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Walter Benjamin

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Walter Benjamin

Walter Benjamin
Benjamin in Paris, 1939.
Born (1892-07-15)15 July 1892
Berlin, German Empire
Died 26 September 1940(1940-09-26) (aged 48)
Portbou, Catalonia, Spain
Era 20th-century philosophy
Region Western Philosophy
School Western Marxism
Main interests
Literary theory, aesthetics, philosophy of technology, epistemology, philosophy of language, philosophy of history
Notable ideas
Auratic perception, aestheticization of politics

Walter Bendix Schönflies Benjamin (German: ;[1] 15 July 1892 – 26 September 1940)[2] was a German Jewish philosopher and cultural critic. An eclectic thinker, combining elements of German idealism, Romanticism, historical materialism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and Western Marxism. He was associated with the Frankfurt School, and also maintained formative friendships with thinkers such as Marxist playwright Bertolt Brecht and Kabbalah scholar Gershom Scholem. He was also related by marriage to German political theorist Hannah Arendt through her first marriage to his cousin, Günther Anders. Benjamin's major work as a literary critic included essays on Baudelaire, Goethe, Kafka, Kraus, Leskov, Proust, Walser, and translation theory. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu. Among Benjamin's most well-known works are the essays "The Task of the Translator" (1923) and "The Work of Art in the Age of Mechanical Reproduction" (1936).

In 1940, at the age of 48, Benjamin committed suicide in Portbou at the French–Spanish border while attempting to escape from invading Nazi forces. Though popular acclaim eluded him during his life, increasing interest in Benjamin's work in the decades following his death won him posthumous renown.


  • Life 1
    • Early life and education 1.1
    • Career 1.2
    • Exile and death 1.3
  • Thought 2
    • Theses on the Philosophy of History 2.1
    • The Origin of German Tragic Drama 2.2
    • The Arcades Project 2.3
    • Writing style 2.4
  • Works 3
  • Legacy and reception 4
  • Commemoration 5
  • See also 6
  • References 7
  • Further reading 8
    • Primary literature 8.1
    • Secondary literature 8.2
  • External links 9


Early life and education

Benjamin and his younger siblings, Georg (1895–1942) and Dora (1901–1946), were born to a wealthy business family of assimilated Ashkenazi Jews in the Berlin of the German Empire (1871–1918). The patriarch, Emil Benjamin, was a banker in Paris who relocated from France to Germany, where he worked as an antiques trader in Berlin; he later married Pauline Schönflies. He owned a number of investments in Berlin, including ice skating rinks. In 1902, ten-year-old Walter was enrolled to the Kaiser Friedrich School in Charlottenburg; he completed his secondary school studies ten years later. Walter Benjamin was a boy of fragile health and so in 1905 the family sent him to Hermann-Lietz-Schule Haubinda, a boarding school in the Thuringian countryside, for two years; in 1907, having returned to Berlin, he resumed his schooling at the Kaiser Friedrich School.[2]

In 1912, at the age of twenty, he enrolled at the Albert Ludwigs University of Freiburg, but, at summer semester's end, returned to Berlin, then matriculated into the Humboldt University of Berlin, to continue studying philosophy. Here Benjamin had his first exposure to the ideas of Zionism, which had not been part of his liberal upbringing. This exposure gave him occasion to formulate his own ideas about the meaning of Judaism. Benjamin distanced himself from political and nationalist Zionism, instead developing in his own thinking what he called a kind of "cultural Zionism"—an attitude which recognized and promoted Judaism and Jewish values. In Benjamin's formulation his Jewishness meant a commitment to the furtherance of European culture. Benjamin expressed "My life experience led me to this insight: the Jews represent an elite in the ranks of the spiritually active ... For Judaism is to me in no sense an end in itself, but the most distinguished bearer and representative of the spiritual." This was a position that Benjamin largely held lifelong.[3]

Elected president of the Freie Studentenschaft (Free Students Association), Benjamin wrote essays arguing for educational and general cultural change.[4] When not re-elected as student association president, he returned to Freiburg University to study, with particular attention to the lectures of Heinrich Rickert; at that time he travelled to France and Italy.

