre seeks to rebut the notion that humankind is merely an “alien addition“ to nature, as Engels maintained, and instead argues that individual subjectivity cannot be reduced to an object of knowledge. This paper highlights the importance of the debate for both sides, but particularly for Sartre and his Critique of Dialectical Reason