Argues that Benjamin capitalized on the mimetic potential of rhetorical figures in order to grasp the experience of shock while preserving its shocking nature; discusses his concept of the auratic and his views on the properties of photography as opposed to classical painting; draws attention to the implication that the aura of cliché must already be activated at the initiation of the process of artistic dissemination, which produces cliché; thus the generation of aura coincides with the decay of aura in the consumption of cliché.
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