TAILIEUCHUNG - Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered

The emphasis on sensuous elements and on Gestalten founded thereon makes it clear that Witasek's position is a formalist one. The `meanings' of works of art will have no role to play within his theory. He has not even left room in his classification of aesthetic objects for what we might call narrative entities: states of affairs, events, actions, etc., making up what we normally think of as plot. There are of course many works of art whose adequate appreciation requires that we go beyond the level of light, colour, shadow and sound, and. | Aesthetics and Anaesthetics Walter Benjamin s Artwork Essay Reconsidered Susan Buck-Morss October Vol. 62. Autumn 1992 pp. 3-41. Stable URL http sici sici 0162-2870 28199223 2962 3C3 3AAAAWBA 3B2-8 October is currently published by The MIT Press. Your use of the JSTOR archive indicates your acceptance of JSTOR s Terms and Conditions of Use available at http about . JSTOR s Terms and Conditions of Use provides in part that unless you have obtained prior permission you may not download an entire issue of a journal or multiple copies of articles and you may use content in the JSTOR archive only for your personal non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http journals . Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR please contact support@. http Tue Apr 24 12 27 44 2007 Aesthetics and Anaesthetics Walter Benjamin s Artwork Essay Reconsidered SUSAN BƯCK-MORSS I Walter Benjamin s essay The Work of Art In the Age of Mechanical Reproduction 1 is generally taken to be an affirmation of mass culture and of the new technologies through which it is disseminated. And rightly so. Benjamin praises the cognitive hence political potential of technologically mediated cultural experience film is particularly privileged .2 Yet the closing section of this 1936 essay reverses the optimistic tone. It sounds a warning. Fascism is a violation of the technical apparatus that parallels fascism s violent attempt to organize the newly proletarianized masses not by giving them their due but by allowing them to express themselves 3 The logical .

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