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 138
... reality.38 He reports on the painter André Lhote , influenced by Cézanne and Cubism , who declares that every new Technik entails a new optics . New ways of seeing are necessitated by increasingly complex engagements with reality . For ...
... reality.38 He reports on the painter André Lhote , influenced by Cézanne and Cubism , who declares that every new Technik entails a new optics . New ways of seeing are necessitated by increasingly complex engagements with reality . For ...
Pagina 139
... reality is incomparably more significant , since it ensures an aspect of reality , which is free of all apparatuses , precisely because of the intensive permeation of reality by the apparatus . And that is what the con- temporary person ...
... reality is incomparably more significant , since it ensures an aspect of reality , which is free of all apparatuses , precisely because of the intensive permeation of reality by the apparatus . And that is what the con- temporary person ...
Pagina 140
... reality . A comment in the Passagenwerk points out the productive confusion between the lens and the objective fabrication of reality in art , whereby the presentation of the immediate is seen as a presenta- tion of the actual . The ...
... reality . A comment in the Passagenwerk points out the productive confusion between the lens and the objective fabrication of reality in art , whereby the presentation of the immediate is seen as a presenta- tion of the actual . The ...
Inhoudsopgave
Benjamins Objectives | 42 |
Berlin Chthonic Photos and Trains and Films and Cars | 63 |
Technik and Mirroring | 89 |
Copyright | |
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