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عنوان: The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
مؤلف: Walter Benjamin
مترجم: -
ناشر: Platinum Press
سال انتشار: 2008
امتیاز آمازون:
تعداد صفحات: 448
شابک: 674024451
شابک(13): 9780674024458
مشخصات: vi, 426 p. : ill. ; 24 cm.
رده بندی کنگره: N72
دیویی: -
دیویی نرمال: -
نوع فایل: PDF
حجم فایل: 15.36 مگابایت
قیمت پشت جلد: $12.89
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1600 تومان

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چکیده

Benjamin’s famous “Work of Art” essay sets out his boldest thoughts—on media and on culture in general—in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.

This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin’s explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul.

This book contains the second, and most daring, of the four versions of the “Work of Art” essay—the one that addresses the utopian developments of the modern media. The collection tracks Benjamin’s observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin’s best-known work alongside fascinating, little-known essays—some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin’s media theory can be fully appreciated.

(20080704)
 
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Classic Kaufmann!


Princeton's own Walter Kaufmann has devised another book that fits a central category of his lifelong interest: the nexus between philosohy and art. More specifically, he engages that topic of philospohy and its relationship to tragedy.

Being a philosopher, one would think that Kaufmann would write a book of literary criticism that is somewhat condescending to the poets. He does no such thing. While he does offer some literary criticism, he also uses the paradigms of the poets to go after the philosophers. This is an unexpected approach, and also a unique one.

One cannot read one of Kaufmann's books without admiring his erudition. It's not just a matter of his knowing his material but knowing it inside & out. His scholarship can be downright intimidating at times. This fact may serve as a warning for those considering this book to become at least somewhat familiar with its subject matter before delving into Kaufmann.

That said, Kaufmann is not for everyone. He is not one to pull any punches when it comes to artists and scholars whom he does not care for. He has been known to launch intellectual uppercuts from his books. This aggressive style may not be appreciated by all readers.

If you are interested in tragedy and the history of tragedy, then this book is for you. Kaufmann traces it from the ancient Greeks to the modern age. He discusses the different paradigms and literary theory of philosophers down the ages. In short, this book details everything you ever wanted to know about the genre - and then some!
 
2006/05/04

Kaufmann makes the philosophy


Walter Kaufmann has a wonderful prose style-lucid, pithy, and even witty. Consequently, this book will be a pleasant and enlightening read even if you are only minimally familiar with the dramatists and philosophers that Kaufmann brings together in this work.

Kaufmann starts from the basic premise that to know what tragedy is one must examine the tragedies themselves. Any theory that can not account for all of Aeschylus, Sophocles, Euripedes & Shakespeare's tragedies is not sound-and he appears to be the first to really hold the theories of Plato, Socrates, Neitzsche, Hegel and other philosophers to this standard. But Kaufmann is not merely a nay-sayer; in the process he develops his own theory. (It's soundness you must judge for yourself!)

I would recommend that the prospective reader have a little familiarity with Greek and Shakespearian tragedy-ideally Sophocles' Oedipus the King and Antigone, Aeschylus' The Oresteia, and two or three of Shakespeare's tragedies. One of Kaufmann's key points is that the plot and characterization of tragedy takes many forms, and it will help if you can reflect on this yourself, instead of having to take him at his word. A background in aesthetic philosophy is quite unnecessary. However much you go into this book with, I think you will come out eager to read more.
 
2004/09/25

the finest book on tragedy and


Walter Kaufmann, you are missed. In this age where intellectuals and academics seem able to justify their lives and works solely by how confusing or intimidating they are, Kaufmann's work are respite, reprieve, and sanctuary.

Sometimes I feel like the post-modern intellectual ferment is a phenomenon akin to Medieval Scholasticism (how many angels can dance on the head of a pin)- the rampantly tendentious obscurantism, the impenetrable jargon and idiotic linguistic play of theoretical discourse... If only Kaufamnn where here to call these post-modern charlatans (who all-too often pillage Kaufmann's intellectual and spiritual predecessor, Nietzsche) out on their empty sophistry... As always, I'm getting off topic.

