The most widely read introductions to Benjamin’s writing provide broadly chronological and reasonably comprehensive discussions of his work, and generally give some account of the important friendships and intellectual influences on his writing. There are three essays that stand out for the general picture they give of Benjamin’s thought. Their competence with its range and technical difficulties has made each of these standard essays in the literature. Arendt 1968 looks at episodes of Benjamin’s extraordinary bad luck, such as the closure of the Franco-Spanish border on the day he attempted to cross it. Arendt’s essay is a tour de force in its combination of the personal and the philosophical, and it is written in her characteristically lucid style. Habermas 1991 succinctly characterizes the mode and the mood of criticism in Benjamin’s writing as one of “rescuing” the past. Habermas refers to the wide and unusual circle of friends in Benjamin’s life as part of the diverse ecology that has driven successive waves of interpretation. Among the friends of Benjamin, Habermas mentions members of the French College of Sociology like Bataille and Leiris, surrealists like Louis Aragon, the expert on Jewish mysticism and theology Gershom Scholem, as well as Frankfurt School members Theodor Adorno and Max Horkheimer and the Marxist playwright Bertolt Brecht. Steiner 1998 puts forward the view that Benjamin’s oeuvre is not systematic and that his relation to the philosophical tradition is that of a magpie, highly selective and bent to his own purposes. This reading of Benjamin, which emphasizes his idiosyncrasies, has recently been contested by scholarship that scrupulously treats the consistent philosophical influences on his thinking (see Specific Approaches: Philosophy for the critical literature relevant to this topic). Steiner’s essay is important, however, because it elucidates what until very recently was the prevailing image of Benjamin: a literary thinker who had an eccentric relation to philosophically evocative concepts like Leibniz’s “monad.” Steiner’s “Introduction” is the preface to the English translation of The Origin of German Tragic Drama, which is one of Benjamin’s most important early works. The “Epistemo-Critical Prologue” to this book elaborates many of the key ideas of Benjamin’s thinking, and Steiner’s “Introduction” gives an overview of ideas of considerable significance for his subsequent intellectual itinerary. In addition to these three important essays, there are a number of impressive recent book-length overviews, including Ferris 2008, Leslie 2007, and Steiner 2012. Ferris provides a scholarly overview of Benjamin’s important pieces of writing and his intellectual development, and he includes detailed bibliographies of scholarship on Benjamin in English. Steiner provides synoptic chapters on Benjamin’s influences and contemporary reception. The focus of the book is the rigorous analysis of the major works of the corpus. Steiner’s analysis emphasizes the philosophical core of Benjamin’s writing. Leslie’s accessible study weaves biographical detail into a chronological account of significant pieces of Benjamin’s writing. She argues against some of the received ideas of Benjamin as a lonely and isolated figure, stressing instead the important intellectual relationships and friendships in his life. This is a constant refrain in biographical treatments of Benjamin (see Biographical Context and Criticism for critical literature in this category). Leslie argues that Benjamin’s writing requires us to revise what is pertinent for a biographical study, since his writing gives lucid form to an epoch and thus provides the historical framework for understanding his life. She identifies his essay “The Work of Art in the Age of Its Technological Reproducibility” (Benjamin 2002, cited under Important Works: Writing in Exile, 1933–1940) as his most influential piece of writing. Her study is unusual among other overviews for the weight it gives to his radio productions. Habermas’s and Uwe Steiner’s texts were originally published in German. Although shorter than these studies, Osborne and Charles 2015 is a succinct account of the important periods of Benjamin’s thinking. It provides solid analysis of specific works of Benjamin’s, most notably of the composition and major themes of The Arcades Project (Benjamin 1999, cited under Monographs). Finally, Gilloch 2002 provides a good introduction to Benjamin’s life and corpus by focusing on his early notion of criticism. Gilloch analyzes the way that criticism fosters an afterlife for the works it considers.
Arendt, Hannah. “Walter Benjamin: 1892–1940.” In Illuminations: Essays and Reflections. By Walter Benjamin. Edited by H. Arendt, 1–59. Translated by H. Zohn. New York: Harcourt, Brace & World, 1968.
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Arendt argues that Benjamin’s writing is indebted to the influence of Goethe’s notion of the Ur-phenomenon, which drove Benjamin’s fascination with small things evocative of a greater whole. She cites his intense interest in the grain of wheat in the Musée Cluny engraved with the Shema Israel in support of this interpretation. Her essay is published as the introduction to the first English-language edition of Benjamin’s writing.
Ferris, David S. The Cambridge Introduction to Walter Benjamin. Cambridge, UK: Cambridge University Press, 2008.
DOI: 10.1017/CBO9780511793257E-mail Citation »
The strength of Ferris’s study is the focus on the specifically literary and literary-theoretical dimensions of Benjamin’s work. In addition to providing expert analysis of specific essays of Benjamin’s, Ferris’s book documents aspects of Benjamin’s life in prewar Germany, the complex relations he had with members of the Frankfurt School, and the influence his writing has had in different disciplines.
