Benjamin's famous description of the aura in the `Small History of Photography' starts: `What is aura? A strange texture of space and time...', and ends with: `That means breathing the aura of these mountains and this branch'. Until now, the meaning of `breathing' has hardly been subject to interpretation. In this article it will be shown that Benjamin refers to Goethe's `diastole/systole', and to Hölderlin's concept of the unity of antagonistic dispositions, for example the paradoxical constellation of the sacred/sobriety ( (...) das `heilig nüchterne'). To Benjamin `breathing' means the original, prehistorical, situation of harmony and peace. Together with the decline of bourgeois society, parallel to the development of a new technology in photography and film, the aura disappears. In its place we find the dialectical image ( `dialektisches Bild'). Benjamin tries to show that the decline of the aura is not just some aesthetic question, but that it is connected to the traditional philosophical problem of defining the truth and the relation between myth and rationality. Referring to Benjamin's cosmological speculations, as well as to his references to Baudelaire, it can be argued that, notwithstanding his lyrical description of the aura, Benjamin was in favour of the destruction of the aura. Under the conditions of a capitalist economy and a malfunctioning republic, a society which can be defined as `false', the traditional idea of aura, being the `shine' of a true society, cannot be taken for granted. The `dialectical image', showing that antagonistic forces hide behind a `shine' of unity and harmony, enables us to see that the traditional idea of truth is obsolete and to look for a new solution. (shrink)

Zwischen 1934 und 1939 war die Zeitschrift für Sozialforschung für Walter Benjamin die zuverlässigste Publikationsmöglichkeit. Auch finanziell war Benjamin von der, vom ´Institut für Sozialforschung herausgegebenen, Zeitschrift abhängig. Zwei seiner wichtigsten Essays, L´oeuvre d´art à l´époque de sa reproduction mécanisée , Über einige Motive bei Baudelaire und vier weitere Beiträge erschienen in der Zeitschrift.Um die ersten beiden Texte entwickelten sich zwischen Adorno, der als Sachwalter der Redaktion auftrat, teilweise Horkheimer einerseits und Benjamin anderseits äußerst heftige Kontroversen. Es ging dabei nicht (...) nur darum, inwiefern marxistische Optionen unverhüllt ausgesprochen werden durften, sondern vor allem um systematische Fragen, die zwischen Adorno und Benjamin strittig waren und blieben. Mehr als die veröffentlichten Essays der beiden gibt der Briefwechsel zwischen Adorno und Benjamin überraschende Aufschlüsse über die tiefer liegenden, kontroversen Konzepte von Dialektik und anthropologischem Materialismus. (shrink)

INTRODUCTION There is no doubt that "subjectivity" is one of the central issues of twentieth century philosophy and art. At the beginning of the century ...