In 1914, at the outbreak of the First World War (1914–1918), Benjamin began faithfully translating the works of the 19th-century French poet Charles Baudelaire (1821–1867). The next year, 1915, he moved to Munich, and continued his schooling at the Ludwig Maximilian University of Munich, where he met Rainer Maria Rilke and Gershom Scholem; the latter became a friend. In that year, Benjamin wrote about the 18th-century Romantic German poet Friedrich Hölderlin (1770–1843).

In 1917 he transferred to the University of Bern; there, he met Ernst Bloch, and Dora Sophie Pollak (née Kellner) (1890–1964) whom he later married. They had a son, Stefan Rafael (1918–1972). In 1919 Benjamin earned his doctoral degree cum laude with the dissertation Begriff der Kunstkritik in der Deutschen Romantik (The Concept of Criticism in German Romanticism). Later, unable to support himself and family, he returned to Berlin and resided with his parents. In 1921 he published the essay Kritik der Gewalt (The Critique of Violence). At this time Benjamin first became socially acquainted with Leo Strauss, and would remain an admirer of Strauss and of his work throughout his life.[5][6][7]


In 1923, when the inflation in the Weimar Republic consequent to the First World War made it difficult for the father Emil Benjamin to continue supporting his son's family. At the end of 1923 his best friend Gershom Scholem emigrated to Palestine, a country under the British Mandate of Palestine; despite repeated invitations, he failed to persuade Benjamin (and family) to leave the Continent for the Middle East.

In 1924 Asja Lācis, then residing in Moscow; she became his lover and was a lasting intellectual influence upon him.

A year later, in 1925, the Goethe University Frankfurt at Frankfurt am Main rejected The Origin of German Tragic Drama as Benjamin's qualification for the habilitation teaching credential; he was not to be an academic instructor. Working with Franz Hessel (1880–1941) he translated the first volumes of À la Recherche du Temps Perdu (In Search of Lost Time) by Marcel Proust. The next year, 1926, he began writing for the German newspapers Frankfurter Zeitung (The Frankfurt Times) and Die Literarische Welt (The Literary World); that paid enough for him to reside in Paris for some months. In December 1926 (the year his father, Emil Benjamin, died) Walter Benjamin went to Moscow to meet Asja Lācis and found her ill in a sanatorium.[8]

In 1927, he began Das Passagen-Werk (The Arcades Project), his uncompleted magnum opus, a study of 19th-century Parisian life. The same year, he saw Gershom Scholem in Berlin, for the last time, and considered emigrating from Continental Europe (Germany) to Palestine. In 1928, he and Dora separated (they divorced two years later, in 1930); in the same year he published Einbahnstraße (One-Way Street), and a revision of his habilitation dissertation Ursprung des Deutschen Trauerspiels (The Origin of German Tragic Drama). In 1929 Berlin, Asja Lācis, then assistant to Bertolt Brecht, socially presented the intellectuals to each other. In that time, he also briefly embarked upon an academic career, as an instructor at the University of Heidelberg.

Exile and death

Walter Benjamin's Paris apartment at 10 rue Dombasle (1938–1940).

In 1932, during the turmoil preceding Sanremo, where his ex-wife Dora lived.

As he ran out of money, Benjamin collaborated with Max Horkheimer, and received funds from the Institute for Social Research, later going permanently into exile. In Paris, he met other German artists and intellectuals, refugees there from Germany; he befriended Hannah Arendt, novelist Hermann Hesse, and composer Kurt Weill. In 1936, a first version of The Work of Art in the Age of Mechanical Reproduction (L'œuvre d'art à l'époque de sa reproduction méchanisée) was published, in French, by Max Horkheimer in the Zeitschrift für Sozialforschung journal of the Institute for Social Research.