Gilloch, Graeme. Walter Benjamin: Critical Constellations. London: Polity, 2002.
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Gilloch’s study is especially useful for students of film and media theory. It focuses on Benjamin’s early notion of criticism and connects this to his writing on film and photography. It gives a clear overview of many of Benjamin’s texts and defends the continuing relevance of his conception and practice of criticism.
Habermas, Jürgen. “Walter Benjamin: Consciousness-Raising or Rescuing Critique.” In On Walter Benjamin: Critical Essays and Recollections. Edited by Gary Smith, 90–129. Cambridge, MA: MIT, 1991.
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Translation of “Bewußtmachende oder rettende Kritik—die Aktualität Walter Benjamins,” in Zur Aktualität Walter Benjamins, edited by Siegfried Unseld (Frankfurt am Main: Suhrkamp, 1972), 173–223. Habermas’s essay is important because it is one of the few attempts to show how different aspects of the seemingly heterogeneous corpus fit together and how the corpus stands apart from the main lines of those competing to claim influence over his thinking. In particular, Habermas’s essay is one of the first published discussions of Benjamin’s now celebrated early piece “Critique of Violence” (“Zur Kritik der Gewalt”; see Specific Approaches: Deconstruction for further treatment of the critical literature on this essay).
Leslie, Esther. Walter Benjamin. London: Reaktion, 2007.
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Like Uwe Steiner, Leslie argues that Benjamin’s significance lies in his acute grasp of the significance of technological changes for human experience. She is critical of the speculative bent in some Benjamin scholarship and the uneasy reception of the Marxist currents in his work in North American scholarship. Her book thus adds a critical account of the styles of successive waves of Benjamin interpretation to its account of his thinking.
Osborne, Peter, and Mathew Charles. “Walter Benjamin.” In The Stanford Encyclopedia of Philosophy. Edited by Edward N. Zalta. Stanford, CA: Stanford University, 2015.
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This long entry on Benjamin treats in detail his interest in Baudelaire, and his changing position on the relation between art and technology. It also supplements the commentary it provides on Adorno with attention to Benjamin’s intellectual relations with Brecht. The strength of the piece is the historical map it provides of the evolution of The Arcades Project. The entry includes a bibliography of primary and secondary sources on Benjamin.
Steiner, George. “Introduction.” In The Origin of German Tragic Drama. By Walter Benjamin. Translated by John Osborne, 7–25. London: Verso, 1998.
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Steiner argues that Benjamin’s book on German tragic drama was a missed opportunity, since it did not manage to establish scholarly interaction with members of the Warburg School, including Erwin Panofsky. Steiner considers that the Warburg School would have provided better-suited intellectual interlocutors for Benjamin’s range of interests than the members of the Frankfurt School, who, under the force of their financial patronage and control of valuable publishing outlets, which were very limited during Benjamin’s period in exile, sought to shape his last period of writing.
Steiner, Uwe. Walter Benjamin: An Introduction to his Work and Thought. Translated by Michael Winkler. Chicago: University of Chicago Press, 2012.
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Translation of Walter Benjamin (Stuttgart: J. B. Metzler, 2004). Aside from the benefits of its analysis of Benjamin’s writing, this book includes a detailed chronology and bibliography. These are useful tools for gaining a picture of the evolution of Benjamin’s interests alongside the changing pattern of its reception. The focus of Steiner’s account is on the treatment of technological innovations in modernity and their impact on experience. For Steiner this is the continuous theme across the corpus.
Walter Benjamin in 1928
|Born||(1892-07-15)15 July 1892|
Berlin, German Empire
|Died||26 September 1940(1940-09-26) (aged 48)|
Portbou, Catalonia, Spain
|Literary theory, aesthetics, philosophy of technology, epistemology, philosophy of language, philosophy of history|
|Auratic perception,aestheticization of politics, the flâneur|
Walter Bendix Schönflies Benjamin (German:[ˈvaltɐ ˈbɛnjamiːn]; 15 July 1892 – 26 September 1940) was a German Jewish philosopher, cultural critic and essayist. An eclectic thinker, combining elements of German idealism, Romanticism, Western Marxism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and historical materialism. He was associated with the Frankfurt School, and also maintained formative friendships with thinkers such as playwrightBertolt Brecht and Kabbalah scholar Gershom Scholem. He was also related by law to Germanpolitical theoristHannah Arendt through her first marriage to his cousin, Günther Anders.
Among Benjamin's best known works are the essays "The Task of the Translator" (1923), "The Work of Art in the Age of Mechanical Reproduction" (1936), and "Theses on the Philosophy of History" (1940). His major work as a literary critic included essays on Baudelaire, Goethe, Kafka, Kraus, Leskov, Proust, Walser, and translation theory. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu. In 1940, at the age of 48, Benjamin committed suicide in Portbou at the French–Spanish border while attempting to escape from invading Nazi forces. Though popular acclaim eluded him during his life, the decades following his death won his work posthumous renown.
