Professional Documents
Culture Documents
DOI: 10.1080/1479758032000079774
Abstract
Nineteenth-century Paris was for Walter Benjamin the site of a singular historical
event, the ur-form of bourgeois modernity. It was a hellish time disastrously bent on
repeating itself and yet a threshold of great promise and possibility. By focusing on
Benjamins 1935 and 1939 Exposes for The Arcades Project, my paper develops the
keywords of the Exposes (Arcades, Fashion, etc.), and elaborates ways in which these
objects articulate such different temporal possibilities. For example, fashion enacts
an
eternally recurrent and capital time, whereas arcades represent wish images of the
past
that might be actualized into utopian promises of the future. My argument develops
Benjamins objective framing of temporality. In the Exposes specific and
phenomenal
things communicate temporalities specific to modernity. Objects not only communicate
time but also enable the temporal experience of the modern subject. This reading
challenges idealist interpretations of temporality grounded within an interiorizing
subject. I do not argue that Benjamin privileges an objective temporal horizon over
the
subject but rather that he resituates dialectical possibilities of temporality in the
engagement between subjects and commonplace objects.
As I study this age which is so close to us and so remote, I compare myself to a
surgeon operating with local anesthetic: I work in areas that are numb, dead yet
the patient is alive and can still talk.
Walter Benjamin, The Arcades Project
What kind of address is this? What is the vocative function of these blinks,
whispers, gazes and questions? This first set of questions treats perceptibility.
48 A. Lefebvre
How do moderns a wanderer in the arcade, for example recognize and engage
with objects and space? How does the subject negotiate encounters with objects?
Many readers of Benjamins Paris writings perceive in them exteriorization of the
spirit, an Entausserung gone mad (Leslie 2000:153; Markus 2001; Mehlman
1993:689). They find a space fugitive, interrogative, conspirational that
develops a claim made by Hegel to the truth of its exaggeration; namely, that to
endow objects with life is to make them into gods (ONeill 1996:5). We shall
argue that Benjamin articulates a certain crisis of immanence that is accelerated
and exaggerated in commodification whereby we experience not the thingness of
the thing but rather the thingness of the self and the selfness of the thing.
Perception and perceptibility involve more than simply the capacity to see, but
depends upon and supports a temporal organization of the world (Marder
relations, no distributions and no rules ever change. Benjamins text indicates that
this eternally recurring economy of punishment is singularly historical a product
of its times, the complement of that society (1939:25) and also an abeyance of
the possibility of time, except for iterative perdition.
Here, we observe a peculiar temporality. Modern damnation is rendered
immanently and tautologically: we are damned because we endure punishments
but these punishments constitute damnation. This is a universe which repeats
endlessly and performs imperturbably the same routines (Benjamin citing
Blanqui 1939:26). Punishment is the fact that we have to keep on enduring
punishment. Benjamins sentence of damnation (1939:26) has an inexpiable
syntax and thus of duration; it suffers punishments from within an immanently
generated form of time/timelessness, while this form is nothing else than its most
formidable punishment. As Baudelaire puts it, the person living in hellish time
sees nothing but disillusion and bitterness, and before him nothing but a tempest
which contains nothing new, neither instruction nor pain (Benjamin 1968a:193).
Since we argue for a displacement of time into objectivity, we will develop a
specific example of hellish temporality. In the Exposes there is a sustained
displacement of the experience and possibility of time into the objective modernity
of nineteenth-century Paris. Perhaps the most singular enactment of temporal
damnation is crystallized within fashion. Indeed, Benjamin anticipated constructing
The Arcades Project as a metaphysics of fashion, whereby fashion
would be the modern measure of time (Buck-Morss 1989:97). The relevant
quality of fashion is its production of a particular consciousness of time: novelty.
The novelty form of commodity time is precisely its operation of hellish time: a
dynamic standstill. It is dynamic because of its new velocities of acceleration
and antiquation but this dynamism is in service of eliminating all discontinuities
and sudden ends (Benjamin 1999:656). Fashion overcomes [aufgehoben] birth
and death, ruptures that would impinge on its present moment. Fashion
circulates birth and death so that they propose no significant disjunction, only a
recurrence of the same rising and passing away.
50 A. Lefebvre
Capital-time is economic circularity: a time that never gives anything without
reappropriation, circular return, repetition and capitalization (Derrida 1992:101).
