The Arcades Project PDF
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THE ARCADES PROJECT THE ARCADES PROJECT TTrraannssllaatteedd bbyy HHoowwaarrdd EEiillaanndd aanndd KKeevviinn MMccLLaauugghhlliinn PPRREEPPAARREEDD OONN TTHHEE BBAASSIISS OOFF TTHHEE GGEERRMMAANN VVOOLLUUMMEE EEDDIITTEEDD BBYY RROOLLFF TTIIEEDDEEMMAANNNN THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS CAMBRIDGE, MASSACHUSETTS, AND LONDON, ENGLAND CAMBRIDGE, MASSACHUSETTS, AND LONDON, ENGLAND CCooppyryigrhit ©©g h 11t999 99 bb9yy tth he PePr reseidsenit daanendnd FFte el lolwls ooowff HHs aa rrvavrad CCroodlll eglee ge AlAll l rrigihgtsh rretesessr veedr ved PPrrinitend tiinen ttdh he UUenn iitetd SeSttdata est ooeff AAs mm eerricia ca FIFIrrsst HHtaa rrvavrad UrUnndii vevrseitry sPriests yppa apepPrerbareckbs eeasddc itiikont , i220o00n20 ,2 TIlTIlls ls wwoorrk kiis saa tt rarnaslnatsioln oaoftf WWi aaolltentr BBeeernnj ajmainm, DDiaanss , RtR tssssaaggeen-nl#-rkl, #reedkdit,ied t bbeyy dRR oollfTfIeTdIemeadrme,m ccaooprypmryi,grh ti ght ©© 1199882 bb2yy SS uuhhrkrakmap Vmeprl agV; evorlulmaeg 55 ;oo ff WWv aoallltetru Bemerenj amBien,n Gesanm:1Gjeasamnmi:n1tte,e SS ddniftnifteen,n, pprrepeapread rwiweidddll tt hhe cceoo ooppereartioant ooiff1 1o 11n11e oedoord W.Wo. rAA ddoommoo aa nndd GG eerrshsohmo SSmcch holoeml, eeedmdit,ied t bbeyyd RR oollfTfIeTdIemeadrme maanandrd HHm ee rrmmanann n SScchhwwepepepnphaeunsehr, accouopsypreyrigriht,g ©© h 11t99 727, 2119,97 47, 4119,977 7, 117,99 828, 2119,98 58, 5119,98 98 bb9yy SS uuhhrkrakmap VmVeeprlr agl. a""DgDia.ile actlices acattt aa i cs SSttanadnstdills;' tbbyily RRl oo;llf'Tf IeTdIemmarmeadrme,, ww aas sffi ristr ppsuubtbli slheids iihnn EEe nndgg lislhi bbysy MMh I ITT PPrreses, sccosop,ypr yigrhti ©©g 11h99t888 b8by y t het he MMaasssascahucsehttus sIInensttsitutttsei oo tff1ue1tcleemc ollomgyo. logy. PPuubbliclatiiocna ootff thistih ios bbnoo ook khhaa s sbbe eene ssnuu pppoprtoedr bbtyye aa dgg rranat nffrotrm o ttmhh e NNeaa ttioinaol nEEnandldo womwemnet ffnootr ttr hhe HHeuu mmaanni i ttieis,e aasnn ,ii n ndedpeenpdeennt dffeeedendratel araggaenelcyn . cy. PPuubbliclatiiocna ootff ttih hios ibbnoso o ok khha as saal slos bboeee ne aaniid edd ebbydy aa g grranat nffrtorm o IImnn tetr NeNaratt ioineos,n BBeoosnnn,,n , CCoovvere pprhh ootot: Wo:al terW BBaeelnnjtajmeairnm, cciaa.n 11.,99 323. 2PP.hho ototgroapghrera uupnnhkkneonrwo nw. CCnoo.uu rtrestye oosff ttyh he Teh eTohdoero W.Wd. oAArdd oornron o AArrchcivh, iFFvrra,nankk ffuurtr aatmm MMaiainn.. FFrronotinsptieices: pPPiaasessacgseeaJo:gu fefrJoyo, u118f84f54-r51o8-4y17., 8PP 4hho7.oto tgroapghrera upnhkneorw n,u Cnokurnteosyw MMnuu,ss eeeC CCeoaa urnrranvtaaelevst,a yPPla areirst. i,s . PPhhootot ccooop ypryigrhti ©©g PPhhhtoot otthoeqtuhe eddeqes usMMe uu sseeese ddsee lla aVV iillel ddleee PP aarirs. is. 