Early life and education
Benjamin and his younger siblings, Georg (1895–1942) and Dora (1901–1946), were born to a wealthy business family of assimilated Ashkenazi Jews in the Berlin of the German Empire (1871–1918). The patriarch of Walter Benjamin's family, Emil Benjamin, was a banker in Paris who relocated from France to Germany, where he worked as an antiques trader in Berlin; he later married Pauline Schönflies. He owned a number of investments in Berlin, including ice skating rinks. Benjamin's uncle William Stern (born Wilhelm Louis Stern; 1871-1938) was a prominent German child psychologist who developed the concept of the intelligence quotient (IQ), and Benjamin's cousin Günther Anders (born Günther Siegmund Stern; 1902-1992) was a German philosopher and anti-nuclear activist who studied under Edmund Husserl and Martin Heidegger. In 1902, ten-year-old Walter was enrolled to the Kaiser Friedrich School in Charlottenburg; he completed his secondary school studies ten years later. Walter Benjamin was a boy of fragile health and so in 1905 the family sent him to Hermann-Lietz-Schule Haubinda, a boarding school in the Thuringian countryside, for two years; in 1907, having returned to Berlin, he resumed his schooling at the Kaiser Friedrich School.
In 1912, at the age of twenty, he enrolled at the University of Freiburg, but, at summer semester's end, returned to Berlin, then matriculated into the University of Berlin, to continue studying philosophy. Here Benjamin had his first exposure to the ideas of Zionism, which had not been part of his liberal upbringing. This exposure gave him occasion to formulate his own ideas about the meaning of Judaism. Benjamin distanced himself from political and nationalist Zionism, instead developing in his own thinking what he called a kind of "cultural Zionism"—an attitude which recognized and promoted Judaism and Jewish values. In Benjamin's formulation his Jewishness meant a commitment to the furtherance of European culture. Benjamin expressed "My life experience led me to this insight: the Jews represent an elite in the ranks of the spiritually active ... For Judaism is to me in no sense an end in itself, but the most distinguished bearer and representative of the spiritual." This was a position that Benjamin largely held lifelong.
Elected president of the Freie Studentenschaft (Free Students Association), Benjamin wrote essays arguing for educational and general cultural change. When not re-elected as student association president, he returned to Freiburg University to study, with particular attention to the lectures of Heinrich Rickert; at that time he travelled to France and Italy.
In 1914, at the outbreak of the First World War (1914–1918), Benjamin began faithfully translating the works of the 19th-century French poet Charles Baudelaire (1821–1867). The next year, 1915, he moved to Munich, and continued his schooling at the University of Munich, where he met Rainer Maria Rilke and Gershom Scholem; the latter became a friend. In that year, Benjamin wrote about the 18th-century Romantic German poet Friedrich Hölderlin (1770–1843).
In 1917 he transferred to the University of Bern; there, he met Ernst Bloch, and Dora Sophie Pollak (née Kellner) (1890–1964) whom he later married. They had a son, Stefan Rafael (1918–1972). In 1919 Benjamin earned his Ph.D.cum laude with the dissertation Begriff der Kunstkritik in der Deutschen Romantik (The Concept of Art Criticism in German Romanticism). Later, unable to support himself and family, he returned to Berlin and resided with his parents. In 1921 he published the essay Kritik der Gewalt (The Critique of Violence). At this time Benjamin first became socially acquainted with Leo Strauss, and Benjamin would remain an admirer of Strauss and of his work throughout his life.
In 1923, when the Institut für Sozialforschung (Institute for Social Research) was founded, later to become home to the Frankfurt School, Benjamin published Charles Baudelaire, Tableaux Parisiens. At that time he became acquainted with Theodor Adorno and befriended Georg Lukács, whose The Theory of the Novel (1920) much influenced him. Meanwhile, the inflation in the Weimar Republic consequent to the First World War made it difficult for the father Emil Benjamin to continue supporting his son's family. At the end of 1923 his best friend Gershom Scholem emigrated to Palestine, a country under the British Mandate of Palestine; despite repeated invitations, he failed to persuade Benjamin (and family) to leave the Continent for the Middle East.
In 1924 Hugo von Hofmannsthal, in the Neue Deutsche Beiträge magazine, published Goethes Wahlverwandtschaften (Elective Affinities), by Walter Benjamin, about Goethe's third novel, Die Wahlverwandtschaften (1809). Later that year Benjamin and Ernst Bloch resided on the Italian island of Capri; Benjamin wrote Ursprung des deutschen Trauerspiels (The Origin of German Tragic Drama), as a habilitation dissertation meant to qualify him as a tenured university professor in Germany. He also read, at Bloch's suggestion, History and Class Consciousness (1923) by Georg Lukács. He also met the Latvian Bolshevik and actress Asja Lācis, then residing in Moscow; she became his lover and was a lasting intellectual influence upon him.
