The Arcades Project

1090 Pages·2010·24.81 MB·English

THE ARCADES PROJECT
THE ARCADES PROJECT

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THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS
THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS
CAMBRIDGE, MASSACHUSETTS, AND LONDON, ENGLAND
CAMBRIDGE, MASSACHUSETTS, AND LONDON, ENGLAND
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"The Arcades of Paris"
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the subject of the Paris arcades-Ies ppaassssaaggese-s-wwhhiicchh he considered the most
the subject of the Paris arcades-Ies he considered the most
important architectural form of the nineteenth century, and which he linked with
important architectural form of the nineteenth century, and which he linked with
a number of phenomena characteristic of that century's major and minor preoc
a number of phenomena characteristic of that century's major and minor preoc­
ccuuppaattiioonnss.. AA ggllaannccee aatt tthhee oovveerrvviieeww pprreecceeddiinngg tthhee ""CCoonnvvoolluutteess"" aatt tthhee cceenntteerr ooff
the work reveals the range of these phenomena, which extend from the literary
the work reveals the range of these phenomena, which extend from the literary
and philosophical to the political, economic, and technological, with all sorts of
and philosophical to the political, economic, and technological, with all sorts of
intermediate relations. Benjamin's intention from the first, it would seem, was to
intermediate relations. Benjamin's intention from the first, it would seem, was to
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the "primal history" of the nineteenth century. This was something that could be
the "primal history" of the nineteenth century. This was something that could be
realized only indirectly, through "cnnning": it was not the great men and cele
realized only indirectly, through "cnnning": it was not the great men and cele­
brated events of traditional historiography but rather the "refuse" and "detritus"
brated events of traditional historiography but rather the "refuse" and "detritus"
of history, the half-concealed, variegated traces of the daily life of "the collective;'
of history, the half-concealed, variegated traces of the daily life of "the collective;'
that was to be the object of study, and with the aid of methods more akin-above
that was to be the object of study, and with the aid of methods more akin-above
all, in their dependence on chance-to the methods of the nineteenth-century
all, in their dependence on chance-to the methods of the nineteenth-century
collector of antiquities and curiosities, or indeed to the methods of the nine
collector of antiquities and curiosities, or indeed to the methods of the nine­
teenth-century ragpicker, than to those of the modern historian. Not conceptual
teenth-century ragpicker, than to those of the modern historian. Not conceptual
analysis but something like dream interpretation was the model. The nineteenth
analysis but something like dream interpretation was the model. The nineteenth
century was the collective dream which we, its heirs, were obliged to reenter, as
century was the collective dream which we, its heirs, were obliged to reenter, as
patiently and minutely as possible, in order to follow out its ramifications and,
patiently and minutely as possible, in order to follow out its ramifications and,
finally, awaken from it. This, at any rate, was how it looked at the outset of the
finally, awaken from it. This, at any rate, was how it looked at the outset of the
project, which wore a good many faces over time.
project, which wore a good many faces over time.
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arcades, the project had quickly burgeoned under the influence of Surrealism, a
arcades, the project had quickly burgeoned under the influence of Surrealism, a
movement toward which Benjamin always maintained a pronounced ambiva
movement toward which Benjamin always maintained a pronounced ambiva­
lence. Before long, it was an essay he had in mind, "Pariser Passagen: Eine
lence. Before long, it was an essay he had in mind, "Pariser Passagen: Eine
ddiiaalleekkttiisscchhee FFeeeerriiee"" (p(paarriiss AArrccaaddeess:: AA DDiiaalleeccttiiccaall FFaaiirryyllaanndd)),, aanndd tthheenn,, aa ffeeww
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of the Nineteenth Century). For some two-and-a-half years, at the end of the
of the Nineteenth Century). For some two-and-a-half years, at the end of the
Twenties, having expressed his sense of alienation from contemporary G<:rman
Twenties, having expressed his sense of alienation from contemporary G<:rman
writers and his affinity with the French cultural milieu, Benjamin worked inter
writers and his affinity with the French cultural milieu, Benjamin worked inter­
mittently on reams of notes and sketches, producing one short essay, "Der
mittently on reams of notes and sketches, producing one short essay, "Der