Walter Benjamin the Work of Art in the Age of Mechanical Reproduction Pg 2126

Of all the ways of acquiring books, writing them oneself is regarded every bit the nearly praiseworthy method. [...] Writers are really people who write books non because they are poor, just because they are dissatisfied with the books which they could buy just practise not similar.
Benjamin, Walter. Unpacking my Library: A Talk About Book Collecting. 1931.

I would similar to metamorphose into a mouse-mountain.
Benjamin, Walter. Protocols to the Experiments on Hashish, Opium and Mescaline. 1927-1943.

Things are only mannequins and fifty-fifty the slap-up world-historical events are but costumes beneath which they exchange glances with pettiness
Benjamin, Walter. Protocols to the Experiments on Hashish, Opium and Mescaline. 1927-1943.

Reminiscences, fifty-fifty extensive ones, practise not always amount to an autobiography. [...] For even if months and years appear hither, it is in the course they accept in the moment of recollection. This strange course—it may exist chosen fleeting or eternal—is in neither case the stuff that life is made of.
Benjamin, Walter. A Berlin Chronicle. 1932.

Mechanical reproduction emancipates the piece of work of art from its parasitical dependence on ritual.
Benjamin, Walter. The Work of Art in the age of Mechanical Reproduction. 1935.

At that place is no document of civilization which is not at the same time a document of barbarism.
Benjamin, Walter. Theses on the Philosophy of History. 1940.

The nature of this melancholy becomes clearer, one time i asks the question, with whom does the historical writer of historicism actually empathize. The answer is irrefutably with the victor. Those who currently dominion are withal the heirs of all those who have always been victorious. Empathy with the victors thus comes to practice good the current rulers every time.
Benjamin, Walter. Theses on the Philosophy of History. 1940.

A Klee painting named 'Angelus Novus' shows an affections looking as though he is near to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open up, his wings are spread. This is how i pictures the angel of history. His face up is turned toward the by. Where we perceive a concatenation of events, he sees 1 single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and brand whole what has been smashed. Merely a storm is blowing in from Paradise; it has got caught in his wings with such violence that the angel tin no longer close them. This storm irresistibly propels him into the time to come to which his back is turned, while the pile of debris before him grows skyward. This tempest is what we phone call progress.
Benjamin, Walter. Theses on the Philosophy of History. 1940.

Simply a thoughtless observer can deny that correspondences come upwardly into play between the globe of modernistic technology and the primitive symbol-globe of mythology.
Benjamin, Walter. The Arcades Projection. 1927-1940.

History breaks downwards in images non into stories.
Benjamin, Walter. The Arcades Projection. 1927-1940.

In the fields with which nosotros are concerned, cognition exists only in lightning flashes. The text is the thunder rolling long afterward on.
Benjamin, Walter. The Arcades Project. 1927-1940.

The destructive graphic symbol knows only ane watchword: make room. And only 1 activity: clearing away. His need for fresh air and open space is stronger than any hatred.
Benjamin, Walter. The Destructive Character. 1931.

Frofi the indicate of view of epic, beingness is an ocean. Zippo is more epic than the body of water.
Benjamin, Walter. The Crisis of The Novel. 1929.

You lot earn likewise sai! on the sea. For many purposes, or none at all. You tin commence on a voyage and then, when you lot are far out, you tin tin prowl with no land in sight, nothing but sea and sky. This is what the novelist does. He is the truly solitary, silent person.
Benjamin, Walter. The Crunch of The Novel. 1929.

What distinguishes the novel from all other forms of prose - folktale, saga, proverb, comie tale - is that it neither originates in the oral tradition nor flows dorsum into information technology.
Benjamin, Walter. The Crisis of The Novel. 1929.

The radius of his life is no more than than grand meters. Alexanderplatz governs his beingness. A savage regent, if y'all like. An absolute monarch.
Benjamin, Walter. The Crunch of The Novel. 1929.

This is the police governing the novel: scarcely has the hero discovered how to aid himself than he ceases to be capable of helping u.southward..
Benjamin, Walter. The Crunch of The Novel. 1929.