A year later, in 1925, Benjamin withdrew The Origin of German Tragic Drama as his possible qualification for the habilitation teaching credential at the University of Frankfurt at Frankfurt am Main, fearing its possible rejection; he was not to be an academic instructor. Working with Franz Hessel (1880–1941) he translated the first volumes of À la Recherche du Temps Perdu (In Search of Lost Time) by Marcel Proust. The next year, 1926, he began writing for the German newspapers Frankfurter Zeitung (The Frankfurt Times) and Die Literarische Welt (The Literary World); that paid enough for him to reside in Paris for some months. In December 1926 (the year his father, Emil Benjamin, died) Walter Benjamin went to Moscow to meet Asja Lācis and found her ill in a sanatorium.
In 1927, he began Das Passagen-Werk (The Arcades Project), his uncompleted magnum opus, a study of 19th-century Parisian life. The same year, he saw Gershom Scholem in Berlin, for the last time, and considered emigrating from Continental Europe (Germany) to Palestine. In 1928, he and Dora separated (they divorced two years later, in 1930); in the same year he published Einbahnstraße (One-Way Street), and a revision of his habilitation dissertation Ursprung des Deutschen Trauerspiels (The Origin of German Tragic Drama). In 1929 Berlin, Asja Lācis, then assistant to Bertolt Brecht, socially presented the intellectuals to each other. In that time, he also briefly embarked upon an academic career, as an instructor at the University of Heidelberg.
Exile and death
In 1932, during the turmoil preceding Adolf Hitler's assumption of the office of Chancellor of Germany, Walter Benjamin left Germany for the Spanish island of Ibiza for some months; he then moved to Nice, where he considered killing himself. Perceiving the socio-political and cultural significance of the Reichstag fire (27 February 1933) as the de facto Nazi assumption of full power in Germany, then manifest with the subsequent persecution of the Jews, he moved to Paris, but, before doing so, he sought shelter in Svendborg, at Bertolt Brecht's house, and at Sanremo, where his ex-wife Dora lived.
As he ran out of money, Benjamin collaborated with Max Horkheimer, and received funds from the Institute for Social Research, later going permanently into exile. In Paris, he met other German artists and intellectuals, refugees there from Germany; he befriended Hannah Arendt, novelist Hermann Hesse, and composer Kurt Weill. In 1936, a first version of The Work of Art in the Age of Mechanical Reproduction (L'œuvre d'art à l'époque de sa reproduction méchanisée) was published, in French, by Max Horkheimer in the Zeitschrift für Sozialforschung journal of the Institute for Social Research. It was a critique of the authenticity of mass-produced art; he wrote that a mechanically produced copy of an artwork can be taken somewhere where the original could never have gone, arguing that the presence of the original is "prerequisite to the concept of authenticity".
In 1937 Benjamin worked on Das Paris des Second Empire bei Baudelaire (The Paris of the Second Empire in Baudelaire), met Georges Bataille (to whom he later entrusted the Arcades Project manuscript), and joined the College of Sociology. In 1938 he paid a last visit to Bertolt Brecht, who was exiled to Denmark. Meanwhile, the Nazi Régime stripped German Jews of their German citizenship; now a stateless man, Benjamin was arrested by the French government and incarcerated for three months in a prison camp near Nevers, in central Burgundy.
Returning to Paris in January 1940, he wrote Über den Begriff der Geschichte (On the Concept of History, later published as Theses on the Philosophy of History). While the Wehrmacht was pushing back the French Army, on 13 June Benjamin and his sister fled Paris to the town of Lourdes, just a day before the Germans entered the capital with orders to arrest him at his flat. In August, he obtained a travel visa to the US that Max Horkheimer had negotiated for him. In eluding the Gestapo, Benjamin planned to travel to the US from neutral Portugal, which he expected to reach via Francoist Spain, then ostensibly a neutral country.
The historical record indicates that he safely crossed the French–Spanish border and arrived at the coastal town of Portbou, in Catalonia. The Franco government had cancelled all transit visas and ordered the Spanish police to return such persons to France, including the Jewish refugee group Benjamin had joined. They tried to cross the border on 25 September 1940, but were told by the Spanish police that they would be deported back to France the next day, which would have destroyed Benjamin's plans to travel to the United States. Expecting repatriation to Nazi hands, Walter Benjamin killed himself with an overdose of morphine tablets that night, while staying in the Hotel de Francia; the official Portbou register records 26 September 1940 as the official date of death. Benjamin's colleague Arthur Koestler, also fleeing Europe, attempted suicide by taking some of the morphine tablets, but he survived. Benjamin's brother Georg was killed at the Mauthausen-Gusen concentration camp in 1942. Despite his suicide, Benjamin was buried in the consecrated section of a Roman Catholic cemetery.
