This paper aims to investigate the relationship between art and life in Walter Benjamin's thought. After an initial survey of the explicit content of Benjamin's reflection on techno-art, the focus shifts to the method of investigation adopted by Benjamin to think about techno-art. This is intended to show that the condition of possibility of any profound and fruitful relationship with art, even in its most desecrating and anti-auratic manifestations, is the assumption of a symbolic disposition: in order to preach the necessity of allegorical art in view of political action, it is indeed necessary to proceed symbolically. In light of this, the hypothesis put forward is that the relevance of Benjamin's thought on art today is to be sought in the way in which this thought is produced rather than in the easy recourse to the aesthetic categories put forward by Benjamin.
Il presente lavoro si propone di indagare il rapporto che lega arte e vita nel pensiero di Walter Benjamin. Dopo una prima ricognizione sul contenuto esplicito della riflessione benjaminana sulla tecno-arte, l’attenzione si sposta sul metodo di indagine adottato da Benjamin per pensare la tecno-arte. In questo modo si intende mostrare che condizione di possibilità di qualsiasi rapporto profondo e fecondo con l’arte, sia pure nelle sue manifestazioni più dissacranti e anti-auratiche, è l’assunzione di una disposizione simbolica: per predicare la necessità dell’arte allegorica in vista dell’azione politica è infatti necessario procedere simbolicamente. Alla luce di ciò, l’ipotesi avanzata è che l’attualità del pensiero benjaminiano sull’arte vada oggi cercata nel modo in cui tale pensiero si produce più che nel facile ricorso alle categorie estetiche messe in campo da Benjamin.
Sulla necessità dell'arte per la vita. Considerazioni a partire da Benjamin
SEGRE, NINA
2022/2023
Abstract
This paper aims to investigate the relationship between art and life in Walter Benjamin's thought. After an initial survey of the explicit content of Benjamin's reflection on techno-art, the focus shifts to the method of investigation adopted by Benjamin to think about techno-art. This is intended to show that the condition of possibility of any profound and fruitful relationship with art, even in its most desecrating and anti-auratic manifestations, is the assumption of a symbolic disposition: in order to preach the necessity of allegorical art in view of political action, it is indeed necessary to proceed symbolically. In light of this, the hypothesis put forward is that the relevance of Benjamin's thought on art today is to be sought in the way in which this thought is produced rather than in the easy recourse to the aesthetic categories put forward by Benjamin.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/60673