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PPTT2260630.E34.55E PP4335353515 3 1311 99999 9 994444' ..'336 1601801-8d1c2-1d c21 9999~2�762175 615 DDeessiginegdn bbeyy GdG ww eenn NN eeffsksy kFFryra naknfekldft eldt CCOONNTTEENNTTSS TT""aannssllaattoorrss'' FFoorreewwoorrdd ixix EExxppoosseess 11 ""PPaarriiss,, tthhee CCaappiittaall ooff tthhee NNiinneetteeeenntthh CCeennttuurryy"" ((11993355)) 33 ""PPaarriiss,, CCaappiittaall ooff tthhee NNiinneetteeeenntthh CCeennttuurryy"" ((11993399)) 1144 CCoonnvvoolluutteess 2277 OOvveerrvviieeww 2299 FFiirrsstt SSkkeettcchheess 882277 EEaarrllyy DDrraaffttss ""AArrccaaddeess"" 887711 "The Arcades of Paris" 887733 "The Arcades of Paris" ""TThhee RRiinngg ooff SSaattuurnrn"" 888855 AAddddeennddaa EExxppoossee ooff 11993355,, EEaarrllyy VVeerrssiioonn 889933 MMaatteerriiaallss ffoorr tthhee EExxppoossee ooff 11993355 889999 MMaatteerriiaallss ffoorr ""AArrccaaddeess"" 991199 ""DDiiaalleeccttiiccss aatt aa SSttaannddssttiillll;;'' bbyy RRoollff TTiieeddeemmaannnn 992299 ""TThhee SSttoorryy ooff OOlldd BBeennjjaammiinn;;'' bbyy LLiissaa FFiittttkkoo 994466 TTrraannssllaattoorrss'' NNootteess 995555 GGuuiiddee ttoo NNaammeess aanndd TTeerrmmss 11001166 IInnddeexx 11005555 IIlllluussttrraattiioonnss SShhoopsp iisnn tth he ePPa asssagsea VVgeeerra -oD-odDaot dal 3344 GGllasas srrosoo fo aafnn dd iir orno ggniri drerds, ePPraassssa,sge a VVgiivevie nineen ne 3355 TThhee PP aasssasgea ddgeese sPP a annoroamraas mas 3366 AA obrranacnh doolff LL aa BB eellle JJlaaredr indieiren iniin eMMraaerrse silelesil les 4477 TThhee PP aasssagsea ddgee erI 'O Opperear, 11a88,2222 --11882233 4499 SSttrerete sscecetnee ninine ff rornot nooftf tth he ePPaa ssRasgea ddgeesc sPP a annoorramaams as 5500 AAuu BBoonn "(vM iarachrec ddheepeap ratmretrntn sctonret inin PPsaatriros irse 5599 LLee PP oannt desdies ppllanaetnesN, bbeyyJ GG ,rra andnvdillve ille 6655 FFaashsiohniabolen caoburlteesa nsc woeumrintge csrinaonlinse s, wbbeyy HaH oronnioonren§:g DD aacuumrmiieirn eorl ines, 6677 lTobools luussse de hbdyy HH aauusssmsalmllal'sm wwloo'rrksek rse rs 113344 IInntetrioerr ooiff ttoh her eCC r ryystasl tPPaaalallc ea, cLLeoon,nd dono n 115599 La Casse-tete-omanie} au La Fureur du jour 116644 LaC assc-teteo·uL- aoPm uarneidueuT,j our TThhee PP a�riUs 'SSt1tocSok cEEkxxc chahnagen, gmmeiid,d-n -innetieennetht cceeenetnunrtthyu ry 116655 TThhee PP aalalisa ddiee sIl 'I 'ndIunstdrieu aast tttth rhe iewwe oo rrldl eedxxh hibiitiboni ootffi 11 88o55n55 116666 Le Triomphe du kaifidoscope, au Le tombeau du jeu ,hinou 116699 Le'( nom/JdluIt wel r!idJoa sucL oept eornbdeuja euuc hillolJ EExxtetreiorr ooiffo tth rhe eCCr ryystasl tPPaaalallc ea, cLLeoon:nd odno n 118855 CChhaarlresl HBeaasuud edladirae,i bbryy cNN ,aad c::ari:l 1" 222299 nTh,ee PP oonnt-Nte-uNf, ebbyuy CCf hh,aa rlresl MMeeesrry yono n 223322 TThheeopohpilhe iGGalaueutiet r,i bbeyyr NN , aa ddara r 224422 TThhee ss eewewrse oorffs PP aarirs, ibbsyy ,N aNdaard ar 441133 AA PaPrais rooimnsnmi biuhs, ubsy ,HH oonnbooyrer