In 1937 Benjamin worked on Das Paris des Second Empire bei Baudelaire (The Paris of the Second Empire in Baudelaire), met College of Sociology. In 1938 he paid a last visit to Bertolt Brecht, who was exiled to Denmark. Meanwhile, the Nazi Régime stripped German Jews of their German citizenship; now a stateless man, Benjamin was arrested by the French government and incarcerated for three months in a prison camp near Nevers, in central Burgundy.

Returning to Paris in January 1940, he wrote Über den Begriff der Geschichte (On the Concept of History, later published as Theses on the Philosophy of History). As the Wehrmacht defeated the French defence, on 13 June, Benjamin and his sister fled Paris to the town of Lourdes, a day before the Germans entered Paris (14 June 1940), with orders to arrest him at his flat. In August, he obtained a travel visa to the US that Max Horkheimer had negotiated for him. In eluding the Gestapo, Benjamin planned to travel to the US from neutral Portugal, which he expected to reach via fascist Spain, then ostensibly a neutral country.

The historical record indicates that he safely crossed the French–Spanish border and arrived at the coastal town of Mauthausen-Gusen concentration camp in 1942. Despite his suicide, Benjamin was buried in the consecrated section of a Roman Catholic cemetery

Walter Benjamin's grave in Portbou. The epitaph in German, repeated in Catalan, quotes from Section 7 of Theses on the Philosophy of History: "There is no document of civilization which is not at the same time a document of barbarism."

The others in his party were allowed passage the next day, and safely reached Lisbon on 30 September. Hannah Arendt, who crossed the French-Spanish border at Portbou a few months later, passed the manuscript of Theses to Adorno. Another completed manuscript, which Benjamin had carried in his suitcase, disappeared after his death and has not been recovered. Some critics speculate that it was his Arcades Project in a final form; this is very unlikely as the author's plans for the work had changed in the wake of Adorno's criticisms in 1938, and it seems clear that the work was flowing over its containing limits in his last years.


Walter Benjamin corresponded much with Theodor Adorno and Bertolt Brecht, and was occasionally funded by the Frankfurt School under the direction of Adorno and Horkheimer, even from their New York City residence. The competing influences—Brecht's Marxism, Adorno's critical theory, Gerschom Scholem's Jewish mysticism—were central to his work, although their philosophic differences remained unresolved. Moreover, the critic Paul de Man argued that the intellectual range of Benjamin's writings flows dynamically among those three intellectual traditions, deriving a critique via juxtaposition; the exemplary synthesis is Theses on the Philosophy of History.

Theses on the Philosophy of History

Paul Klee's 1920 painting Angelus Novus, which Benjamin compared to "the angel of history"

Theses on the Philosophy of History is often cited as Benjamin's last complete work, having been completed, according to Adorno, in the spring of 1940. The Institute for Social Research, which had relocated to New York, published Theses in Benjamin's memory in 1942. Margaret Cohen writes in the Cambridge Companion to Walter Benjamin:

The ninth thesis struggles to reconcile the Idea of Progress in the present with the apparent chaos of the past:

The final paragraph about the Jewish quest for the Messiah provides a harrowing final point to Benjamin's work, with its themes of culture, destruction, Jewish heritage and the fight between humanity and nihilism. He brings up the interdiction, in some varieties of Judaism, to try to determine the year when the Messiah would come into the world, and points out that this did not make Jews indifferent to the future "for every second of time was the strait gate through which the Messiah might enter."

The Origin of German Tragic Drama

Ursprung des deutschen Trauerspiels (The Origin of German Tragic Drama, 1928), is a critical study of German baroque drama, as well as the political and cultural climate of Germany during the Counter-Reformation (1545–1648). Benjamin presented the work to the University of Frankfurt in 1925 as the (post-doctoral) dissertation meant to earn him the Habilitation (qualification) to become a university instructor in Germany.

