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1

WALTER BENJAMIN AND THE DEPTH OF HISTORICITY (BENJAMIN AND THE VIENNESE SCHOOL OF ART HISTORY)

100%
Bakos J.
Slovak Review. A Review of World Literature Research
|
2007
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vol. 16
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issue 1
27-36
EN
The first half of the study shows the depth of the kinship between the problem understanding of art historicity in W. Benjamin and a significant representative of the Viennese school of art history, A. Riegl; the key notion here is 'Kunstwollen', a notion adopted from Riegl, which in the time perspective includes the dynamics of historical metamorphoses of art depending on its perception (which is, apart from social determination, other explicit postulate i.a. also in Benjamin's essay on the reproducibility of the work of art). At the same time, since 1925, it is possible, within Benjamin's reading of Riegl, to disclose also moments of over-interpretation (for example introducing the notion of a crisis, or a decline into the concept of developmentality). The deepening of art historicity in Benjamin heads, in the following parts of the author's study, further - similarly as in M. Dvorak - to radicalization in the sense of transformations of his essence. At the same time, the notion on the history-formation of art corresponds with the opinions of Benedetto Croce, and his Viennese followers, Julius von Schlosser and Hans Sedlmeyr. It is possible, from the perspective of the Vienna school, to consider also Benjamin's key notion of 'aura', to which to a large extent Riegl's notion of 'Alterswert' corresponds, whereas the background of Benjaminian art history as a history of a loss of the aura creates Hegelian prophecy about the end of art. The depth of historicity, which is shown in Benjamin's perception of the art metamorphoses in the course of time, is at the same time a sign of a historical pluralism, adopted from the Vienna school.
2

AESTETICS OF VIBRATION AND WALTER BENJAMIN

100%
Zajac P.
Slovak Review. A Review of World Literature Research
|
2007
|
vol. 16
|
issue 1
49-54
EN
The author of the study shows that Walter Benjamin can be considered, on the basis of the analysis of his key notion 'Jetztzeit', a significant theoretician of the aesthetics of the sublime. Thanks to the exposition of the moment of fear in the 20th century, it became a legitimate counterpart to the 'aesthetics of cruelty', the Avant-Gardes lead into. Even though Benjamin never defined the aesthetic programme of the sublime explicitly his essay 'The Work of Art in the Age of Mechanical Reproduction' as well as the correspondence with Adorno from the end of the 1930s bring evidence about his specific paradoxical perception of the sublime as a fear of its lost. The experience with several forms of mechanically reproduced fine art in the 20th century at the same time shows, that it is not necessarily to be reserved the utopian moment of uniqueness, suspended in Benjamin's notion of aura, merely for the so-called auratic art insomuch that it can also be present in the forms of mechanical reproduction of art.
3

TYRANNY OF THE AURA

100%
Gerzova J.
Slovak Review. A Review of World Literature Research
|
2007
|
vol. 16
|
issue 1
44-48
EN
The authoress focuses on paintings by two contemporary artists, George Shaw and Gerhard Richter, and shows how in times, when the principle of technical reproduction predominates no longer, Benjamin's thesis on the existence, or disappearance of the aura can still be applied. Shaw's paintings, created according to the photographs, obsessively reproduce the atmosphere, which Benjamin credited to the so-called auratic art. At the same time, the contribution reveals a semantic shift in Shaw's perception of the aura, caused by a filter of technique, at which the archetypal connection of photography with memory occurs. On the other hand, G. Richter in his technique of painting according to photography proceeds conceptually since 1960s: his paintings reproduce not the atmosphere of the photography and the following feeling of nostalgia but they attempt to make reproducible that, which produces the nostalgia
4
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AGEING, AURA, AND VANITAS IN ART: GREEK LAUGHTER AND DEATH

100%
Babich B.
ESPES
|
2023
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vol. 12
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issue 1
56 – 86
EN
Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne.
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