By Tom Gunning, Howard Eiland, Henry Sussman, Lindsay Waters, Peter Fenves, Claudia Brodsky Lacour, Peter Wollon, Michael Jennings, Samuel Weber, T. J.Clark
The Arcades undertaking is the incomplete, ultimate paintings of influential cultural theorist, critic, and historian Walter Benjamin. until eventually 1999, this massive, unruly manuscript, which supplies a extra whole photograph of the variety of Benjamin’s paintings than previously to be had, had no longer been totally translated into English. Benjamin now's the 1st number of essays in English to target The Arcades Project.While this crucial text’s name refers to its ostensible subject—the nineteenth-century buying arcades of Paris—The Arcades undertaking is a mass of cultural, political, and social fabric offered within the type of an enormous montage. Benjamin Now reconsiders the importance of his theories and writings in mild of this ultimate undertaking. The individuals collected during this unique issue—several of whom participated within the translation of The Arcades Project—include best students from smooth tradition and media reports, comparative literature and literary stories, paintings background, philosophy, cultural reports, and movie studies.Contributors. T. J. Clark, Howard Eiland, Peter Fenves, Tom Gunning, Michael Jennings, Claudia Brodsky Lacour, Kevin McLaughlin, Philip Rosen, Henry Sussman, Lindsay Waters, Samuel Weber, Peter Wollen
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Extra info for Benjamin Now: Critical Encounters with The Arcades Project (Boundary)
Where agreement breaks down is over how to interpret Benjamin’s choice of the spaces I illustrate (the Passage des Panoramas, photographed, I would guess, at much the same time Benjamin started writing about it; and the Passage Choiseul, shot, by the look of the costumes, maybe a decade or so earlier) as his central objects of study. Many ingenious pages have been written on the subject, but it still seems to me to slip through readers’ ﬁngers. It is Benjamin’s great riddle, built into the structure of his book.
And if you don’t, I am not convinced your version of Marxism will ever attain to the measure of vividness (Anschaulichkeit ) it so much wishes for. Not if your chosen subject is Paris in the nineteenth century. Paris for Benjamin is a city of signs, words, and gesticulations, not scenes and sights. He is a ﬂaneur, not a tourist. Nowhere in the convolutes is there an entry from Murray or Baedeker. I do not believe Benjamin was deeply (meaning blankly) receptive to the look of things. He was at home in the Passage des Panoramas, with the indoor machinery of visualization working full tilt; one senses that if he had ever found himself on Manet’s Butte de Chaillot, or at Caillebotte’s great intersection of the rue de Saint Pétersbourg and rue de Turin, he would not have allowed himself the true frisson of loss of bearings and entry into the realm of the eye.
Something sacral, a vestige of the nave, still attaches to this row of commodities’’ (AP, F4,5). ‘‘Existence in these spaces ﬂows . . without accent, like the events in dreams. Flânerie is the rhythm of this slumber’’ (AP, D2a,1). The proper inhabitant of the arcade is the stroller. For only the stroller is wordless and thoughtless enough to become the means by which the passages dream their dream—of intimacy, equality, homelessness, return to a deep prehistory. ‘‘For the ﬂaneur, every street is precipitous.
Benjamin Now: Critical Encounters with The Arcades Project (Boundary) by Tom Gunning, Howard Eiland, Henry Sussman, Lindsay Waters, Peter Fenves, Claudia Brodsky Lacour, Peter Wollon, Michael Jennings, Samuel Weber, T. J.Clark