Professor Schultz of University of Frankfurt found The Origin of German Tragic Drama inappropriate for his Germanistik department (Department of German Language and Literature), and passed it to the Department of Aesthetics (philosophy of art), the readers of which likewise dismissed Benjamin's work. The faculty, among them Max Horkheimer, recommended that Benjamin withdraw Ursprung des deutschen Trauerspiels as a Habilitation dissertation to avoid formal rejection and public embarrassment. He heeded the advice, and three years later, in 1928, he published The Origin of German Tragic Drama as a book.[13]

The Arcades Project

The Passagenwerk (Arcades Project, 1927–40), was Walter Benjamin's final, incomplete book about Parisian city life in the 19th century, especially about the Passages couverts de Paris the covered passages that extended the culture of flânerie (idling and people-watching) when inclement weather made flânerie infeasible in the boulevards and streets proper.

The Arcades Project, in its current form, brings together a massive collection of notes which Benjamin filed together over the course of thirteen years, from 1927 to 1940.[14]

The Arcades Project was published for the first time in 1982, and is over a thousand pages long.

Writing style

Susan Sontag said that in Walter Benjamin's writing, sentences did not originate ordinarily, do not progress into one another, and delineate no obvious line of reasoning, as if each sentence "had to say everything, before the inward gaze of total concentration dissolved the subject before his eyes", a "freeze-frame baroque" style of writing and cogitation. "His major essays seem to end just in time, before they self-destruct".[15] The difficulty of Benjamin's writing style is essential to his philosophical project. Fascinated by notions of reference and constellation, his goal in later works was to use intertexts to reveal aspects of the past that cannot, and should not, be understood within greater, monolithic constructs of historical understanding.

Walter Benjamin's writings identify him as a modernist for whom the philosophic merges with the literary: logical philosophic reasoning cannot account for all experience, especially not for self-representation via art. He presented his stylistic concerns in The Task of the Translator, wherein he posits that a literary translation, by definition, produces deformations and misunderstandings of the original text. Moreover, in the deformed text, otherwise hidden aspects of the original, source-language text are elucidated, while previously obvious aspects become unreadable. Such translational mortification of the source text is productive; when placed in a specific constellation of works and ideas, newly revealed affinities, between historical objects, appear and are productive of philosophical truth.

His work The Task of the Translator was later commented by the French translation scholar Antoine Berman (L'âge de la traduction).


Among Walter Benjamin's works are:

Legacy and reception

Since the publication of Schriften (Writings, 1955) fifteen years after his death, Benjamin's work—especially the essay "The Work of Art in the Age of Mechanical Reproduction" (1936)—is of seminal importance to academics in the humanities disciplines. And after a further thirteen years, the first Internationale Walter Benjamin Gesellschaft was established by the German thinker, poet and artist Natias Neutert, as a free association of philosophers, writers, artists, media theoreticians and editors. They did not take Benjamin's body of thought as a scholastic "closed architecture [...], but as one in which all doors, windows and roof hatches are widely open," as the founder Neutert put it - more poetically than politically - in his manifesto.[16]

The members felt liberated to take Benjamin's ideas as a welcome touchstone for social change quality of Pop music for example.[17] Alike the first Internationale Walter Benjamin Gesellschaft of 1968, a new one, established in 2000, researches and discusses also under Walter Benjamin's imperative, written down in Theses on the Philosophy of History: "In every era the attempt must be made anew to wrest the transmission from a conformism that is about to overpower it." (Walter Benjamin).

The successor society was registered in Karlsruhe (Germany); Chairman of the Board of Directors was Bernd Witte, an internationally recognized Benjamin scholar and Professor of Modern German Literature in Düsseldorf (Germany). Its members come from 19 countries, both within and beyond Europe and represents an international forum for discourse. The Society supported research endeavors devoted to the creative and visionary potential of Benjamin's works and their view of 20th century modernism. Special emphasis had been placed upon strengthening academic ties to Latin America and Eastern and Central Europe.[18] The society conducts conferences and exhibitions, as well as interdisciplinary and intermedial events, at regular intervals and different European venues:

