Aura e choc. Saggi sulla teoria dei media by Walter Benjamin

By Walter Benjamin

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309-15; GS I/3, pp. 1044-51. Sezione II L’arcobaleno. Dialogo sulla fantasia: OC I, pp. 240-46; Der Regenbogen. Gespräch über die Phantasie, GS VII/1, pp. 19-26; risalente probabilmente al gennaio-febbraio 1915; postumo. Pittura e grafica: OC I, pp. 314-15; Malerei und Graphik, GS II/2, pp. 602-03; scritto nell’agosto 1917; postumo. Sulla pittura ovvero «Zeichen» e «Mal»: OC I, pp. 318-22; Über die Malerei oder Zeichen und Mal: GS II/2, pp. 603-7; steso fra l’agosto e l’ottobre del 1917; postumo.

Però all’esperienza del bello naturale che Benjamin si rivolge per offrirne una definizione: «Un singolare intreccio di spazio e di tempo: l’apparizione unica di una lontananza, per quanto questa possa essere vicina. Seguire placidamente, in un pomeriggio d’estate, una catena di monti all’orizzonte oppure un ramo che getta la sua ombra su colui che si riposa - ciò significa respirare l’aura di quelle montagne, di quel ramo»33. Ai momenti oggettuali si accompagnano le attività soggettive del contemplare e del respirare, quasi che l’aura fosse assunta nel senso di «aria», «atmosfera» - coerentemente con l’etimo greco αύρα (brezza, soffio, alito).

H. M. , Palaver. Considerazioni politiche, Einaudi, Torino 1976, pp. 79-113; J. Berger, Questione di sguardi (1972), il Saggiatore, Milano 2002; J. Habermas, Attualità di Walter Benjamin (1972), in «Comunità», XXVIII (1974), n. 171, pp. 211-45; F. J. Verspohl, «Optische» und «taktile» Funktion von Kunst. Der Wandel des Kunstbegriffs im Zeitalter der massenhaften Rezeption, in «Kritische Berichte», 1975, n. 3, pp. 25-43; J. Baudrillard, Lo scambio simbolico e la morte (1976), Feltrinelli, Milano 1990 (in particolare le pp.

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