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 92
... artistic production whose methods are in some way analogous to factory methods of mass production.11 Further socialized development of technolog- ical cultural forms is , however , inhibited by their commodity status . Benjamin is also ...
... artistic production whose methods are in some way analogous to factory methods of mass production.11 Further socialized development of technolog- ical cultural forms is , however , inhibited by their commodity status . Benjamin is also ...
Pagina 94
... artistic producer realized in Tretyakov's work and also by the experimental wing of Soviet cinematographers . This process of recasting cultural forms occurs tendentially in recompositions in cultural formations in capitalist societies ...
... artistic producer realized in Tretyakov's work and also by the experimental wing of Soviet cinematographers . This process of recasting cultural forms occurs tendentially in recompositions in cultural formations in capitalist societies ...
Pagina 138
... artistic autonomy , because the artwork becomes inextricably reliant on the vicissitudes of the market . " 39 In film the artwork is technologically reproducible en masse , and the subject matter , reality , is also technologically ...
... artistic autonomy , because the artwork becomes inextricably reliant on the vicissitudes of the market . " 39 In film the artwork is technologically reproducible en masse , and the subject matter , reality , is also technologically ...
Inhoudsopgave
Benjamins Objectives | 42 |
Berlin Chthonic Photos and Trains and Films and Cars | 63 |
Technik and Mirroring | 89 |
Copyright | |
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