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The Work of Art in the Age of Its Technological Reproducibilit
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A book with obvious wear. May have some damage to the cover but integrity still intact. The binding may be slightly damaged but integrity is still intact. Possible writing in margins, possible underlining and highlighting of text, but no missing pages or anything that would compromise the legibility or understanding of the text. See the seller’s listing for full details and description of any imperfections.
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eBay item number:276481998761
Item specifics
- Condition
- Brand
- Unbranded
- MPN
- Does not apply
- ISBN
- 9780674024458
- Book Title
- Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
- Publisher
- Harvard University Press
- Item Length
- 9.2 in
- Publication Year
- 2008
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 1.2 in
- Genre
- Literary Criticism, Art, Philosophy, Social Science, Photography
- Topic
- Media Studies, Criticism & Theory, Aesthetics, Semiotics & Theory, History / General, Subjects & Themes / General
- Item Weight
- 23.2 Oz
- Item Width
- 6.1 in
- Number of Pages
- 448 Pages
About this product
Product Identifiers
Publisher
Harvard University Press
ISBN-10
0674024451
ISBN-13
9780674024458
eBay Product ID (ePID)
57041450
Product Key Features
Book Title
Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
Number of Pages
448 Pages
Language
English
Topic
Media Studies, Criticism & Theory, Aesthetics, Semiotics & Theory, History / General, Subjects & Themes / General
Publication Year
2008
Illustrator
Yes
Genre
Literary Criticism, Art, Philosophy, Social Science, Photography
Format
Trade Paperback
Dimensions
Item Height
1.2 in
Item Weight
23.2 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Trade
LCCN
2008-004494
TitleLeading
The
Dewey Edition
22
Reviews
Until recently, Walter Benjamin's seminal essay, The Work of Art in the Age of Its Technological Reproducibility , was available to English-speaking readers only in the version that appeared in the 1968 collection Illuminations . Harvard's new volume of the German cultural critic's writings on media offers as its title-piece an earlier, edgier incarnation--the second of three composed between 1935 and 1939--in a superior translation...Throughout The Work of Art in the Age of Its Technological Reproducibility , Benjamin's startling, often oblique language reveals his subjects from unexpected angles...This volume amply demonstrates the keenness and ingenuity of Benjamin's intuitions at the dawn of modern media culture., The Work of Art in the Age of Its Technological Reproducibility and Other Writings on Media reflects Benjamin's most salient thoughts on media and on culture in general in their most realized form, still maintaining an edge under the skin of everyone who reads it. The visual arts morph into literature and theory and then back to images, gestures and thought. Here the editors have situated this essay as the cornerstone of a vast collection of writings that demonstrates what was revolutionary about Benjamin's explorations on media. He was so prescient, and mind you, Virginia, he was alive only until 1940. We are now talking about 2008 and his work is not just timely, but powerful, important, clairvoyant, and necessary. This is the second and most daring version of the 'Work of Art' essay which tracks Benjamin's observations on the production and reception of art; on film, radio, and photography; on the telephone, on children's books, on Charlie Chaplin and so much more. He was not a critic for the 20th century, he was a theoretician for all time. This volume will probably become a text for some classes, but it is an introduction, a force that must be dealt with by anyone interested in culture, in the media, in the arts, to debates on the digital age. He could explore implications of these themes and be so prescient about what we are experiencing today. Oh, if he were alive today, he would tell us about the future, I am sure. This is a must for anyone who wants to be introduced to Benjamin, or one who wants more and more of what he has to say--and this one is thankfully in English., In recent decades, Benjamin's essay on the work of art may have been quoted more often than any other single source in an astonishing range of areas -- from new-left media theory to cultural studies, from film and art history to visual culture, from the postmodern art scene to debates on the future of art, especially film, in the digital age. The antinomies and ambivalences in Benjamin's thinking, his efforts to explore the most extreme implications of opposing stances, are still invaluable for illuminating the contradictions in today's media environment. Anyone interested in the fate of art, perception, and culture in the industrialized world must welcome this collection of Benjamin's writings on media., This one-volume gathering of Benjamin's dialectical writing on media of all kinds, ranging from children's literature to cinema, has at its heart the second, most expansive version of his path-breaking essay 'The Work of Art in the Age of Its Technological Reproducibility.' Readers familiar only with partial versions of this piece, where Benjamin began to record the melancholy loss of aesthetic presence at the turn of the twentieth century, will find their understanding transformed--for this second version, like all the essays and supplemental texts included here, explores a set of latent, utopian possibilities inherent in mechanical means of art-making. Benjamin, the visionary magus of particulars, reveals profoundly, and repeatedly, both the grounds and the consequences of our ever-changing image of the made world., In wanting to be a great literary critic [Benjamin] discovered that he could only be the last great literary critic... He explained certain aspects of the modern with an authority that seventy years of unpredictable change have not vitiated., Until recently, Walter Benjamin's seminal essay, The Work of Art in the Age of