  • Barcelona Conference – September 2000
  • Walter-Benjamin-Evening at Berlin – November 2001
  • Walter-Benjamin-Evening at Karlsruhe – January 2003
  • Rome Conference – November 2003
  • Zurich Conference – October 2004
  • Paris Conference – June 2005
  • Düsseldorf Conference – June 2005
  • Düsseldorf Conference – November 2005
  • Antwerpen Conference – May 2006
  • Vienna Conference – March 2007[19]


A commemorative plaque is located by the residence where Benjamin lived in Berlin during the years 1930–1933: (Prinzregentenstraße 66, Berlin-Wilmersdorf). Close by Kurfürstendamm, in the district of Charlottenburg-Wilmersdorf, a town square created by Hans Kollhoff in 2001 was named "Walter-Benjamin-Platz."[20]

Commemorative plaque for Walter Benjamin, Berlin-Wilmersdorf

See also


  1. ^
  2. ^ a b c
  3. ^ Witte, Bernd. (1996). Walter Benjamin: An Intellectual Biography. New York: Verso. pp. 26–27
  4. ^ Experience, 1913
  5. ^ Jewish philosophy and the crisis of modernity (SUNY 1997), Leo Strauss as a Modern Jewish thinker, Kenneth Hart Green, Leo Strauss, page 55
  6. ^ Scholem, Gershom. 1981. Walter Benjamin: The Story of a Friendship. Trans. Harry Zohn, page 201
  7. ^ The Correspondence of Walter Benjamin and Gershom Scholem, 1932–40, New York 1989, page 155-58
  8. ^ Moscow Diary
  9. ^ Jay, Martin The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research 1923–1950.
  10. ^
  11. ^
  12. ^ "Afraid of being caught by the Gestapo while fleeing France, [Koestler] borrowed suicide pills from Walter Benjamin. He took them several weeks later when it seemed he would be unable to get out of Lisbon, but didn't die." Anne Applebaum, "Did The Death Of Communism Take Koestler And Other Literary Figures With It?" Huffington Post, 28 March 2010, URL retrieved 15 March 2012.
  13. ^ Introducing Walter Benjamin, Howard Cargill, Alex Coles, Andrey Klimowski, 1998, p. 112
  14. ^ Buck-Morss, Susan. The Dialectics of Seeing. The MIT Press, 1991, p. 5.
  15. ^ Susan Sontag Under the Sign of Saturn, p. 129.
  16. ^ Cf. Mit Walter Benjamin. Gründungsmanifest der Internationalen Walter-Benjamin-Gesellschaft. Copyleft Verlag, Hamburg, 1968, p. 6.
  17. ^ Hereto Helmut Salzinger: Swinging Benjamin. Verlag Michael Kellner, Hamburg 1990. ISBN 3-927623-05-9
  18. ^
  19. ^ Cf.
  20. ^ Stadtplatz aus Stein: Eröffnung der Leibniz-Kolonnaden in Berlin..

Further reading

Primary literature

  • The Arcades Project, Harvard University Press, ISBN 0-674-00802-2
  • Berlin Childhood Around 1900, Harvard University Press, ISBN 0-674-02222-X
  • Charles Baudelaire: A Lyric Poet In The Era Of High Capitalism. ISBN 0-902308-94-7
  • The Complete Correspondence, 1928–1940, Harvard University Press, ISBN 0-674-15427-4
  • The Correspondence of Walter Benjamin, 1910–1940. ISBN 0-226-04237-5
  • The Correspondence of Walter Benjamin and Gershom Scholem. ISBN 0-674-17415-1
  • Illuminations. ISBN 0-8052-0241-2
  • Moscow Diary, Harvard University Press, ISBN 0-674-58744-8
  • One Way Street and Other Writings. ISBN 0-86091-836-X
  • Reflections. ISBN 0-8052-0802-X
  • On Hashish, Harvard University Press, ISBN 0-674-02221-1
  • The Origin of German Tragic Drama. ISBN 0-86091-837-8
  • Understanding Brecht. ISBN 0-902308-99-8
  • Selected Writings in four volumes Harvard University Press:
    • Volume 1, 1913–1926, ISBN 0-674-94585-9
    • Volume 2, 1927–1934, ISBN 0-674-94586-7
    • Volume 3, 1935–1938, ISBN 0-674-00896-0
    • Volume 4, 1938–1940, ISBN 0-674-01076-0
  • The Writer of Modern Life: Essays on Charles Baudelaire, Harvard University Press, ISBN 0-674-02287-4,
  • The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Harvard University Press, ISBN 0-674-02445-1
  • Walter Benjamin's Archive: Images, Texts, Signs. Edited by Ursula Marx, Gudrun Schwarz, Michael Schwarz, Erdmut Wizisla. ISBN 978-1-84467-196-0

