Walter Benjamin Frases famosas
“A informação só tem valor no momento em que é nova.”
Citado em "Walter Benjamin" - Página 82, Leandro Konder - Editora Record, 1999, ISBN 8520004989, 9788520004982 - 130 páginas
Atribuídas
“A construção da vida encontra-se, actualmente, mais em poder dos fatos do que das convicções.”
Variante: A construção da vida encontra-se, atualmente, mais em poder dos fatos do que das convicções.
Citações de arte de Walter Benjamin
The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
Fonte: BENJAMIN. W. O narrador. Considerações sobre a obra de Nikolai Leskov. IN: BENJAMIN, W. Magia e técnica, arte e política. Obras escolhidas. São Paulo: Brasiliense, 3.ed., 1987."
Walter Benjamin frases e citações
Das wahre Bild der Vergangenheit huscht vorbei. Nur als Bild, das auf Nimmerwiedersehen im Augenblick seiner Erkennbarkeit eben aufblitzt, ist die Vergangenheit festzuhalten
Schriften - Volume 1, página 496, Walter Benjamin - Suhrkamp Verlag, 1955
Variante: A verdadeira imagem do passado perpassa, veloz. O passado só se deixa ficar, como imagem que relampeja irreversivelmente, no momento em que é reconhecido.
Magia e Técnica, Arte e Política - vol. 1
BENJAMIN, Walter. Sobre o conceito de História. In: Magia e técnica, arte e política: ensaios sobre literatura e história da cultura. São Paulo: Brasiliense, 1994.
Magia e técnica, arte e política: ensaios sobre literatura e história da cultura. Obras escolhidas, Volume 1 - página 15, 7a edição, Walter Benjamin, Editora Brasiliense, 1994
Atribuídas
Fonte: Revista Caras http://www.caras.com.br, Edição 676.
Fonte: BENJAMIN. W. O narrador. Considerações sobre a obra de Nikolai Leskov. IN: BENJAMIN, W. Magia e técnica, arte e política. Obras escolhidas. São Paulo: Brasiliense, 3.ed., 1987."
Trecho extraído do artigo intitulado “Experiência”, publicado em 1913 na revista O Começo (em alemão, Der Anfang).
Walter Benjamin: Frases em inglês
Das Kunstwerk im Zeitalter seiner Reproduzierbarkeit The Work of Art in the Age of Mechanical Reproduction (1935)
Besteht das Original nicht um dessentwillen, wie ließe sich dann die Übersetzung aus dieser Beziehung verstehen?
The Task of the Translator (1920)
Jede Äußerung menschlichen Geisteslebens kann als eine Art der Sprache aufgefaßt werden, und diese Auffassung erschließt nach Art einer wahrhaften Methode überall neue Fragestellungen.
"On Language as Such and on the Language of Man" (1916), translated by E. Jephcott, in Walter Benjamin: Selected Writings, Vol. 1 (1996), p. 62
"The Metaphysics of Youth," in Walter Benjamin: Selected Writings, Vol. 1 (1996), pp. 10-11
Mir schien: Ausgesprochene Unlust, mich über Dinge des praktischen Lebens, Zukunft, Daten, Politik zu unterhalten. Man ist an die intellektuelle Sphäre gebannt wie manchmal Besessene auf die sexuelle, ist von ihr angesaugt.
"Main features of my first impression of hashish" (18 December 1927), On Hashish (2006), p. 21
Main features of my first impression of hashish (1927)
The Life of Students (1915)
An das Leben der Studenten tritt die Frage nach seiner bewußten Einheit heran. ... Das Auszeichnende im Studentenleben ist in der Tat der Gegenwille, sich einem Prinzip zu unterwerfen, mit der Idee sich zu durchdringen. Der Name der Wissenschaft dient vorzüglich, eine tiefeingesessene, verbürgerte Indifferenz zu verbergen.
The Life of Students (1915)
Der Beruf folgt so wenig aus der Wissenschaft, dass sie ihn sogar ausschließen kann. Denn die Wissenschaft duldet ihrem Wesen nach keine Lösung von sich.