Its Technological Reproducibility , was available to English-speaking readers only in the version that appeared in the 1968 collection Illuminations . Harvard's new volume of the German cultural critic's writings on media offers as its title-piece an earlier, edgier incarnation--the second of three composed between 1935 and 1939--in a superior translation... Throughout The Work of Art in the Age of Its Technological Reproducibility , Benjamin's startling, often oblique language reveals his subjects from unexpected angles... This volume amply demonstrates the keenness and ingenuity of Benjamin's intuitions at the dawn of modern media culture., Walter Benjamin's work, fragmentary and partly esoteric as it is, fully withstands a comparative measure, and surpasses any of its rivals in philosophic consequences. There has been no more original, no more serious critic and reader in our time., Until recently, Walter Benjamin's seminal essay, The Work of Art in the Age of Its Technological Reproducibility, was available to English-speaking readers only in the version that appeared in the 1968 collection Illuminations. Harvard's new volume of the German cultural critic's writings on media offers as its title-piece an earlier, edgier incarnation--the second of three composed between 1935 and 1939--in a superior translation...Throughout The Work of Art in the Age of Its Technological Reproducibility, Benjamin's startling, often oblique language reveals his subjects from unexpected angles...This volume amply demonstrates the keenness and ingenuity of Benjamin's intuitions at the dawn of modern media culture., Until recently, Walter Benjamin'e~s seminal essay, The Work of Art in the Age of Its Technological Reproducibility , was available to English-speaking readers only in the version that appeared in the 1968 collection Illuminations . Harvard'e(tm)s new volume of the German cultural critic'e(tm)s writings on media offers as its title-piece an earlier, edgier incarnation--the second of three composed between 1935 and 1939--in a superior translation...Throughout The Work of Art in the Age of Its Technological Reproducibility , Benjamin'e~s startling, often oblique language reveals his subjects from unexpected angles...This volume amply demonstrates the keenness and ingenuity of Benjamin'e~s intuitions at the dawn of modern media culture., This one-volume gathering of Benjamin's dialectical writing on media of all kinds, ranging from children's literature to cinema, has at its heart the second, most expansive version of his path-breaking essay 'The Work of Art in the Age of Its Technological Reproducibility.' Readers familiar only with partial versions of this piece, where Benjamin began to record the melancholy loss of aesthetic presence at the turn of the twentieth century, will find their understanding transformed-- for this second version, like all the essays and supplemental texts included here, explores a set of latent, utopian possibilities inherent in mechanical means of art-making. Benjamin, the visionary magus of particulars, reveals profoundly, and repeatedly, both the grounds and the consequences of our ever-changing image of the made world., The Work of Art in the Age of its Technological Reproducibility and other Writings on Media reflects Benjamin's most salient thoughts on media and on culture in general in their most realized form, still maintaining an edge under the skin of everyone who reads it. The visual arts morph into literature and theory and then back to images, gestures and thought, Here the editors have situated this essay as the cornerstone of a vast collection of writings that demonstrates what was revolutionary about Benjamin's explorations on media. He was so prescient, and mind you, Virginia, he was alive only until 1940. We are now talking about 2008 and his work is not just timely, but powerful, important, clairvoyant, and necessary. This is the second and most daring version of the 'Work of Art' essay which tracks Benjamin's observations on the production and reception of art; on film, radio, and photography; on the telephone, on children's books, on Charlie Chaplin and so much more. He was not a critic for the 20th century, he was a theoretician for all time. This volume will probably become a text for some classes, but it is an introduction, a force that must be dealt with by anyone interested in culture, in the media, in the arts, to debates on the digital age. He could explore implications of these themes and be so prescient about what we are experiencing today. Oh, if he were alive today, he would tell us about the future, I am sure. This is a must for anyone who wants to be introduced to Benjamin, or one who wants more and more of what he has to say--and this one is thankfully in English., Freshly translated (it used to be called "The Work of Art in the Age of Mechanical Reproduction," which, although more lumberingly Teutonic, has the virtue of evoking an image of robot sex) and newly packaged with an assortment of his other "writings on media" in a hipster-friendly paperback, Benjamin's best-known work is...well, as they say on Facebook, it's complicated. Man, is it ever complicated. The essay begins by describing the ways film and photography have changed human perception. Benjamin argues that because such exact simulacra of reality can be mass-distributed and mass-consumed, we have a new, more distant relationship to authentic reality--and he concludes that these changes in perception clear a path for fascism. Not exactly cheerleadery, then. And while it's easy to be distracted by Benjamin's dusty examples--Chaplin's films and Picasso's paintings--and therefore lulled into thinking he's describing a different world...well, don't be. Substitute blogs and social-networking platforms and Twitter and YouTube and Wikipedia for film and photography, and the nearly century-old essay becomes a relevant, piercing alarm., In recent decades, Benjamin's essay on the work of art may have been quoted more often than any other single source in an astonishing range of areas--from new-left media theory to cultural