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Notes
1 Woods, “Scale Critique,” 134.
2 Pick, “Interview,” n.p.
3 Santner, Royal Remains, 5–6.
4 For the relation between sovereignty and the Anthropocene, see Folch, “Nature of Sovereignty” and Sands, “Gaia, Gender.”
5 Lupton, “Creature Caliban,” 2.
6 Colebrook, “Not Symbiosis, Not Now,” 188.
7 Aravamudan, “Catachronism,” 9.
8 Santner, On Creaturely Life, xv.
9 Lupton, Thinking, 2.
10 Ibid., 14.
11 Bloom, Shakespeare, xviii. See Pettman, Human Error, 12–18 for a trenchant discussion of Bloom’s emphasis on ‘self-overhearing’ in his reading of Shakespeare.
12 Assmann, Cultural Memory, 55.
13 Benjamin, Origin, 228.
14 See Pfister, “Germany Is Hamlet.”
15 Kottman, “Introduction,” 4.
16 Newman, Benjamin’s Library, 27 and 76.
17 Ibid., 6.
18 Höfele, No Hamlets.
19 Barck, “Fragments,” 82.
20 Auerbach, Mimesis, 276.
21 Ibid., 199–200.
22 Ibid., 201–2.
23 Ibid., 232.
24 Ibid., 246n1 and 247–49.
25 Ibid., 236 and 247.
26 Ibid., 315.
27 Ibid., 313, 322, and 326
28 Ibid., 324.
29 Ibid., 324 and 328.
30 Ibid., 321.
31 Ibid., 324.
32 Newman, Benjamin’s Library, 5–7.
33 Ibid., 116 and 125–6.
34 Benjamin, Origin, 85.
35 Steiner, “Introduction,” 18.
36 Benjamin, Origin, 136.
37 Ibid., 136.
38 Ibid., 137.
39 Ibid., 132.
40 Ibid., 134.
41 Ibid., 84.
42 Ibid., 138.
43 Ibid., 228.
44 Ibid., 228 and 158.
45 Hanssen, Other History, 105; see also Weigel, Walter Benjamin, 12–14.
46 Ibid., 329–30.
47 Newman, Benjamin’s Library, 145.
48 Weber, “Taking Exception,” 5.
49 Strathausen, “Myth or Knowledge,” 12.
50 Rust, “Political Theology,” 187; Schmitt, Hamlet or Hecuba, 64n51.
51 Schmitt’s insistence on an instance that remains strictly exterior to the stifling immanence of Benjamin’s Baroque has been read as an attempt to safeguard a stable outside from which sovereign decisions can be made. See Pye, “Contra Schmitt,” 153; Trüstedt, “Hecuba against Hamlet,” 99–100; and Weber, “Taking Exception.” Katrin Trüstedt and Johannes Türk both emphasize that the exterior source of the tragic is itself not exempt from drift and conflict, even if Schmitt does not explicitly acknowledge this.
52 Schmitt, Nomos, 70–1.
53 Ibid., 71. For a reading of Hamlet or Hecuba as Schmitt’s ‘apologia pro vita sua’, see Kahn, “Hamlet or Hecuba.”
54 Höfele, No Hamlets, 249–75 explains that Schmitt’s reading was much more out of sync with existing Shakespeare scholarship than he believed, while his insistence on the historical agency of the stage was more in line with existing German literary critical developments than he claimed.
55 Schmitt, Hamlet or Hecuba, 22–23.
56 Ibid., 9.
57 Ibid., 41.
58 Ibid., 44.
59 Ibid., 43–44.
60 Ibid., 18.
61 Ibid., 16.
62 Ibid.
63 Ibid., 21–22.
64 According to Schmitt’s logic, Shakespeare is, as an author, similarly powerless in the face of historical compulsion; tragedy serves as ‘the final and insurmountable limit of literary invention’. Schmitt, Hamlet or Hecuba, 45. As Carsten Strathausen writes, ‘[t]he emergence of tragic play is […] depicted as a process without an author; it is literally an objective and subject-less event caused by history itself’. Strathausen, “Myth or Knowledge,” 13.
65 Santner, On Creaturely Life, 12.
66 Strathausen, “Myth or Knowledge,” 18.
67 Rust and Lupton, “Introduction,” xlvii.
68 Ibid., xxiv.
69 Schmitt, Hamlet or Hecuba, 28.
70 Ibid., 30.
71 Santner, Royal Remains, 155.
72 Schmitt, Nomos, 49.
73 Schmitt, Hamlet or Hecuba, 64.
74 Ibid., 65.
75 Schmitt, Nomos, 49 and 178.
76 Ibid., 86; Santner, Royal Remains, 155.
77 Schmitt, Nomos, 39.
78 Auerbach, “Philology and Weltliteratur,” 17. See Porter, “Introduction” for an authoritative account of Auerbach’s work that puts the notion of the ‘earthly’ at the heart of his achievement.
79 Schmitt, Nomos, 320.
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Notes on contributors
Pieter Vermeulen
Pieter Vermeulen is Assistant Professor of American and Comparative Literature at the University of Leuven, Belgium. He is the author of Romanticism after the Holocaust (2010) and Contemporary Literature and the End of the Novel: Creature, Affect, Form (2015). E-mail: [email protected].