The others in his party were allowed passage the next day (maybe because Benjamin's suicide shocked Spanish officials), and safely reached Lisbon on 30 September. Hannah Arendt, who crossed the French-Spanish border at Portbou a few months later, passed the manuscript of Theses to Adorno. Another completed manuscript, which Benjamin had carried in his suitcase, disappeared after his death and has not been recovered. Some critics speculate that it was his Arcades Project in a final form; this is very unlikely as the author's plans for the work had changed in the wake of Adorno's criticisms in 1938, and it seems clear that the work was flowing over its containing limits in his last years.
Walter Benjamin corresponded much with Theodor Adorno and Bertolt Brecht, and was occasionally funded by the Frankfurt School under the direction of Adorno and Horkheimer, even from their New York City residence. The competing influences—Brecht's Marxism, Adorno's critical theory, Gerschom Scholem's Jewish mysticism—were central to his work, although their philosophic differences remained unresolved. Moreover, the critic Paul de Man argued that the intellectual range of Benjamin's writings flows dynamically among those three intellectual traditions, deriving a critique via juxtaposition; the exemplary synthesis is Theses on the Philosophy of History.
Theses on the Philosophy of History
Main article: Theses on the Philosophy of History
Theses on the Philosophy of History is often cited as Benjamin's last complete work, having been completed, according to Adorno, in the spring of 1940. The Institute for Social Research, which had relocated to New York, published Theses in Benjamin's memory in 1942. Margaret Cohen writes in the Cambridge Companion to Walter Benjamin:
In the “Concept of History” Benjamin also turned to Jewish mysticism for a model of praxis in dark times, inspired by the kabbalistic precept that the work of the holy man is an activity known as tikkun. According to the kabbalah, God's attributes were once held in vessels whose glass was contaminated by the presence of evil and these vessels had consequently shattered, disseminating their contents to the four corners of the earth. Tikkun was the process of collecting the scattered fragments in the hopes of once more piecing them together. Benjamin fused tikkun with the Surrealist notion that liberation would come through releasing repressed collective material, to produce his celebrated account of the revolutionary historiographer, who sought to grab hold of elided memories as they sparked to view at moments of present danger.
In the essay, Benjamin's famed ninth thesis struggles to reconcile the Idea of Progress in the present with the apparent chaos of the past:
A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.
The final paragraph about the Jewish quest for the Messiah provides a harrowing final point to Benjamin's work, with its themes of culture, destruction, Jewish heritage and the fight between humanity and nihilism. He brings up the interdiction, in some varieties of Judaism, to try to determine the year when the Messiah would come into the world, and points out that this did not make Jews indifferent to the future "for every second of time was the strait gate through which the Messiah might enter."
The Origin of German Tragic Drama
Main article: The Origin of German Tragic Drama
Ursprung des deutschen Trauerspiels (The Origin of German Tragic Drama, 1928), is a critical study of German baroque drama, as well as the political and cultural climate of Germany during the Counter-Reformation (1545–1648). Benjamin presented the work to the University of Frankfurt in 1925 as the (post-doctoral) dissertation meant to earn him the Habilitation (qualification) to become a university instructor in Germany.
Professor Schultz of University of Frankfurt found The Origin of German Tragic Drama inappropriate for his Germanistik department (Department of German Language and Literature), and passed it to the Department of Aesthetics (philosophy of art), the readers of which likewise dismissed Benjamin's work. The university officials recommended that Benjamin withdraw Ursprung des deutschen Trauerspiels as a Habilitation dissertation to avoid formal rejection and public embarrassment. He heeded the advice, and three years later, in 1928, he published The Origin of German Tragic Drama as a book.
The Arcades Project
Main article: Arcades Project
The Passagenwerk (Arcades Project, 1927–40) was Walter Benjamin's final, incomplete book about Parisian city life in the 19th century, especially about the Passages couverts de Paris – the covered passages that extended the culture of flânerie (idling and people-watching) when inclement weather made flânerie infeasible in the boulevards and streets proper.
The Arcades Project, in its current form, brings together a massive collection of notes which Benjamin filed together over the course of thirteen years, from 1927 to 1940.
The Arcades Project was published for the first time in 1982, and is over a thousand pages long.
Susan Sontag said that in Walter Benjamin's writing, sentences did not originate ordinarily, do not progress into one another, and delineate no obvious line of reasoning, as if each sentence "had to say everything, before the inward gaze of total concentration dissolved the subject before his eyes", a "freeze-frame baroque" style of writing and cogitation. "His major essays seem to end just in time, before they self-destruct". The difficulty of Benjamin's writing style is essential to his philosophical project. Fascinated by notions of reference and constellation, his goal in later works was to use intertexts to reveal aspects of the past that cannot, and should not, be understood within greater, monolithic constructs of historical understanding.
