Reflections

While a member of the "outer circle" of the Institute, Benjamin does the least amount of addition, or correction to Marxist theory. The added perceptive that he does provide is perhaps the most at odds with Marx, because of what Marx would call "unscientific" methods.

In the collection of his works, Walter Benjamin demonstrates complete adherence to the notion of history moving through the necessary epochs set forth by Marx; to human material desire being the prime mover of mankind; to the notions of alienation; and to the proletariat being the class with the ability to move mankind (through revolution) from the current epoch of capitalism, to the next epoch, communism. Benjamin challenges orthodox Marxism, with the notion that the individual participant in the bourgeoisie can come to a full awareness of his of his part in the current disintegration of man, by the structure of his method, and by questioning the deterministic element of Marxism. Benjamin’s method is a combination of an artful use of literary tools, empirical observation, and "transcendent" experience.

Benjamin illustrates historical materialism through comparing the imagery of ancient man demonstrating his regard for nature by pouring out libation, with modern man’s use of technology to strip nature of "her" products prematurely. (76) Benjamin’s essays on the cities, particularly Moscow (98), and his essay One Way(75) present in-depth illustrations of alienation. Moscow alludes to alienation through Benjamin comparing it to Berlin. Moscow is full of almost communist life. Men, and women create and sell their own products, they interact with one another. Whereas Benjamin refers to Berlin in that aspect as an empty city, and a reflection of the bourgeoisie attempt to master nature. (98) Benjamin used the great cities in general as a metaphor for humankind’s alienation, from nature, and from one another. (75) He also used cities to depict the bourgeoisie mind, and its perpetuation of its own illusion. (146)

Benjamin at once objectified, and idealized the proletariat. The Proletariat is at once the vehicle for the salvation of mankind from itself (84), and the grandmother looking for treats to bring for her grandchildren on the streets of Moscow. (100)

The transcendent that Benjamin presents has three manifestations. First, Benjamin presents the transcendent character of the bourgeoisie illusion. In the Berlin Chronicle bourgeoisie desire is like the memories of a child: continual, innocently self-perpetuating, the more you expose, the more you find. Next, this transcendent element is presented in Surrealism as the "profane illumination."(179) This illumination(179) is either the bourgeois’s apprehension of it’s participation in capitalism, or its apprehension of a need for change. Benjamin sites the ecstasy of drugs and religion as possible vehicles of initiation into this illumination. Finally, the transcendent is presented in the form of media, art, advertising, and literature. Benjamin’s entire collection represents a (I think) conscious effort to demonstrate that Marxism can be the object of criticism, as well as the mover of history.

Finally, Benjamin’s solution, is unclear. He seems to purport, as Marx does, that this current epoch will come to a violent end, but he is not sure whether it will be at the hands of a proletariat in revolt, or at the hands of a self destructing bourgeoisie.