瓦尔特·本雅明
机械复制剥夺了艺术的灵韵，而历史应当从失败者的一方来书写，而不是从胜利者的一方。
定位
灵晕、寓言与失败者的历史：技术可复制性时代的艺术作品。
核心思想
- 灵晕（aura）
- 历史天使
- 闲逛者（flâneur）
影响
受影响于 8
伊曼努尔·康德
受其影响
In ‘On the Programme of the Coming Philosophy’ (1918) Benjamin kept Kant’s system as the frame but demanded a higher concept of experience that includes religious experience. W. Benjamin, “Über das Programm der kommenden Philosophie” (written 1917–18, printed 1963); SEP “Walter Benjamin”
依据: AI 草稿
伊曼努尔·康德 › 1724–1804
卡尔·马克思
受其影响 ✓
Benjamin read the Paris arcades through Marx’s commodity fetishism as phantasmagoria (‘Paris, the Capital of the Nineteenth Century’, 1935) and joined historical materialism with messianism (1940). W. Benjamin, “Paris, die Hauptstadt des XIX. Jahrhunderts” (exposé, 1935); “Über den Begriff der Geschichte” (1940); SEP “Walter Benjamin”
卡尔·马克思 › 1818–1883
赫尔曼·科恩
受其影响
Benjamin read Cohen’s Kants Theorie der Erfahrung critically with Scholem in 1918; Astrid Deuber-Mankowsky traces Cohen’s concepts as the foil of Benjamin’s early theory of knowledge. G. Scholem, Walter Benjamin – die Geschichte einer Freundschaft (1975); A. Deuber-Mankowsky, Der frühe Walter Benjamin und Hermann Cohen (2000)
依据: AI 草稿
赫尔曼·科恩 › 1842–1918
格奥尔格·齐美尔
受其影响
Benjamin noted for the Arcades Project that his concept of origin (1928) transposed Goethe’s concept of truth, as Simmel presented it (Goethe, 1913), from nature to history. W. Benjamin, Das Passagen-Werk (written 1927–40, publ. 1982), convolute N; G. Simmel, Goethe (1913)
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格奥尔格·齐美尔 › 1858–1918
格奥尔格·卢卡奇
受其影响 ✓
Benjamin read History and Class Consciousness (1923) on Capri in 1924 and wrote to Scholem that Lukács reached epistemological positions partly close to his own. W. Benjamin, letter to G. Scholem (Sept. 1924), in Briefe (1966); G. Lukács, Geschichte und Klassenbewußtsein (1923)
格奥尔格·卢卡奇 › 1885–1971
卡尔·施米特
受其影响
Benjamin drew on Schmitt’s Political Theology (1922) for sovereignty and the state of exception in Origin of the German Trauerspiel (1928), acknowledging the debt in a letter (1930). W. Benjamin, Ursprung des deutschen Trauerspiels (1928); letter to C. Schmitt (9 Dec. 1930); H. Bredekamp, “From Walter Benjamin to Carl Schmitt, via Thomas Hobbes”, Critical Inquiry 25 (1999)
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卡尔·施米特 › 1888–1985
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约翰·雅各布·巴霍芬
受其影响
In ‘Johann Jakob Bachofen’ (written 1935, printed 1954) Benjamin set out Bachofen’s matriarchal prehistory and its rival readings, from Engels to Klages. W. Benjamin, “Johann Jakob Bachofen” (written 1935 in French for the Nouvelle Revue Française, printed 1954)
依据: AI 草稿
约翰·雅各布·巴霍芬 › 1815–1887
阿比·瓦尔堡
受其影响
For the melancholy section of Origin of the German Trauerspiel (1928) Benjamin drew on Warburg’s study of pagan-antique prophecy in Luther’s time (1920) and on Panofsky and Saxl. W. Benjamin, Ursprung des deutschen Trauerspiels (1928); A. Warburg, “Heidnisch-antike Weissagung in Wort und Bild zu Luthers Zeiten” (1920); E. Panofsky and F. Saxl, Dürers „Melencolia I“ (1923)
依据: AI 草稿
阿比·瓦尔堡 › 1866–1929
影响了 4
西奥多·W. 阿多诺
影响了 ✓
Adorno’s inaugural lecture ‘The Actuality of Philosophy’ (1931) adopted the method of constellations from Benjamin’s Origin of the German Trauerspiel (1928), interpreting reality through configurations of its elements. T. W. Adorno, “Die Aktualität der Philosophie” (lecture, 1931); W. Benjamin, Ursprung des deutschen Trauerspiels (1928); S. Buck-Morss, The Origin of Negative Dialectics (1977)
西奥多·W. 阿多诺 › 1903–1969
汉娜·阿伦特
影响了 ✓
Arendt edited Benjamin’s Illuminations (1968) and in her introduction described his thinking as ‘pearl diving’ that breaks fragments of thought from the past. H. Arendt, “Walter Benjamin: 1892–1940”, introduction to W. Benjamin, Illuminations (1968); repr. in Men in Dark Times (1968)
汉娜·阿伦特 › 1906–1975
让·鲍德里亚
影响了 ✓
Baudrillard took Benjamin’s analysis of technical reproducibility (1935–36) as a step toward his order of simulacra, in which reproduction precedes any original (L’échange symbolique et la mort, 1976). J. Baudrillard, L’échange symbolique et la mort (1976); W. Benjamin, “Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit” (1935–36); SEP “Jean Baudrillard”
让·鲍德里亚 › 1929–2007
乔治·阿甘本
影响了 ✓
Agamben took Benjamin’s thesis that the state of emergency has become the rule (1940) and his ‘Critique of Violence’ (1921) as starting points of State of Exception (2003). G. Agamben, Stato di eccezione (2003); W. Benjamin, “Zur Kritik der Gewalt” (1921); “Über den Begriff der Geschichte” (1940); SEP “Walter Benjamin”
乔治·阿甘本 › 1942年生
作品
- 1935机械复制时代的艺术作品
灵韵的丧失——以及艺术的政治化。
- 1940论历史的概念
历史天使与进步的风暴。
立场
Benjamin combined Jewish messianism, Marxism and a keen eye for the details of modern life. In his essay on the work of art he argued that technical reproduction – photography and film – destroys the “aura”, the unique here-and-now of the original, and opens art to mass politics, for better or worse. His unfinished Arcades Project read nineteenth-century Paris, its shopping arcades and the figure of the flâneur, as the dream world of capitalism. In his last theses he rejected the faith in progress: the “angel of history” sees one single catastrophe piling up wreckage. History must be rescued in moments that redeem the hopes of the defeated.
生平与背景
Benjamin grew up in a wealthy Jewish family in Berlin. When the Frankfurt faculty advised him in 1925 to withdraw his habilitation thesis, he lived as a critic, essayist and translator of Proust and Baudelaire, close to Gershom Scholem, Bertolt Brecht and Adorno. From 1933 he lived in exile in Paris. Fleeing the Nazis in 1940, he took his own life at the Spanish border in Portbou.
其他主要作品
- The Origin of German Tragic Drama (1928)
- One-Way Street (1928)
- The Work of Art in the Age of Mechanical Reproduction (1935)
- The Arcades Project, unfinished (1927–1940)
- On the Concept of History (1940)
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