ABSTRACT
In the annals of the twentieth century, two seminal essays stand out, written by two very different thinkers: one is Walter Benjamin’s ‘The Work of Art in Its Age of Technological Reproducibility’; the other is Jacques Lacan’s ‘The Mirror Stage as Formative of the I Function as Revealed in Psychoanalytical Experience.’ Aside from the fact that they were both written around 1936, what do the two texts have in common? Virtually nothing except that they both are, in essence, anti-Fascist treatises – hence their enduring relevance, particularly at this historical juncture.