Since the transformation of the superstructure proceeds far more slowly than that of the base of operations, information technology has taken more half a century for the change in the atmospheric condition of production to exist manifested in all areas of civilisation.
Benjamin, Walter. The Piece of piece of work of Fine art in the age of Mechanical Reproduction. 1935.

In principle, the piece of work of art has e'er been reproducible. Objects made past humans could always be copied past humans. Replicas were fabricated by pupils in practicing for their craft, by masters in disseminating their works, and, finally, by third parties in pursuit of turn a profit. But the technological reproduction of artworks is something new.
Benjamin, Walter. The Piece of work of Fine art in the historic period of Mechanical Reproduction. 1935.

In fifty-fifty the most perfect reproduction, one affair is lacking: the here and now of the work of fine art-its unique beingness in a particular place. Information technology is this unique existence-and null else-that bears the marker of the history to which the work has been subject.
Benjamin, Walter. The Work of Art in the historic period of Mechanical Reproduction. 1935.

The representation of human being beings by means of an apparatus has fabricated possible a highly productive use of the man being'south self-alienation.
Benjamin, Walter. The Work of Art in the historic period of Mechanical Reproduction. 1935.

Intellectual currents can generate a sufficient head of water for the critic to instal his power station on them.
Benjamin, Walter. Surrealism. 1927-1930.

The know-alls who fifty-50 today take non avant-garde beyond the 'authentic origins' of the movement, and even now have nil to say near it except that yet another clique of literati is here mystifying the honourable public, are a trivial similar a gathering of experts at a spring who, later lengthy deliberation, arrive at the conviction that this paltry stream will never bulldoze turbines.
Benjamin, Walter. Surrealism. 1927-1930.

Merely at the time when information technology broke over its founders every bit an inspiring dream wave, information technology seemed the nearly integral, conclusive, accented of movements. Everything with which information technology came into contact was integrated. Life simply seemed worth living where the threshold betwixt waking and sleeping was worn abroad in anybody equally by the steps of multitudinous flooding dorsum and along. Linguistic communication merely seemed itself where sound and epitome, epitome and sound interpenetrated with automated precision and such felicity that no chink was left for the penny-in-the-slot chosen 'meanings'. Paradigm and language take precedence.
Benjamin, Walter. Surrealism. 1927-1930.

Linguistic communication takes precedence. Non merely before meaning. Likewise earlier the self. In the globe'south construction dream loosens individuality like a bad tooth. This loosening of the self by intoxication is, at the aforementioned time, precisely the fruitful, living feel that allowed these people to pace outside the domain of intoxication.
Benjamin, Walter. Surrealism. 1927-1930.

The fox by which this world of things is mastered—it is more proper to speak of a play tricks than a method—consists in the substitution of a political for a historical view of the past.
Benjamin, Walter. Surrealism. 1927-1930.

At the eye of this earth of things stands the well-nigh dreamed-of of their objects, the city of Paris itself.
Benjamin, Walter. Surrealism. 1927-1930.

Not the being but for the most part the meaning of the concrete realities in the work will no doubtfulness be hidden from the poet and the public of his time.
Benjamin, Walter. Goethe'southward Elective Affinities. 1924.

How conspicuously the virtually sublime spirits of the Enlightenment had a premonition of the content [Gehalt] or an insight into the matter [Sache], even so how incapable even they were of raising themselves to the perception of its material content [Sachgehalt], becomes compellingly clear with regard to matrimony. It is union, equally one of the almost rigorous and objective articulations of the content of human existence life, that in Goethe'due south Elective Affinities attests, besides for the kickoff time, to the writer'due south new meditation, turned toward the constructed perception of the material contents.
Benjamin, Walter. Goethe's Constituent Affinities. 1924.

Of form, the philosopher made his gravest mistake when he supposed that from his definition of the nature of matrimony, he could deduce its moral possibility, indeed its moral necessity, and in this style ostend its juridical reality.
Benjamin, Walter. Goethe'due south Constituent Affinities. 1924.

Source:  European Graduate School (EGS)

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