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Benjamin, the Image and the End of History
Journal of Aesthetics and Phenomenology Pub Date : 2016-01-02 , DOI: 10.1080/20539320.2016.1187851
Chiel van den Akker 1
Affiliation  

Abstract In his famous 1936 essay “The Work of Art in the Age of Mechanical Reproduction” Walter Benjamin tells us that in his time art became valued for its exhibition value instead of what he refers to as its secularised ritual or cult value. This essay makes this bold claim plausible by arguing that it means that a historicising gaze no longer has a function in the reception of art. Although this argument is supported by Benjamin’s use of the concepts of authenticity and aura, it is somehow missed by Benjamin’s many readers. His essay, as it turns out, presents an end of history thesis, which foreshadows the condition of the image in contemporary media.

中文翻译:

本杰明,图像与历史的终结

摘要沃尔特·本杰明(Walter Benjamin)在其1936年著名的论文《机械复制时代的艺术作品》中告诉我们,在他的时代,艺术因其展览价值而变得有价值,而不是他所说的世俗的仪式或邪教价值。本文认为这种大胆的主张是合理的,因为这意味着历史性的凝视不再具有艺术接受的功能。尽管本杰明对真实性和灵气概念的使用支持了这一论点,但本杰明的许多读者却不知何故。事实证明,他的论文提出了历史论题的结尾,这预示了当代媒体形象的条件。
更新日期:2016-01-02
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