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aura

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Journal Article
New German Critique (2011) 38 (3 (114)): 17–34.
Published: 01 November 2011
...C. Stephen Jaeger Critical theory has made little use of “aura” and virtually none of “charisma.” Drawing on passages from Homer and Marcel Proust, this article broadens the view of aura that has developed among Walter Benjamin and his commentators and adds to the view of Max Weber and his...
Journal Article
New German Critique (2008) 35 (2 (104)): 33–53.
Published: 01 August 2008
...Bo Earle In Negative Dialectics Theodor W. Adorno attempts to work through the death of aura. Drawing on G. W. F. Hegel's account of the “beautiful soul” from the Phenomenology of Spirit and Robert Pippin's account of “modern melancholia” in Friedrich Nietzsche, I interpret these attempts in terms...
Journal Article
New German Critique (2014) 41 (2 (122)): 35–45.
Published: 01 August 2014
... to mourning in modernity. Rather than view cinema as a simulacrum of reality, he proposes it as a way to work through our separation from things and their aura. Benjamin's discussion of the screen test and Freud's discussion of the reality testing offer other relations that spectators might have...
Journal Article
New German Critique (2018) 45 (1 (133)): 49–78.
Published: 01 February 2018
... through which to view Benjamin’s practice of collecting as well as two of his most important theoretical con- structs: aura and historical materialism. As the nexus of his personal preoccu- pations and his social and political circumstances, collecting offers a new per- spective on Benjamin’s sojourn...
Journal Article
New German Critique (2021) 48 (2 (143)): 125–146.
Published: 01 August 2021
...-1930s with Walter Benjamin on the “decay of the aura” to Negative Dialectics (1966), when he characterized aesthetics as “the salvation of appearance [ die Rettung des Scheins ]” and assigned it an “incomparable metaphysical relevance.” 3 In Aesthetic Theory Adorno continued to refine...
Journal Article
New German Critique (2021) 48 (3 (144)): 165–198.
Published: 01 November 2021
... to possess? One way to answer this question may be to turn to the thinker who moves silently at the margins of Agamben’s essay. For it is the loss of the aura that shadows his argument. There, too, the reader is called on to witness something that took place before he or she arrived on the scene. As our...
Journal Article
New German Critique (2007) 34 (1 (100)): 165–187.
Published: 01 February 2007
.... In “Experience and Poverty” Benjamin writes that “objects made of glass have no ‘aura.’ Glass is, in general, the enemy of secrets. It is also the enemy of possession” (GS, 2.1:217; SW, 2:734). Transparency annuls the opposition between interior and exterior, walls of glass do not pro- tect the inner...
Journal Article
New German Critique (2006) 33 (1 (97)): 15–30.
Published: 01 February 2006
... Benjamin’s “identification with the aggressor” because it tried to reintegrate art and practi- cal life.11 Yet Adorno seems to have learned from his friend’s work a powerful lesson about the impossibility of reversing the decline of what Benjamin had called “aura,” whose alleged recovery...
Journal Article
New German Critique (2021) 48 (2 (143)): 1–4.
Published: 01 August 2021
... with an aura at a particular time and place. No doubt this aura, too, is vulnerable to decay, but the work continues to awaken new thoughts well after the aura has dissolved. We will never be done reading Aesthetic Theory . It is admittedly the case for any work of philosophical importance that the task...
Journal Article
New German Critique (2018) 45 (3 (135)): 39–72.
Published: 01 November 2018
... of the aura, Hansen similarly notes that Klages’s “implicitly anti-Freudian treatise appealed to Benjamin’s interest in eccentric states of consciousness” because of its “emphasis on the phenomenal-sensorial characteristics of dreaming, rather than the meaning and interpretation of dreams.” 55 More...
Journal Article
New German Critique (2006) 33 (1 (97)): 73–118.
Published: 01 February 2006
... histories in Romanti- cism and modernism—see Kaufman, “Aura, Still,” October, no. 99 (2002): 45–80. 9. Interview with George Balanchine in Balanchine (dir. Merrill Brockway; 1983), originally produced for the Dance in America series and later broadcast on the Public Broadcasting System’s American...
Journal Article
New German Critique (2014) 41 (2 (122)): 145–157.
Published: 01 August 2014
... to inhabit the mode of lexical exposition: to make clear (however complex) what Benjamin meant by aura, by innervation, by the mimetic faculty, by play. (It is not that she diverts attention away from the much-discussed “politicization of aesthetics”; rather, by delving into this other lexicon, she...
Journal Article
New German Critique (2011) 38 (3 (114)): 79–93.
Published: 01 November 2011
... that seizures were triggered by lesions of the brain. Although the disease’s etiology was thus known, one feature could not be explained: patients who suffered from a specific kind of epilepsy went through a particu- lar state before the seizure started. This state was called an “aura.” For a brief...
Journal Article
New German Critique (2011) 38 (3 (114)): 1–16.
Published: 01 November 2011
... behavior—in analyzing the collec- tive mechanisms of acclamation that the leader evokes—and for the spiritual aura of exaltation radiated by the charismatic person. Charisma would seem to be—paradoxically—the secular version of the “holiness” of the king in the political theology of monarchy. Just...
Journal Article
New German Critique (2007) 34 (2 (101)): 95–114.
Published: 01 August 2007
... of his vaguely autobiographical hero as the result of self-fashioning—in this case on the model of Shakespeare, who was both an actor and a playwright. As did most of his contemporaries, Hitler viewed modernity as a process of disenchantment, a growing loss of aura.38 However, that process...
Journal Article
New German Critique (2012) 39 (3 (117)): 25–32.
Published: 01 November 2012
..., the conversion, of wisdom into knowledge, as Elisabeth Eisenstein has intriguingly shown. The mechanically driven production, multiplying printed matters indefinitely, stripped the text from its previously enshrined aura of sacredness, its ongoing profanation—one of the most imperative requirements...
Journal Article
New German Critique (2016) 43 (3 (129)): 53–72.
Published: 01 November 2016
..., spontaneous life wherein the essen- tial and accidental are separated without any attempt being made to raise them to an ‘objective’ level above the listener’s consciousness of the ‘current of life’” (CM, 75). Adorno’s discussion of Walter Benjamin’s concept of aura loss in the context of technical...
Journal Article
New German Critique (2016) 43 (1 (127)): 59–89.
Published: 01 February 2016
....’” New German Critique , no. 1 : 179 – 224 . ———. 2008 . “Benjamin's Aura.” Critical Inquiry 34 , no. 1 : 336 – 75 . ———. 2012 . Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno . Berkeley : University of California Press . Hein Matthias...
Journal Article
New German Critique (2016) 43 (3 (129)): 1–4.
Published: 01 November 2016
...- tence, even, of the “aura” whose dissolution through mass reproduction his colleague and friend Walter Benjamin welcomed with far less ambivalence. Adorno was a thinker of exact imagination, alive to the inner complexities both of music and of philosophical argument. He studied composition...
Journal Article
New German Critique (2006) 33 (3 (99)): 63–82.
Published: 01 November 2006
... terms, aura was therefore both lost and regained as a result of technical reproducibility, in the form of recognizable patterns like the omnipresent (post)modernist grid. In that sense, many such offi ce buildings are at once both originals and copies. The curtain walls that enclosed many...