Studies in Philosophy and Education, 40, 201–217. Walter Benjamin in the Age of Post-critical Pedagogy. The Rejection of Benjamin’s Habilitation, Cultural Critique, 116, 1–27. Journal of Philosophy of Education, 41(3), 364–380. Walter Benjamin in the Age of Digital Reproduction: Aura in Education: A Rereading of The Work of Art in the Age of Mechanical Reproduction. Knowles Ball (Ed.), Where can we locate Walter Benjamin’s legacy in the digital to post-digital landscape? Field Guide: A Media Commons Critique. During (Ed.), The Cultural Studies Reader (pp. The Place of Walter Benjamin in Cultural Studies. (2021) Apocalypse Never: Walter Benjamin, the Anthropocene, and the Deferral of the End. History and Class Consciousness: Studies in Marxist Dialectics. Albany: State University of New York Press. Walter Benjamin’s Antifascist Education: From Riddles to Radio. The Work of Art in the Age of Mechanical Reproduction. Walter Benjamin: Overpowering Conformism. In:Illuminations, edited by Hannah Arendt, translated by Harry Zohn, from the 1935 essay New York: Schocken Books, 1969. Forces of Education: Walter Benjamin and the Politics of Pedagogy. Grand Hotel Abyss: The Lives of the Frankfurt School. Benjamin & the Human-Technology Relationship. The Reception of Walter Benjamin in the Anglo-American Literary Institution. The Cambridge Introduction to Walter Benjamin. Cambridge, MA: Harvard University Press.įerris, D. London: Routledge.Įiland, H., & Jennings, M. Durham and London: Duke University Press.ĭerrida, J. Cambridge, MA, & London, UK: Harvard University Press.īenjamin, W. In 1968 Hannah Arendt edited Illuminations, the first collection of essays by Walter Benjamin to appear in English.At that time little was known about Benjamin outside Germany, except that he was a talented and idiosyncratic literary critic who had committed suicide while fleeing the Nazis in 1940. Cambridge, MA, and London, UK: Belknap Press.īenjamin, W. Cambridge, MA: Harvard University Press.īenjamin, W. The Concept of Art Criticism in German Romanticism. He also argues that our habits are formed from the tactical, not perception (the optical) (240).Arendt, H. When we can no longer stand in front of the material object, we perceive it differently (222). Our sense perception is changed because the medium changes. He argues that the ways of seeing have been changed by technological changes. However, within the phenomenon which we are here examining from the perspective of world history, print is merely a special, though particular important, case” (219). ![]() He vaguely ties these ideas to writing: “The enormous changes which printing, the mechanical reproduction of writing, has brought about in literature are a familiar story. This article is linked to the idea that people may fear technological changes because of indoctrination.) This, according to Benjamin, is what the Fascists are doing they are using art to indoctrinate people. Though mechanical reproduction allows us to begin critiquing the work, we are so inundated and habituated into the art forms that we can become distracted and no longer look for the ideologies embedded in the work. ![]() Because the art work’s meaning is no longer determined by the ritual, its meaning is found in ideology. However, mechanical reproduction dissipates the aura, which means the art is open to politics. With the cult, a person will not question the object because its aura is in the ritual and the person will not question the ritual because he/she believes in it. The aura is attached to the cult (ritualistic and religious use). Aura is uniqueness, situatedness, traces of history/ancestry, the artist purring his/her own energy into the art, and materiality (the physical item is required in order to transfer ownership). The aura is equated with authority and is derived from use value. He believes that mechanical reproduction has removed the aura from the work of art. Particularly, he discusses paintings as compared to photography and stage acting as compared to film. Benjamin argues that the ways in which we perceive, understand, and value art has changed.
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