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 venture is the incomplete, ultimate paintings of influential cultural theorist, critic, and historian Walter Benjamin. until eventually 1999, this massive, unruly manuscript, which gives a extra whole photo of the variety of Benjamin’s paintings than previously to be had, had now not been absolutely translated into English. Benjamin now could be 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 venture is a mass of cultural, political, and social fabric awarded within the kind of an enormous montage. Benjamin Now reconsiders the importance of his theories and writings in gentle of this ultimate venture. The individuals amassed during this designated issue—several of whom participated within the translation of The Arcades Project—include best students from sleek tradition and media stories, comparative literature and literary reviews, paintings historical past, philosophy, cultural reviews, 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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Additional resources for Benjamin Now: Critical Encounters with The Arcades Project (Boundary)
His voice is . . mufﬂed like the nighttime rumble of carriages ﬁltering into bedrooms upholstered with plush’’ (AP, J13,7): One can imagine Benjamin’s excitement at coming across this in Maurice Barrès. There are good moments, but essentially the convolutes are on a false trail. They are ﬁtting the poet too literally into a frame. It takes many, many folios before the collage of quotations begins to secrete a genuine sequence of thought. At last, after almost a hundred pages of the 6808 boundary 2 / 30:1 / sheet 43 of 224 Clark / Should Benjamin Have Read Marx?
27 07:19 4. Walter Benjamin, ‘‘Der Begriff der Kunstkritik in der deutschen Romantik’’ (1919), in vol. 1 of Gesammelte Schriften, 99; ‘‘The Concept of Criticism in German Romanticism,’’ trans. David Lachterman, Howard Eiland, and Ian Balfour, in vol. 1 of Benjamin, Selected Writings, ed. Marcus Bullock and Michael W. Jennings (Cambridge: Harvard University Press, 1996), 172. 6808 boundary 2 / 30:1 / sheet 58 of 224 54 boundary 2 / Spring 2003 most important responsibilities of the actor is the spacing out of his actions, so as to make them, he says, ‘‘quotable’’ (GS, 2:529, 536).
It is only the class of snobs that adopts the consumer’s standpoint. 27 07:19 5. Compare ‘‘Baudelaire had the good fortune to be the contemporary of a bourgeoisie that could not yet employ, as accomplice of its domination, such an asocial type as he represented. The incorporation of a nihilism into its hegemonic apparatus was reserved for the bourgeoisie of the twentieth century’’ (AP, J91,5). 27 07:19 44 boundary 2 / Spring 2003 The foundations for a psychology of the bourgeois class are much sooner to be found in the following sentence from Marx, which makes it possible, in particular, to describe the inﬂuence which this class exerts, as model and as customer, on art’’ (AP, X2,2).