" The Work of Art in the Age of Mechanical Reproduction" The essay outlines in individual sections the components which serve to identify “epic theater.” These include: the need for the audience to be relaxed, which translates into not coercing them to emotionally confuse dramatic interpretation with real life a plot which is ideally set in an identifiable time a story which centers around a hero that is not destined for tragedy the structural necessity for interruption of the dramatic narrative a stylistic form of acting in which the player creates what Benjamin calls the “quotable gesture” and, most important of all, that that play is didactic in the sense of creating interaction between actors and audience. This is one of the rare writings by Walter Benjamin which directly addresses the subject covered by its title without digressing into a more abstract metaphorical examination of that subject. One particularly interesting insight is the way that Benjamin outlines how Kafka can be read not so much as a teller of dark, dystopian modern urban horror stories, but of parables which ironically work not to convey a moral message, but to disguise it. Within Kafka’s body of work, Benjamin notes recurring themes of how individuals are psychologically pursued by the idea of Original Sin. The re-examination of Kafka’s literature a decade following his death becomes a philosophical expounding upon the metaphysical nature of the author’s stories.
“ Franz Kafka: On the Tenth Anniversary of His Death” Predicting the rise of the information age, Benjamin also theorizes that the myth and legend of storytelling is too subject to investigation and explain of factual foundations. In addition, the horrific machine of industrialization has created experiences which writers don’t want to revisit.
Industrialization has had the effect of removing many daily experiences which used to be common across cultures. The modern world has changed the very dynamics of existence so much that experience has lost meaning. The storyteller belongs to the age of the past when experience informed narrative. This is merely the introduction into a much more complex and expansive examination of the increasing loss of storytellers in literature. Ostensibly and analysis of the stories of Russian author Nikolai Leskov. Meaning is created not but the composition of words, but through the structural architecture of language which created context and connotation which would be missing from merely translating the text as a collection of words. Ultimately, translation must come to be seen not as a process of replicating language, but rather as a process which focuses on form. Benjamin argues that this cannot be done through a word-for-word translation of a text because meaning is impossible of repeat from one language to the next simply through words. The process of unboxing becomes an exercise in channeling memories buried deep and half-forgotten as the past associated with the books come alive in the mind.Īn essay seeking to explain how the translation of a text can get as closer to the meaning of the original. The acquisition of the library which winds up in boxes and then scattered and then reordered expands into recollections of the various means by which individual volumes are purchase or other collected. The essay considers the philosophical aspects of unpacking books which become scattered throughout a room in a way that destroys all the existing order in place when they were shelved. While going through a divorce, Benjamin wrote this essay inspired by having to relocate nearly two-thousands books from one home to another. We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community.
0 kommentar(er)