The Life of Students (1915)
A Berlin Chronicle (1932–, unfinished), in Walter Benjamin: Selected Writings – vol. 2, pt. 2: 1931-1934, ed. Michael William Jennings, Harvard University Press, 2005, p. 612
“You follow the same paths of thought as before. Only, they appear strewn with roses.”
Man geht immer die gleichen Wege des Denkens wie vorher. Nur scheinen sie mit Rosen bestreut.
"Main features of my first impression of hashish" (18 December 1927), On Hashish (2006), p. 22
Main features of my first impression of hashish (1927)
Nirgends erweist sich einem Kunstwerk oder einer Kunstform gegenüber die Rücksicht auf den Aufnehmenden für deren Erkenntnis fruchtbar. Nicht genug, dass jede Beziehung auf ein bestimmtes Publikum oder dessen Repräsentanten vom Wege abführt, ist sogar der Begriff eines "idealen" Aufnehmenden in allen kunsttheoretischen Erörterungen vom Übel, weil diese lediglich gehalten sind, Dasein und Wesen des Menschen überhaupt vorauszusetzen. So setzt auch die Kunst selbst dessen leibliches und geistiges Wesen voraus—seine Aufmerksamkeit aber in keinem ihrer Werke. Denn kein Gedicht gilt dem Leser, kein Bild dem Beschauer, keine Symphonie der Hörerschaft.
The Task of the Translator (1920)
Im Kapitalismus ist eine Religion zu erblicken, d.h. der Kapitalismus dient essentiell der Befriedigung derselben Sorgen, Qualen, Unruhen, auf die ehemals die so genannten Religionen Antwort gaben.
Translated by Rodney Livingstone in Walter Benjamin: Selected Writings, Volume 1 (Harvard: 1996)
Capitalism as Religion (1921)
"Experience" (1913) as translated by L. Spencer and S. Jost, in Walter Benjamin: Selected Writings, Vol. 1 (1996), p. 4
Fonte: The Concept of Criticism in German Romanticism (1919), p. 161
Fonte: One Way Street (1928), p. 451
Variant translation:
To articulate what is past does not mean to recognize “how it really was.” It means to take control of a memory, as it flashes in a moment of danger. For historical materialism it is a question of holding fast to a picture of the past, just as if it had unexpectedly thrust itself, in a moment of danger, on the historical subject. The danger threatens the stock of tradition as much as its recipients. For both it is one and the same: handing itself over as the tool of the ruling classes. In every epoch, the attempt must be made to deliver tradition anew from the conformism which is on the point of overwhelming it. For the Messiah arrives not merely as the Redeemer; he also arrives as the vanquisher of the Anti-christ. The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious. And this enemy has not ceased to be victorious.
As translated by Dennis Redmond (2001)
Theses on the Philosophy of History (1940)
Contexto: To articulate the past historically does not mean to recognize it ‘the way it really was’ (Ranke). It means to seize hold of a memory as it flashes up at a moment of danger. Historical materialism wishes to retain that image of the past which unexpectedly appears to man singled out by history at a moment of danger. The danger affects both the content of the tradition and its receivers. The same threat hangs over both: that of becoming a tool of the ruling classes. In every era the attempt must be made anew to wrest tradition away from a conformism that is about to overpower it. The Messiah comes not only as the redeemer, he comes as the subduer of Antichrist. Only that historian will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins. And this enemy has not ceased to be victorious.
Fonte: Ursprung des deutschen Trauerspiels [Origin of the German Mourning Play] (1925), p. 28
Zur Verknechtung der Sprache im Geschwätz tritt die Verknechtung der Dinge in der Narretei fast als deren unausbleibliche Folge.
"On Language as Such and on the Language of Man" (1916), translated by E. Jephcott, in Walter Benjamin: Selected Writings, Vol. 1 (1996), p. 72
VII, often misquoted as "History is written by the victors"
(1940)
The Life of Students (1915)
“I would like to metamorphose into a mouse-mountain.”
Protocols to the Experiments on Hashish, Opium and Mescaline http://www.wbenjamin.org/protocol1.html (1927-1934, English translation 1997)
“There is no muse of philosophy, nor is there one of translation.”
"The Task of the Translator," translated by Harry Zohn
Protocols to the Experiments on Hashish, Opium and Mescaline (1927-1934)
