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Essay / Research Paper Abstract
8 pages in length. Theorist Walter Benjamin's theory of dissolution of aura in modern art helped to set a precedence with regard to the ever-evolving nature of art and, correspondingly, the absence of time and space from what many believe is an otherwise wholly reproducible entity. From Benjamin's (2004) perspective, the fundamental principles of authentic artwork has all but disappeared from today's social and cultural landscape, replaced instead with a throng of reproductions that simply cannot possess the true emotional, spiritual and tangible substance inherent to the original. Bibliography lists 4 sources.
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8 pages (~225 words per page)
File: LM1_TlCAuraThr.rtf
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regard to the ever-evolving nature of art and, correspondingly, the absence of time and space from what many believe is an otherwise wholly reproducible entity. From Benjamins (2004) perspective,
the fundamental principles of authentic artwork has all but disappeared from todays social and cultural landscape, replaced instead with a throng of reproductions that simply cannot possess the true emotional,
spiritual and tangible substance inherent to the original. "...The technique of reproduction detaches the reproduced object from the domain of tradition. By making many reproductions it substitutes a
plurality of copies for a unique existence. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced.
These two processes lead to a tremendous shattering of tradition which is the obverse of the contemporary crisis and renewal of mankind. Both processes are intimately connected with the
contemporary mass movements" (Benjamin, 2004, p. 1236). Benjamin (2004) further argues how contemporary society strives to make everything far too accessible - trying to bring tangible objects of an
artistic nature much too close to truly gain any appreciation for its genuineness. This is particularly the case with artistic reproductions found in print sources (magazines, newspapers) where the
image present on the page bears little resemblance to the image "seen by the unarmed eye" (Benjamin, 2004, p. 1236). Uniqueness and permanence, the author notes, are "as closely
linked in the latter as are transitoriness and reproducibility in the former" (Benjamin, 2004, p. 1236), implying that even though the fa?ade may appear identical, the soul of the artwork
can never filter through a reproduced image. Oscar Wildes The Picture of Dorian Gray provides a good example of how Benjamins theory is applied.
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