Walter Benjamin's writings identify him as a modernist for whom the philosophic merges with the literary: logical philosophic reasoning cannot account for all experience, especially not for self-representation via art. He presented his stylistic concerns in "The Task of the Translator", wherein he posits that a literary translation, by definition, produces deformations and misunderstandings of the original text. Moreover, in the deformed text, otherwise hidden aspects of the original, source-language text are elucidated, while previously obvious aspects become unreadable. Such translational modification of the source text is productive; when placed in a specific constellation of works and ideas, newly revealed affinities, between historical objects, appear and are productive of philosophical truth.
His work The Task of the Translator was later commented by the French translation scholar Antoine Berman (L'âge de la traduction).
Legacy and reception
Since the publication of Schriften (Writings, 1955), 15 years after his death, Benjamin's work—especially the essay "The Work of Art in the Age of Mechanical Reproduction" (1936)—has become of seminal importance to academics in the humanities disciplines. In 1968, the first Internationale Walter Benjamin Gesellschaft was established by the German thinker, poet and artist Natias Neutert, as a free association of philosophers, writers, artists, media theoreticians and editors. They did not take Benjamin's body of thought as a scholastic "closed architecture [...], but as one in which all doors, windows and roof hatches are widely open", as the founder Neutert put it—more poetically than politically—in his manifesto. The members felt liberated to take Benjamin's ideas as a welcome touchstone for social change.
Like the first Internationale Walter Benjamin Gesellschaft, a new one, established in 2000, researches and discusses the imperative that Benjamin formulated in his Theses on the Philosophy of History: "In every era the attempt must be made anew to wrest the tradition away from a conformism that is about to overpower it."
The successor society was registered in Karlsruhe (Germany); Chairman of the Board of Directors was Bernd Witte, an internationally recognized Benjamin scholar and Professor of Modern German Literature in Düsseldorf (Germany). Its members come from 19 countries, both within and beyond Europe and represents an international forum for discourse. The Society supported research endeavors devoted to the creative and visionary potential of Benjamin's works and their view of 20th century modernism. Special emphasis had been placed upon strengthening academic ties to Latin America and Eastern and Central Europe. The society conducts conferences and exhibitions, as well as interdisciplinary and intermedial events, at regular intervals and different European venues:
- Barcelona Conference – September 2000
- Walter-Benjamin-Evening at Berlin – November 2001
- Walter-Benjamin-Evening at Karlsruhe – January 2003
- Rome Conference – November 2003
- Zurich Conference – October 2004
- Paris Conference – June 2005
- Düsseldorf Conference – June 2005
- Düsseldorf Conference – November 2005
- Antwerpen Conference – May 2006
- Vienna Conference – March 2007
In 2017 Walter Benjamin's Arcades Project was reinterpreted in an exhibition curated by Jens Hoffman, held at the Jewish Museum in New York City. The exhibition, entitled "The Arcades: Contemporary Art and Walter Benjamin", features 36 contemporary artworks representing the 36 convolutes of Benjamin's Project.
A commemorative plaque is located by the residence where Benjamin lived in Berlin during the years 1930–1933: (Prinzregentenstraße 66, Berlin-Wilmersdorf). Close by Kurfürstendamm, in the district of Charlottenburg-Wilmersdorf, a town square created by Hans Kollhoff in 2001 was named "Walter-Benjamin-Platz". There is a memorial sculpture by the artist Dani Karavan at Portbou, where Walter Benjamin ended his life. It was commissioned to mark 50 years since his death.
Among Walter Benjamin's works are:
- The Arcades Project, Harvard University Press, ISBN 0-674-00802-2
- Berlin Childhood Around 1900, Harvard University Press, ISBN 0-674-02222-X
- Charles Baudelaire: A Lyric Poet In The Era Of High Capitalism. ISBN 0-902308-94-7
- The Complete Correspondence, 1928–1940, Harvard University Press, ISBN 0-674-15427-4
- The Correspondence of Walter Benjamin, 1910–1940. ISBN 0-226-04237-5
- The Correspondence of Walter Benjamin and Gershom Scholem. ISBN 0-674-17415-1
- Illuminations. ISBN 0-8052-0241-2
- Moscow Diary, Harvard University Press, ISBN 0-674-58744-8
- One Way Street and Other Writings. ISBN 0-86091-836-X
- Reflections. ISBN 0-8052-0802-X
- On Hashish, Harvard University Press, ISBN 0-674-02221-1
- The Origin of German Tragic Drama. ISBN 0-86091-837-8
- Understanding Brecht. ISBN 0-902308-99-8
- Selected Writings in four volumes Harvard University Press:
- The Writer of Modern Life: Essays on Charles Baudelaire, Harvard University Press, ISBN 0-674-02287-4,
- The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Harvard University Press, ISBN 0-674-02445-1
- Walter Benjamin's Archive: Images, Texts, Signs. Edited by Ursula Marx, Gudrun Schwarz, Michael Schwarz, Erdmut Wizisla. ISBN 978-1-84467-196-0
- Adorno, Theodor. (1967). Prisms (Studies in Contemporary German Social Thought). London: Neville Spearman Ltd. [reprinted by MIT Press, Cambridge, 1981. ISBN 978-0-262-01064-1 (cloth) – ISBN 978-0-262-51025-7 (paper)]
- Victor Malsey, Uwe Raseh, Peter Rautmann, Nicolas Schalz, Rosi Huhn, Passages. D'après Walter Benjamin / Passagen. Nach Walter Benjamin. Mainz: Herman Schmidt, 1992. ISBN 3-87439-251-1
- Benjamin, Andrew and Peter Osborne, eds. (1993). Walter Benjamin's Philosophy: Destruction and Experience. London: Routledge. ISBN 978-0-415-08368-3 (cloth) – ISBN 978-0-415-08369-0 (paper) [reprinted by Clinamen Press, Manchester, 2000. ISBN 978-1-903083-08-6 (paper)]
- Buck-Morss, Susan. (1991). The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: The MIT Press. ISBN 978-0-262-02268-2 (cloth) – ISBN 978-0-262-52164-2 (paper)
- Betancourt, Alex. (2008). Walter Benjamin and Sigmund Freud: Between Theory and Politics. Saarbrücken, Germany: VDM Verlag. ISBN 978-3-8364-3854-4
- Federico Castigliano, Flâneur. The Art of Wandering the Streets of Paris, 2016. ISBN 978-1534911451.
