Abstract

The essay tries to individuate three grounds on which a certain historical persistence of the aura − after its Walter Benjamin’s declaration of death − can be noticed and synthetically analyzed. On a first level, one can recall the intertwining of the sphere of the Sacred with the modern-contemporary figure of the Artist who, as a charismatic magician, gives artistic status to whatever object or event. On a second plane, we can find the auratic fetishism and enchantment whom nowadays the Technique is surrounded by, so that a sort of ultratechnological hypnosis is approaching our times. The third issue is concerning a careful re-reading of the notion of Verweilen (lingering, hesitation) taken from Hans-Georg Gadamer’s aesthetics and made use of for an examination of the relationship between Art and Life.