studies, from film and art history to visual culture, from the postmodern art scene to debates on the future of art, especially film, in the digital age. The antinomies and ambivalences in Benjamin's thinking, his efforts to explore the most extreme implications of opposing stances, are still invaluable for illuminating the contradictions in today's media environment. Anyone interested in the fate of art, perception, and culture in the industrialized world must welcome this collection of Benjamin's writings on media., Freshly translated (it used to be called 'The Work of Art in the Age of Mechanical Reproduction,' which, although more lumberingly Teutonic, has the virtue of evoking an image of robot sex) and newly packaged with an assortment of his other 'writings on media' in a hipster-friendly paperback, Benjamin's best-known work is...well, as they say on Facebook, it's complicated. Man, is it ever complicated. The essay begins by describing the ways film and photography have changed human perception. Benjamin argues that because such exact simulacra of reality can be mass-distributed and mass-consumed, we have a new, more distant relationship to authentic reality--and he concludes that these changes in perception clear a path for fascism. Not exactly cheerleadery, then. And while it's easy to be distracted by Benjamin's dusty examples--Chaplin's films and Picasso's paintings--and therefore lulled into thinking he's describing a different world...well, don't be. Substitute blogs and social-networking platforms and Twitter and YouTube and Wikipedia for film and photography , and the nearly century-old essay becomes a relevant, piercing alarm., Until recently, Walter Benjamins seminal essay, The Work of Art in the Age of Its Technological Reproducibility , was available to English-speaking readers only in the version that appeared in the 1968 collection Illuminations . Harvards new volume of the German cultural critics writings on media offers as its title-piece an earlier, edgier incarnation--the second of three composed between 1935 and 1939--in a superior translation...Throughout The Work of Art in the Age of Its Technological Reproducibility , Benjamins startling, often oblique language reveals his subjects from unexpected angles...This volume amply demonstrates the keenness and ingenuity of Benjamins intuitions at the dawn of modern media culture., Freshly translated (it used to be called "The Work of Art in the Age of Mechanical Reproduction," which, although more lumberingly Teutonic, has the virtue of evoking an image of robot sex) and newly packaged with an assortment of his other "writings on media" in a hipster-friendly paperback, Benjamin's best-known work is...well, as they say on Facebook, it's complicated. Man, is it ever complicated. The essay begins by describing the ways film and photography have changed human perception. Benjamin argues that because such exact simulacra of reality can be mass-distributed and mass-consumed, we have a new, more distant relationship to authentic reality--and he concludes that these changes in perception clear a path for fascism. Not exactly cheerleadery, then. And while it's easy to be distracted by Benjamin's dusty examples--Chaplin's films and Picasso's paintings--and therefore lulled into thinking he's describing a different world...well, don't be. Substitute blogs and social-networking platforms and Twitter and YouTube and Wikipedia for film and photography , and the nearly century-old essay becomes a relevant, piercing alarm., The editors and publisher of this volume deserve credit for organizing its contents thematically rather than chronologically. Such a format encourages readers to approach Benjamin's work discursively, thereby fostering a superior sense of the recurrent ideas, themes, motifs and concepts that Benjamin employed time and again., In wanting to be a great literary critic [Benjamin] discovered that he could only be the last great literary critic. ... He explained certain aspects of the modern with an authority that seventy years of unpredictable change have not vitiated.
Dewey Decimal
302.23
Table Of Content
A Note on the Texts Editors' Introduction I. The Production, Reproduction, and Reception of the Work of Art The Work of Art in the Age of Its Technological Reproducibility: Second Version Theory of Distraction To the Planetarium Garlanded Entrance The Rigorous Study of Art Imperial Panorama The Telephone The Author as Producer Paris, the Capital of the Nineteenth Century Eduard Fuchs, Collector and Historian Review of Sternberger's Panorama II. Script, Image, Script-Image Attested Auditor of Books This Space for Rent The Antinomies of Allegorical Exegesis The Ruin Dismemberment of Language Graphology Old and New III. Painting and Graphics Painting and the Graphic Arts On Painting, or Sign and Mark A Glimpse into the World of Children's Books Dream Kitsch Moonlit Nights on the Rue La BoÉtie Chambermaids' Romances of the Past Century Antoine Wiertz: Thoughts and Visions of a Severed Head Some Remarks on Folk Art Chinese Paintings at the BibliothÈque Nationale IV. Photography News about Flowers Little History of Photography Letter from Paris (2): Painting and Photography Review of Freund's Photographie en France au dix-neuviÈme siÈcle V. Film On the Present Situation of Russian Film Reply to Oscar A. H. Schmitz Chaplin Chaplin in Retrospect Mickey Mouse The Formula in Which the Dialectical Structure of Film Finds Expression VI. The Publishing Industry and Radio Journalism A Critique of the Publishing Industry The Newspaper Karl Kraus Reflections on Radio Theater and Radio Conversation with Ernst Schoen Two Types of Popularity: Fundamental Reflections on a Radio Play On the Minute Index
Synopsis
Benjamin's famous "Work of Art" essay sets out his boldest thoughts--on media and on culture in general. 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., 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., Walter 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.
LC Classification Number
PT2603.E455
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