Are you looking for the perfect Easter picture book and a way to engage your children with the biblical story of Holy Week in a way they’ll remember? Learn about Jesus along with Benjamin as he follows Jesus through Jerusalem to find out who this man really is. When Jesus comes to Jerusalem, Benjamin first thinks he is a teacher, then a king. But as he follows Jesus throughout the week, filling his wooden box with special treasures along the way, he finally learns the REAL good news—Jesus is all about love. Benjamin’s Box: The Story of the Resurrection Eggs is: For ages 4–8 Beautifully illustrated, making this a book something to treasure Perfect for small group or individual reading experiences Ideal to use alongside Family Life’s Resurrection Eggs® or alone as a meaningful look at Jesus’ ministry and sacrifice Benjamin’s Box: The Story of the Resurrection Eggs brings the story of Jesus’ time in Jerusalem, his death, and resurrection to life for readers young and old.

Perfect for any fond gift or tender moment, this story of a girl and a duckling who share a touching year together will melt hearts old and young. In this tenderly funny book, girl and duckling grow in their understanding of what it is to care for each other, discovering that love is as much about letting go as it is about holding tight. Children and parents together will adore this fond exploration of growing up while learning about the joys of love offered and love returned.

In transposing the Freudian dream work from the individual subject to the collective, Walter Benjamin projected a “macroscosmic journey” of the individual sleeper to “the dreaming collective, which, through the arcades, communes with its own insides.” Benjamin’s effort to transpose the dream phenomenon to the history of a collective remained fragmentary, though it underlies the principle of retrograde temporality, which, it is argued, is central to his idea of history. The “passages” are not just the Paris arcades: They refer also to Benjamin’s effort to negotiate the labyrinth of his work and thought. Gelley works through many of Benjamin’s later works and examines important critical questions: the interplay of aesthetics and politics, the genre of The Arcades Project, citation, language, messianism, aura, and the motifs of memory, the crowd, and awakening. For Benjamin, memory is not only antiquarian; it functions as a solicitation, a call to a collectivity to come. Gelley reads this call in the motif of awakening, which conveys a qualified but crucial performative intention of Benjamin’s undertaking.

Why do people submit to authority and derive pleasure even others have over them? What is the appeal of domination and submission, and why are they so prevalent in erotic life? Why is it so difficult for men and women to meet as equals? Why, indeed, do hey continue to recapitulate the positions of master and slave? In The Bonds of Love, noted feminist theorist and psychoanalyst Jessica Benjamin explains why we accept and perpetuate relationships of domination and submission. She reveals that domination is a complex psychological process which ensnares both parties in bonds of complicity, and shows how it underlies our family life, our social institutions, and especially our sexual relations, in spite of our conscious commitment to equality and freedom.

“There is no world of thought that is not a world of language,” Walter Benjamin remarked, “and one only sees in the world what is preconditioned by language.” In this book, Samuel Weber, a leading theorist on literature and media, reveals a new and productive aspect of Benjamin’s thought by focusing on a little-discussed stylistic trait in his formulation of concepts. Weber’s focus is the critical suffix “-ability” that Benjamin so tellingly deploys in his work. The “-ability” (-barkeit, in German) of concepts and literary forms traverses the whole of Benjamin’s oeuvre, from “impartibility” and “criticizability” through the well-known formulations of “citability,” “translatability,” and, most famously, the “reproducibility” of “The Work of Art in the Age of Its Technological Reproducibility.” Nouns formed with this suffix, Weber points out, refer to a possibility or potentiality, to a capacity rather than an existing reality. This insight allows for a consistent and enlightening reading of Benjamin’s writings. Weber first situates Benjamin’s engagement with the “-ability” of various concepts in the context of his entire corpus and in relation to the philosophical tradition, from Kant to Derrida. Subsequent chapters deepen the implications of the use of this suffix in a wide variety of contexts, including Benjamin’s Trauerspiel book, his relation to Carl Schmitt, and a reading of Wagner’s Ring. The result is an illuminating perspective on Benjamin’s thought by way of his language—and one of the most penetrating and comprehensive accounts of Benjamin’s work ever written.

This book explores the implications for today's critical concerns of the work of Walter Benjamin (1892-1940), one of the most powerful and influential thinkers of the 20th century.

This book provides a critical assessment of Benjamin’s writings on Franz Kafka and of Benjamin’s related writings. Eliciting from Benjamin’s writings a conception of philosophy that is political in its dissociation from – its becoming renegade in relation to, its philosophic shame about – established laws, norms, and forms, the book compares Benjamin’s writings with relevant works by Agamben, Heidegger, Levinas, and others. In relating Benjamin’s writings on Kafka to Benjamin’s writings on politics, the study delineates a philosophic impetus in literature and argues that this impetus has potential political consequences. Finally, the book is critical of Benjamin’s messianism insofar as it is oriented by the anticipated elimination of exceptions and distractions. Exceptions and distractions are, the book argues, precisely what literature, like other arts, brings to the fore. Hence the philosophic, and the political, importance of literature.