Secondary literature

  • Adorno, Theodor. (1967). Prisms (Studies in Contemporary German Social Thought). London: Neville Spearman Ltd. [reprinted by MIT Press, Cambridge, 1981. ISBN 978-0-262-01064-1 (cloth) – ISBN 978-0-262-51025-7 (paper)]
  • Victor Malsey, Uwe Raseh, Peter Rautmann, Nicolas Schalz, Rosi Huhn, Passages. D'après Walter Benjamin / Passagen. Nach Walter Benjamin. Mainz: Herman Schmidt, 1992. ISBN 3-87439-251-1
  • Benjamin, Andrew and Peter Osborne, eds. (1993). Walter Benjamin's Philosophy: Destruction and Experience. London: Routledge. ISBN 978-0-415-08368-3 (cloth) – ISBN 978-0-415-08369-0 (paper) [reprinted by Clinamen Press, Manchester, 2000. ISBN 978-1-903083-08-6 (paper)]
  • Buck-Morss, Susan. (1991). The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: The MIT Press. ISBN 978-0-262-02268-2 (cloth) – ISBN 978-0-262-52164-2 (paper)
  • Betancourt, Alex. (2008). Walter Benjamin and Sigmund Freud: Between Theory and Politics. Saarbrücken, Germany: VDM Verlag. ISBN 978-3-8364-3854-4
  • Derrida, Jacques. (2001). "Force of Law: The 'Mystical Foundation of Authority'," in Acts of Religion, Gil Anidjar, ed. London: Routledge. ISBN 978-0-415-92400-9 (cloth) – ISBN 978-0-415-92401-6
  • Caygill, Howard. (1998) Walter Benjamin: The Colour of Experience. London: Routledge.
  • de Man, Paul. (1986). "'Conclusions': Walter Benjamin's 'Task of the Translator'," in The Resistance to Theory. Minneapolis: University of Minnesota Press. pp. 73–105. ISBN 0-8166-1294-3
  • Eiland, Howard and Michael W. Jennings. (2014). Walter Benjamin: A Critical Life. Cambridge, MA and London: Harvard University Press. ISBN 978-0-674-05186-7
  • Ferris, David S., ed. (1996). Walter Benjamin: Theoretical Questions. Stanford: Stanford University Press. ISBN 978-0-8047-2569-9 (cloth) – ISBN 978-0-8047-2570-5 (paper)
  • __________. (2004). The Cambridge Companion to Walter Benjamin. Cambridge: Cambridge University Press. ISBN 0-521-79329-7 (cloth) ISBN 0-521-79724-1 (paper)
  • Gandler, Stefan (2010). "The Concept of History in Walter Benjamin's Critical Theory," in Radical Philosophy Review, San Francisco, CA, Vol. 13, Nr. 1, pp. 19–42. ISSN 1388-4441.
  • Jacobs, Carol. (1999). In the Language of Walter Benjamin. Baltimore: Johns Hopkins Press. ISBN 978-0-8018-6031-7 (cloth) – ISBN 978-0-8018-6669-2 (paper)
  • Jennings, Michael. (1987). Dialectical Images: Walter Benjamin's Theory of Literary Criticism. Ithaca: Cornell University Press. ISBN 978-0-8014-2006-1 (cloth)
  • Jacobson, Eric. (2003). Metaphysics of the Profane: The Political Theology of Walter Benjamin and Gershom Scholem. New York: Columbia University Press, ISBN 978-0-231-12657-1, S. 352ff.
  • Kermode, Frank. "Every Kind of Intelligence; Benjamin," New York Times. 30 July 1978.
  • Kirst-Gundersen, Karoline. Walter Benjamin's Theory of Narrative. Dissertation, University of Wisconsin-Madison, 1989
  • Leslie, Esther. (2000). Walter Benjamin, Overpowering Conformism. London: Pluto Press. ISBN 978-0-7453-1573-7 (cloth) – ISBN 978-0-7453-1568-3 (paper)
  • Lindner, Burkhardt, ed. (2006). Benjamin-Handbuch: Leben – Werk – Wirkung Stuttgart: Metzler. ISBN 978-3-476-01985-1 (paper)
  • Löwy, Michael. (2005). Fire Alarm: Reading Walter Benjamin's 'On the Concept of History.' Trans. Chris Turner. London and New York: Verso.
  • Menke, Bettine. (2010). Das Trauerspiel-Buch. Der Souverän – das Trauerspiel – Konstellationen – Ruinen. Bielefeld: transcript-Verlag. ISBN 978-3-89942-634-2.
  • Missac, Pierre (1996). Walter Benjamin's Passages. Cambridge: MIT Press. ISBN 978-0-262-13305-0 (cloth) – ISBN 978-0-262-63175-4(paper)