This book is an exemplary work of scholarship- aproachable, insightful, clear, interesting, at times humorous, and unencumbered. It is so good and so readable it is at odds with our age. Kaufmann analyses not only the major tragedians of antiquity (Aeschylus, Sophocles, and Euripides) but also the commentators of antiquity- Plato and Aristotle, calling them on their glaring faults and presumptions. It takes serious [courage] (or it used to) to go messing with the two Grecian heavy-weights of western thought but Kaufamnn is up to the challenge. One walks away from the first half of the book STEEPED in ideas.

Kaufamnn also examines Shakespearian Tragedy. Then he discusses the theories of both Nietzsche and Hegel as regards both tragedy and Greek culture in general. This, in my opinion is where Kaufmann truly shines, as a brilliant commentator on German philosophy and literature. (His book on Hegel was the first to enable me to understand Hegel, and I reccomend it whole-heartedly). He knows Nietzsche like the back of his hand and has the ability to call ol' Fritz out when he falls prey to his own style, the shrill and willful naysaying. He is highly fond of Nietzsche but is also not an acolyte (the greatest disservice one can do to a thinker as profound as Nietzsche is to be a disciple and nothing more, and Nietzsche himself never tired of stating that), Kaufmann possessed a head level enough to work through N's thought and avoid his missteps (Nietzsche, for example, points the finger at Euripides for the fall of tragedy. Kaufmann disagrees and clearly believes that the form continued on through other historical epochs, but not our own).

Still, despite his differences, Kaufmann finds much in both Nietzsche and Hegel that is worthwhile and illuminating, and he delivers to the reader not only a thorough comprehension of both thinker's perceptions of tragedy, but also a capacity to root both men in their historical context, so that one has a sense of WHY they thought and wrote as they did. Don't underestimate that.

He finally posits his own 'ironic' theory of tragedy against those of the thinkers he has perused and analysed (This is not surprising, as Kaufmann's first and highest devotion, philosophically was to the ever-ironic Socrates). He also discusses why our age has been unable live up to the art of those who have come before, and why (in his opinion) our age has produced no fully realized tragedies of its own (though a few have tried... perhaps the form and all its particulars is no longer relevant, like epic poetry- it can be studied and of course enjoyed for its sublime nature, but to attempt to create one would be a farsical endeavor??? I'm just wondering aloud so to speak...) He briefly looks at Sartre's 'The Flies,' in connection with Euripides and doesn't fault JP too much. I'm very fond of that play and my copy of the book is underlined almost the whole way through on this chapter.

I can't think of any other text on tragedy (or even drama in general) that does so much for the reader. Why can't all writers and scholars be this concise, enthralling and well-learned?

I'll end by repeating: the finest book on tragedy and thought I have come across.

 
2003/08/15

A Deep Reflection of Tragic Li


First off this book helped me greatly with my BA in English Literature. Anyone studying Dramatic Lit will benefit from reading this. If your getting a degree in philosophy this book will help you make connections between Aristotle, Socrates, Nietzsche, and Sartre. As a fan of Sartre's, "The Flies" this book greatly helped me to understand something I thought I already did.

If you despise Nietzsche don't buy this because by reading it one can tell Kaufmann was quite fond of the tragic philosopher--even though he disputes Nietzsche's belief that Euripides caused the death of tragedy. If your a complete advocate of Rationalism don't buy this unless you truely believe the unexamined life isn't worth living. Only buy this if like a good argument, no matter what side is right, and enjoy a deep analysis of the human condition.

 
2002/06/25

Uno de los mejores ensayos sob


Se trata de un brillante y riguroso estudio sobre el complejo género de la tragedia. Es realmente notable la claridad, la erudición y la amplitud de la información presentada por el autor. Este libro resulta una guía luminosa para comprender la tragedia. Resulta además muy bien escrito (la traducción al español publicada por Seix Barral en 1978 es también excelente). Desde Platón y Aristóteles (de quien examina algunos de los términos más importantes expuestos en La Poética), hasta Nietzche y Sartre este ensayo enriquece en cada página nuestra comprensión de la tragedia, no solo como género literario y dramático sino como visión de la realidad. Un espléndido trabajo.
 
2001/10/10

 
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