Walter Benjamin in New York. American Transpositions of The Arcades Project

2021 ◽  
Vol N° 166 (1) ◽  
pp. 92-113
Author(s):  
Monica Manolescu
2002 ◽  
Vol 96 (1) ◽  
pp. 189-191
Author(s):  
Nicholas Xenos

David McNally styles this book as beginning in a polemic and ending in a “materialist approach to language” much indebted to the German critic Walter Benjamin. The charge is that “postmodernist theory, whether it calls itself poststructuralism, deconstruction or post-Marxism, is constituted by a radical attempt to banish the real human body—the sensate, biocultural, laboring body—from the sphere of language and social life” (p. 1). By treating language as an abstraction, McNally argues, postmodernism constitutes a form of idealism. More than that, it succumbs to and perpetuates the fetishism of commodities disclosed by Marx insofar as it treats the products of human laboring bodies as entities independently of them. Clearly irritated by the claims to radicalism made by those he labels postmodern, McNally thinks he has found their Achilles' heel: “The extra-discursive body, the body that exceeds language and discourse, is the ‘other’ of the new idealism, the entity it seeks to efface in order to bestow absolute sovereignty on language. To acknowledge the centrality of the sensate body to language and society is thus to threaten the whole edifice of postmodernist theory” (p. 2).


Ritið ◽  
2018 ◽  
Vol 18 (2) ◽  
pp. 17-49
Author(s):  
Ástráður Eysteinsson

This essay concerns itself with perceptions of the urban sphere, with its manifestations in literature and life writing, and with the city as a place of strangeness and travel in various senses, including the ways in which it pertains to the individual world view. Cities are places of density and internal connections, but their gates also open out and connect with other places, and increasingly other cities. Following a discussion of the Icelandic links between Copenhagen and Reykjavík, and the slow emergence of the latter as a „literary capital“, the course is set for foreign cities, including Berlin and Paris in the company of Walter Benjamin, and the experience of getting lost with Franz Kafka in places that may be Prague and New York. In attempting to answer the question whether it is possible to become intimate with cities, we have recourse to city guides, life maps, a touring theatre – and the art of losing and finding.


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.


2021 ◽  
pp. 196-208
Author(s):  
Susan McCabe

This tense period held the pair together almost solely through letters. Bryher was in full-tilt rescue work, passing from New York to London, Paris, and Switzerland annually. In New York, Bryher met Nella Larsen and visited Bethlehem, Pennsylvania. Sylvia Beach and Adrienne Monnier introduced Bryher to Walter Benjamin, who exchanged his Berlin around 1900 for her Paris 1900. Bryher sent funds and encouragement while he was interned as an enemy alien. H.D. underwent her personal terror, facing the courts when Aldington resurfaced for a divorce. Bryher coached her in preparation. After the Anschluss, Bryher carried rat poison when traveling (as she had in World War I) and leaked her fears to the Austrian psychoanalyst Walter Schmideberg and to the couple’s new scholar friend at Yale, Norman Pearson, who would soon join the Office of Strategic Services, precursor to the CIA. He shared Bryher’s anxieties and a desire to foster H.D.’s hypersensitive creative intelligence.


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

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