  • Neutert, Natias : Mit Walter Benjamin! Poeto-philosophisches Manifest zur Gründung der Internationalen Walter Benjamin Gesellschaft. Lüdke Verlag, Hamburg 1968.
  • Perret, Catherine "Walter Benjamin sans destin", Ed. La Différence, Paris, 1992, rééd. revue et augmentée d'une préface, Bruxelles, éd. La Lettre volée, 2007.
  • Perrier, Florent, ed., Palmier, Jean-Michel (Author), Marc Jimenez (Preface). (2006) Walter Benjamin. Le chiffonnier, l'Ange et le Petit Bossu. Paris: Klincksieck. ISBN 978-2-252-03591-7
  • Pignotti, Sandro (2009): Walter Benjamin – Judentum und Literatur. Tradition, Ursprung, Lehre mit einer kurzen Geschichte des Zionismus. Rombach, Freiburg ISBN 978-3-7930-9547-7
  • Plate, S. Brent (2004) Walter Benjamin, Religion and Aesthetics. London: Routledge. ISBN 978-0-415-96992-5
  • Roberts, Julian (1982). Walter Benjamin. London: Macmillan.
  • Rudel, Tilla (2006) : Walter Benjamin L'Ange assassiné, éd. Menges – Place Des Victoires, 2006
  • Scheurmann, Ingrid, ed., Scheurmann, Konrad ed., Unseld, Siegfried (Author), Menninghaus, Winfried (Author), Timothy Nevill (Translator) (1993). For Walter Benjamin – Documentation, Essays and a Sketch including: New Documents on Walter Benjamin's Death. Bonn: AsKI e.V. ISBN 3-930370-00-X
  • Scheurmann, Ingrid / Scheurmann, Konrad (1995). Dani Karavan – Hommage an Walter Benjamin. Der Gedenkort 'Passagen' in Portbou. Homage to Walter Benjamin. 'Passages' Place of Remembrance at Portbou. Mainz: Zabern. ISBN 3-8053-1865-0
  • Scheurmann, Konrad (1994) Passages Dani Karavan: An Environment in Remembrance of Walter Benjamin Stedelijk Museum Amsterdam. Bonn: AsKI e.V. ISBN 3-930370-01-8
  • Schiavoni, Giulio. (2001). Walter Benjamin: Il figlio della felicità. Un percorso biografico e concettuale. Turin: Giulio Einaudi Editore. ISBN 88-06-15729-9
  • Scholem, Gershom. (2003). Walter Benjamin: The Story of a Friendship. Trans. Harry Zohn. New York: New York Review Books. ISBN 1-59017-032-6
  • Steinberg, Michael P., ed. (1996). Walter Benjamin and the Demands of History. Ithaca: Cornell University Press. ISBN 978-0-8014-3135-7 (cloth) – ISBN 978-0-8014-8257-1 (paper)
  • Steiner, Uwe. (2010). Walter Benjamin: An Introduction to his Work and Thought. Trans. Michael Winkler. Chicago and London: University of Chicago Press. ISBN 978-0-226-77221-9
  • Taussig, Michael. (2006). Walter Benjamin's Grave. Chicago: University of Chicago Press. ISBN 978-0-226-79004-6.
  • Weber, Samuel. (2008). Benjamin's -abilities. Cambridge, MA: Harvard University Press. ISBN 0-674-02837-6 (cloth) – ISBN 0-674-04606-4 (paper)
  • Witte, Bernd. (1996). Walter Benjamin: An Intellectual Biography. New York: Verso. ISBN 978-1-85984-967-5
  • Wizisla, Erdmut. 2009. Walter Benjamin and Bertolt Brecht — The Story of a Friendship. Translated by Christine Shuttleworth. London / New Haven: Libris / Yale University Press. ISBN 978-1-870352-78-9 [Contains a complete translation of the newly discovered Minutes of the meetings around the putative journal Krise und Kritik (1931)].
  • Wolin, Richard, Telos 43, An Aesthetic of Redemption: Benjamin's Path to Trauerspiel. New York: Telos Press Ltd., Spring 1980. (Telos Press).
  • Wolin, Richard, Telos 53, The Benjamin-Congress: Frankfurt (July 13, 1982). New York: Telos Press Ltd., Fall 1982. (Telos Press).
  • Urbich, Jan (2011). "Darstellung bei Walter Benjamin. Die 'Erkenntniskritische Vorrede' im Kontext ästhetischer Darstellungstheorien der Moderne." Berlin: De Gruyter. ISBN 978-3-11-026515-6