- Derrida, Jacques. (2001). "Force of Law: The 'Mystical Foundation of Authority'", in Acts of Religion, Gil Anidjar, ed. London: Routledge. ISBN 978-0-415-92400-9 (cloth) – ISBN 978-0-415-92401-6
- Caygill, Howard. (1998) Walter Benjamin: The Colour of Experience. London: Routledge.
- de Man, Paul. (1986). "'Conclusions': Walter Benjamin's 'Task of the Translator'", in The Resistance to Theory. Minneapolis: University of Minnesota Press. pp. 73–105. ISBN 0-8166-1294-3
- Eiland, Howard and Michael W. Jennings. (2014). Walter Benjamin: A Critical Life. Cambridge, MA and London: Harvard University Press. ISBN 978-0-674-05186-7
- Ferris, David S., ed. (1996). Walter Benjamin: Theoretical Questions. Stanford: Stanford University Press. ISBN 978-0-8047-2569-9 (cloth) – ISBN 978-0-8047-2570-5 (paper)
- __________. (2004). The Cambridge Companion to Walter Benjamin. Cambridge: Cambridge University Press. ISBN 0-521-79329-7 (cloth) ISBN 0-521-79724-1 (paper)
- Gandler, Stefan (2010). "The Concept of History in Walter Benjamin's Critical Theory", in Radical Philosophy Review, San Francisco, CA, Vol. 13, Nr. 1, pp. 19–42. ISSN 1388-4441.
- Jacobs, Carol. (1999). In the Language of Walter Benjamin. Baltimore: Johns Hopkins Press. ISBN 978-0-8018-6031-7 (cloth) – ISBN 978-0-8018-6669-2 (paper)
- Jennings, Michael. (1987). Dialectical Images: Walter Benjamin's Theory of Literary Criticism. Ithaca: Cornell University Press. ISBN 978-0-8014-2006-1 (cloth)
- Jacobson, Eric. (2003). Metaphysics of the Profane: The Political Theology of Walter Benjamin and Gershom Scholem. New York: Columbia University Press, ISBN 978-0-231-12657-1, S. 352ff.
- Kermode, Frank. "Every Kind of Intelligence; Benjamin", New York Times. 30 July 1978.
- Kirst-Gundersen, Karoline. Walter Benjamin's Theory of Narrative. Dissertation, University of Wisconsin-Madison, 1989
- Leslie, Esther. (2000). Walter Benjamin, Overpowering Conformism. London: Pluto Press. ISBN 978-0-7453-1573-7 (cloth) – ISBN 978-0-7453-1568-3 (paper)
- Lindner, Burkhardt, ed. (2006). Benjamin-Handbuch: Leben – Werk – Wirkung Stuttgart: Metzler. ISBN 978-3-476-01985-1 (paper)
- Löwy, Michael. (2005). Fire Alarm: Reading Walter Benjamin's 'On the Concept of History.' Trans. Chris Turner. London and New York: Verso.
- Marder, Elissa (May 2016). "Inhuman beauty: Baudelaire's bad sex". differences: A Journal of Feminist Cultural Studies. Duke University Press. 27 (1): 1–24. doi:10.1215/10407391-3522733.
- Menke, Bettine. (2010). Das Trauerspiel-Buch. Der Souverän – das Trauerspiel – Konstellationen – Ruinen. Bielefeld: Transcript Verlag (de). ISBN 978-3-89942-634-2.