DDeaa uummieir er 443333 Deastdeadalus AA ppaageg ooeff BB eennjajmainm'si mmnaa'nnussuc sricptr ffriorpmot CCm oo nnvovloutle uNNt e 445577 AA ggaallelryl eoofrf tthy he ePPa alalisa-RRioosyya-la l 449911 AA ppaanonroamraa uumnnadde re ccroon sntrsutctrioun ction 552299 AA ddiioroamraa oomnna tt hhe eRu eR dduee eBB oonndyd y 553344 SSeelflf-p-orptroairt bbtyyr NN a aaiddatra r 668800 NNaaddaar iirnn hh isi bbsaa llololn,o bboyyn HH ,oo nnoorer DDeaa uurnrniieer r 668822 TThhee OO rrigiing qqfif PP naa initinngt ing 668833 RRuuee TT rranasnnosnanino, nIIe ae11i55 naav,vri rl 11i88l3344 ,, bbyy HH oonnoorer DDeaa uurnrniieer r 771177 HHoonnoorer DDeaa uurnrniieer,r bb,yy NN aaddaar r 774422 VViicctotr HHouurgg oo, bb,yy EE ttiieleIDleI CCDaaerrjj aat t 774477 LL''ArAtisrtet eeit t{{s' a'tmaeatme uar tddueu ddu ixir-nx e-uvniemeeu ssvieiciieee cmiee 775500 LL''HoHmomme mddeee {{ ' a'rta ddraantsn IIs'' e m ebmarbraas rddere ssoa nos mmn ee titeri er 775511 AAllexeaxndarne dDrumea s Dppeueremr, abebys,y N N aaddaar r 775522 L'Etrangomanie blamee, ou D'Etre Fran,ais il nya pas d'ajfront 778833 L'Etrangombalnaimeeo euD, 'E trFer an,ialni ysa p asd 'ajfront AAcctutaulitea, laa icc atarierca,itu crea ootff utth rhe eeppa ainitenr tGGeuusrsta tvea CCvooeuu rbrebt et 779922 AA bbaarrricradiec ooaff ttdh hee eP Pa arirs iCCsoom mmmuunne e 779944 The Fourierist missionary JeanJoumet, by Nadar 881133 TheF ouriemriisssti oJneaarnyJ oumbeytN ,a dar WWaalltetr eBBreen njajmainm ccioonnsn usltiunlg ttthihe neGGg rra nadn DDdiic tciontniaioren unniaveirsre!e universe! 888888 WWaalltetr eBBreen njajmainm aaitt ntth he ecca ardr ccdaa tatloaguleo oogff tuth hee e BBi ibbliolthieoqute hNNeaatqtiouineaol en ale 888899 TThhee PP aasssagsea CCgbbeooi sieusl eul 992277 TTrraannssllaattoorrss'' FFoorreewwoorrdd T Thhee mmaatteerriiaallss aasssseemmbblleedd iinn VVoolluummee 55 ooff WWaalltteerr BBeennjjaammiinn''ss GGeessaammmmeellttee SScchhrriifflleenn,, uunnddeerr tthhee ttiittllee DDaass PPaassssaaggeenn--WWeerrkk ((fifirrsstt ppuubblliisshheedd iinn 11998822)),, rreepprree sseenntt rreesseeaarrcchh tthhaatt BBeennjjaammiinn ccaarrrriieedd oouutt,, oovveerr aa ppeerriioodd ooff tthhiirrtteeeenn yyeeaarrss,, oonn 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 ggrraasspp ssuucchh ddiivveerrssee mmaatteerriiaall uunnddeerr tthhee ggeenneerraall ccaatteeggoorryy ooff UUrrggeesscchhiicchhttee,, ssiiggnniiffyyiinngg 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. BBeegguunn iinn 11992277 aass aa ppllaannnneedd ccoollllaabboorraattiioonn ffoorr aa nneewwssppaappeerr aarrttiiccllee oonn tthhee 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 yyeeaarrss llaatteerr,, aa bbooookk,, PPaarriiss,, ddiiee HHaauuppttssttaaddtt ddeess XXIIXX.. JJaahhrrhhuunnddeerrttss ((PPaarriiss,, tthhee CCaappiittaall 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
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