External links

  • Works by Walter Benjamin at Open Library
  • Works by or about Walter Benjamin in libraries (WorldCat catalog)
  • Walter Benjamin, at the Stanford Encyclopedia of Philosophy
  • In English and German.The Internationale Walter Benjamin Gesellschaft. (Defunct)
  • Walter Benjamin at
  • Fragments of the Passagenwerk: The Arcades Project, Giles Peaker
  • Aufklärung für Kinder, by Walter Benjamin. 30 broadcasts for German Radio between 1929–1932 specifically for children, maybe 7–14 or so, each consisting of a 20-minute talk or monologue.
  • One Way Street: Fragments for Walter Benjamin (1993), by John Hughes. This documentary provides clear and accessible introductions to some of the central ideas in Benjamin's writings.
  • Protocols to the Experiments on Hashish, Opium and Mescaline Translated by Scott J. Thompson, copyright March 25, 1997
  • From 'Rausch' to Rebellion An introductory essay by Scott J. Thompson
  • Paris, capitale du XIXe siècle In French
  • Walter Benjamin Research Syndicate
  • "Walter Benjamin for Historians", American Historical Review, Vol. 106, No. 5. December 2001.
  • "Walter Benjamin on the idea of Progress" ...and the law of "uneven and combined development"
  • Who Killed Walter Benjamin..., (Spain/The Netherlands/Germany, 2005, 73 min.) a documentary film about the circumstances of Benjamin's death by David Mauas
  • Paris, capital of 19th century, an essay/experimental film about the Passagen-Werk by Benjamin Bardou, France, 2010, 10'
  • The Mysterious Death of Walter Benjamin, Stephen Schwartz, The Weekly Standard, Volume 006, Issue 37, 11 June 2001
  • by Carina BirmanThe Narrow FootholdThrough the Trapdoor: review of describes Benjamin's final days
  • The Arcades Project or The Rhetoric of Hypertext, Heather Marcelle Crickenberger
  • IlluminationsThe Dialectics of Allegoresis: Historical Materialism in Benjamin's , John Parker
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