- Missac, Pierre (1996). Walter Benjamin's Passages. Cambridge: MIT Press. ISBN 978-0-262-13305-0 (cloth) – ISBN 978-0-262-63175-4(paper)
- ^Erasmus: Speculum Scientarium, 25, p. 162: "the different versions of Marxist hermeneutics by the examples of Walter Benjamin's Origins of the German Tragedy [sic], ... and also by Ernst Bloch's Hope the Principle [sic]."
- ^Walter Benjamin, Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, 1936: "The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition. This tradition itself is thoroughly alive and extremely changeable. An ancient statue of Venus, for example, stood in a different traditional context with the Greeks, who made it an object of veneration, than with the clerics of the Middle Ages, who viewed it as an ominous idol. Both of them, however, were equally confronted with its uniqueness, that is, its aura." [Die Einzigkeit des Kunstwerks ist identisch mit seinem Eingebettetsein in den Zusammenhang der Tradition. Diese Tradition selber ist freilich etwas durchaus Lebendiges, etwas außerordentlich Wandelbares. Eine antike Venusstatue z. B. stand in einem anderen Traditionszusammenhange bei den Griechen, die sie zum Gegenstand des Kultus machten, als bei den mittelalterlichen Klerikern, die einen unheilvollen Abgott in ihr erblickten. Was aber beiden in gleicher Weise entgegentrat, war ihre Einzigkeit, mit einem anderen Wort: ihre Aura.]
- ^Duden Aussprachewörterbuch (6 ed.). Mannheim: Bibliographisches Institut & F.A. Brockhaus AG. 2006.
- ^ abcWitte, Bernd (1991). Walter Benjamin: An Intellectual Biography (English translation). Detroit, MI: Wayne State University Press. p. 9. ISBN 0-8143-2018-X.
- ^Witte, Bernd. (1996) Walter Benjamin: An Intellectual Biography. New York: Verso. pp. 26–27
- ^Experience, 1913
- ^Jewish philosophy and the crisis of modernity (SUNY 1997), Leo Strauss as a Modern Jewish thinker, Kenneth Hart Green, Leo Strauss, page 55
- ^Scholem, Gershom. 1981. Walter Benjamin: The Story of a Friendship. Trans. Harry Zohn, page 201
- ^The Correspondence of Walter Benjamin and Gershom Scholem, 1932–40, New York 1989, page 155-58
- ^ abJane O. Newman, Benjamin's Library: Modernity, Nation, and the Baroque, Cornell University Press, 2011, p. 28: "...university officials in Frankfurt recommended that Benjamin withdraw the work from consideration as his Habilitation."
- ^Moscow Diary
- ^Benjamin, Walter (1968). "The Work Of Art In The Age Of Mechanical Reproduction". Illuminations: Essays and Reflections. pp. 217–253.
- ^Arendt, Hannah (1968). "Introduction". In Walter Benjamin. Illuminations: Essays and Reflections. pp. 23–24.
- ^Jay, Martin The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research 1923–1950.
- ^Leslie, Esther (2000). "Benjamin's Finale". Walter Benjamin: Overpowering Conformism. Modern European Thinkers. Pluto Press. p. 215. ISBN 978-0-7453-1568-3. Retrieved August 28, 2009.
- ^Lester, David (2005). "Suicide to Escape Capture: Cases". Suicide and the Holocaust. Nova Publishers. p. 74. ISBN 978-1-59454-427-9. Retrieved August 28, 2009.
- ^"Afraid of being caught by the Gestapo while fleeing France, [Koestler] borrowed suicide pills from Walter Benjamin. He took them several weeks later when it seemed he would be unable to get out of Lisbon, but didn't die." Anne Applebaum, "Did The Death Of Communism Take Koestler And Other Literary Figures With It?" Huffington Post, 28 March 2010, URL retrieved 15 March 2012.
- ^Introducing Walter Benjamin, Howard Cargill, Alex Coles, Andrey Klimowski, 1998, p. 112
- ^Buck-Morss, Susan. The Dialectics of Seeing. The MIT Press, 1991, p. 5.
- ^Susan Sontag Under the Sign of Saturn, p. 129.
- ^Cf. Mit Walter Benjamin. Gründungsmanifest der Internationalen Walter-Benjamin-Gesellschaft. Copyleft Verlag, Hamburg, 1968, p. 6.
- ^Hereto Helmut Salzinger: Swinging Benjamin. Verlag Michael Kellner, Hamburg 1990. ISBN 3-927623-05-9
- ^"International Walter Benjamin Society". walterbenjamin.info.
- ^Cf. WalterBenjamin.info
- ^"The Arcades: Contemporary Art and Walter Benjamin (March 17 - August 6, 2017)". The Jewish Museum. thejewishmuseum.org. Retrieved July 29, 2017.
- ^Stadtplatz aus Stein: Eröffnung der Leibniz-Kolonnaden in Berlin. (in German). May 14, 2001. BauNetz. baunetz.de. Retrieved July 29, 2017.
- ^"Walter Benjamin a Portbou". walterbenjaminportbou.cat.