Walter Benjamin: Overpowering ConformismPluto Press, 20 mei 2000 - 298 pagina's Esther Leslie’s path-breaking study of Walter Benjamin is unlike any other book presently available in English on Benjamin, in seeking to make a case for a more politicised reading of Benjamin’s oeuvre. In looking at the entirety of Benjamin’s work - rather than the four or five essays available in English which tend to form the Benjamin ‘canon’ - Leslie offers powerful new insights into a key twentieth-century political thinker, correcting the post-structuralist bias that has characterised so much Benjamin scholarship, and repositioning Benjamin’s work in its historical and political context. In her examination of Benjamin’s commentary on the politics and aesthetics of technology - from Benjamin’s work on nineteenth-century industrial culture to his analyses of the Nazi deployment of the bomber - Esther Leslie recontextualises Benjamin’s writings in a lucid and cogently argued new study. |
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Pagina 162
... Nazi art . Nazi film uses technology to promote predominantly the characteristics of first Technik . Epilogue : Aesthetics and Politics Even though the masses bring it into being , they do not participate in conceiving the ornament ...
... Nazi art . Nazi film uses technology to promote predominantly the characteristics of first Technik . Epilogue : Aesthetics and Politics Even though the masses bring it into being , they do not participate in conceiving the ornament ...
Pagina 165
... Nazi technological representation of alienated subjectivity is qualitatively different . Benjamin specifies Nazi tech- nologized art as the art practice that debilitates supremely . Technik itself , as utilized by the Nazis , exerts a ...
... Nazi technological representation of alienated subjectivity is qualitatively different . Benjamin specifies Nazi tech- nologized art as the art practice that debilitates supremely . Technik itself , as utilized by the Nazis , exerts a ...
Pagina 223
... Nazism so to speak surfaced and even surfed in the 1920s and the beginning of the 1930s ' , Derrida forces an equivalence between right and left discourse , after the war and on into the Nazi regime.63 Both left and right contaminate ...
... Nazism so to speak surfaced and even surfed in the 1920s and the beginning of the 1930s ' , Derrida forces an equivalence between right and left discourse , after the war and on into the Nazi regime.63 Both left and right contaminate ...
Inhoudsopgave
Benjamins Objectives | 42 |
Berlin Chthonic Photos and Trains and Films and Cars | 63 |
Technik and Mirroring | 89 |
Copyright | |
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