scholarly journals Methods of Indirection: a trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project

2020 ◽  
Author(s):  
Luis Berríos-Negrón ◽  
Patrizia Bach ◽  
Howard Eiland
Prospects ◽  
2002 ◽  
Vol 27 ◽  
pp. 103-119 ◽  
Author(s):  
Kevin J. Hayes

In one of the brief reflections Walter Benjamin composed as part of his Arcades Project, he personified the mid-19th-century domestic interior and made it and the flaneur onfidantes: “The space winks at the flaneur: What do you think may have gone on here?” (418–19). Benjamin typically filtered much of his thought through the figure of the flaneur, a recognizable urban type that emerged during the middle third of the 19th century, one who deliberately strolled the city streets and arcades and attempted to discern the meanings of what he observed. In the fullest scholarly treatment of the subject, Anke Gleber argued that the act of walking formed an essential part of the flaneur's observational process. Discussing such works as E. T. A. Hoffman's “The Cousin's Corner-Window,” however, Gleber did acknowledge a “paradoxical variant,” the stationary flaneur (13).


1991 ◽  
Vol 73 (4) ◽  
pp. 691
Author(s):  
O.K. Werckmeister ◽  
Susan Buck-Morss

Author(s):  
José Sazbón

This paper deals with Walter Benjamin’s text largely known as "Theses on the Philosophy of History," and disputes its classification under that rubric. The circumstances of the elaboration and, more important, the explicit destination assigned to the reflections of the "Theses," require a consideration of its content and its relation to the historical studies the author was engaged in concerning the "prehistory" of modernity, especially of the remnants of the Parisian nineteenth century: the commonly known work "The Arcades Project." The relevance of a sameness in the language used in the two writings, particularly the resort to images, metaphors and the technique of montage, is stressed. It is argued that Benjamin’s philosophical style was always imagistic and that this fact is particularly relevant to the reflections on the concept of history. Philosophers and historians are both concerned by the historical research and concept construction of a thinker like the late Walter Benjamin. It is therefore desirable to compare and contrast their views.


1993 ◽  
Vol 45 (1) ◽  
pp. 90
Author(s):  
Marcus Bullock ◽  
Susan Buck-Morss

Author(s):  
Alexander Kluge

This chapter looks at the dialogue between Prof. Dr. Burkhardt Lindner, editor of the Benjamin Handbook, and Alexander Kluge wherein they talked about Walter Benjamin's Arcades Project (1982). According to his exposé of 1939, Walter Benjamin divided Arcades Project into six parts and called the first “Arcades,” the second “Panoramas,” and the next “World Expositions.” And then came “Interiors,” “Streets,” and then finally “Barricades.” He wrote his exposé incidentally in the present tense such that it did not appear like a story from the past, but rather as if he were an eyewitness of something taking place now. He then assigned a figure to each of these six keywords such that there was within Benjamin's imagination one person who did, planned, or achieved something, on the one hand, and an object world naturally far more powerful, on the other. Lindner and Kluge also considers Benjamin's anthropological materialism.


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