But fashion proceeds by disjunctures and breaks as the temporality of nouveaute,
[which is] a quality independent of the use value of the commodity. It is the
source of that illusion of which fashion is the tireless purveyor . . . this semblance
of the new is reflected, like one mirror in another, in the semblance of the ever
recurrent (Benjamin 1939:22; 1935:11). Since nouveaute is a quality independent
of the use value of the commodity, it is separate from and anterior to its
manifestations in the commodity. The material object is a latent or late arrival to
its temporal form (the nouveaute of fashion). Novelty is the originary time of
damned modernity: new while recurrent. Completely un-substantial and tireless,
novelty is never anything other than contemporaneous: to be contemporaine de
tout le monde that is the keenest and most secret satisfaction that fashion can
offer (Benjamin 1999:66).
Yet novelty in itself is impossible; it is only a quasi-temporality. Newness, for all
its independence from the commodity, requires objects as vehicles to announce
itself. Benjamin makes the Hegelian point that spirit (or time) cannot remain
indeterminately abstract but must pass into substantiality (Hegel 1991:185). But
while Hegel circulates spirit as witness to the manifest dynamic of history,
Benjamin shows this concretization to be crystallized and suspended. This
crystallized dialectic is expressed in Benjamins remark that the eternal is any
case far more the ruffle on a dress than some idea (1999:69). The ruffle is time
done-up as frozen substantiality; whether the dress is of this season or the last it
promises the same for eternity. Novelty is a perfect example of the performance
Thus, in each major section of the Exposes Benjamin posits a spatial concretion of
eternally recurrent/novel time similar to what I detailed using fashion. For
example, the long avenues of Baron Georges Haussmanns urban planning
replaced the warren of medieval Paris, thereby setting in place a spatial apparatus
for capital speculation and circularity. Moreover, with the help of these new
property and circulatory city forms, Haussmanns project was to secure the city
against civil war by widening the boulevards such that barricades would be
ineffective (Benjamin 1939:23). With Haussmanns broad perspectives in mind
we can again see how Benjamin in the Exposes develops the recurrence of time in
spatial forms. With the Haussmannization of Paris, the phantasmagoria was
rendered in stone: the phantasmagoria metaphor of circuitry, fetish and illusion
communicates times that only spin around and around, re-volutions preventing
revolutionary interruptions (1939:24).
And while Haussmannization established phantasmagoric time publicly, the
bourgeois interieur spatializes eternal recurrence privately. Both retreating from,
and sustaining the shock-anesthetization of city life, the domestic interior
sustains [the private individual] in his illusions (Benjamin 1939:19). In this space,
the individual ensconces himself in cultured and individuated spaces to
compensate for the absence of any trace of private life in the big city (1939:20).
By leaving imprints to palliate a traceless and anonymous modern public
existence these spaces elicit a time and mood indicating precisely to what extent
the nineteenth-century interior is itself a stimulus to intoxication and dream
(Benjamin 1999:216). This is a dream which both confines and condemns the
historical hour to an eternal one. In the complicity of Haussmannization with the
interieur we can see how Benjamin treats these forms as space-times and
52 A. Lefebvre
dreamtimes [zeit-traum] wherein the individual consciousness more and more
secures itself in reflecting, while the collective consciousness sinks into ever
deeper sleep (1999:389).
Let us consider one more instantiation of hellish time: Baudelaires herald in the
poem Les Sept Vieillards. Here the poet meets seven individuals all alike:
Doubtless to you my dread seems ludicrous,
Unless a brotherly shudder lets you see:
For all their imminent decrepitude,
These seven monsters had eternal life!
I doubt if I could have survived an eighth,
Such apparition, father and son of himself,
Inexorable Phoenix, loathsome avatar!
I turned my back on the whole damned parade. (Benjamin 1999:362)
[Que celui-l`a qui rit de mon inquietude,
Et qui nest pas saisi dun frisson fraternal,
Songe bien que malgre tant de decrepitude
Ces sept monsters hidieux avaient lair eternal!
Aurais-je, sans mourir, contemple le huiti`eme,
Sosie inexorable, ironique et fatal,
Dego utant Phenix, fils et p`ere de lui-meme?
Mais je tournai le dos au cort`ege infernal. (Baudelaire 1968:173)]
The discovery of the absolutely novel and infinitely reproducible type is the
ultimate physiognomy. Here the temporality of novelty and recurrence are
objectified in the human subject: the newness for which [Baudelaire] was on the
lookout all his life consists in nothing other than this phantasmagoria of what is
always the same (Benjamin 1939:22). What sort of herald could this be
(1939:24)? What future can this type bring tidings of? Can an avatar speak if it is
always and only the present iterated? The stillborn Phoenix, the auto-engendering
spawn, an eternally imminent decrepitude all these are versions of damned
temporality. Baudelaires horror is due both to the infinite repetition in space and
to the singular articulation of time. Most disquieting is the brotherly shudder we
feel, for we now look like Baudelaire himself and realize that counting him and
ourselves, we have multiplied far beyond eight.
To conclude this section I repeat that in its objective orientation, bourgeois Paris
of the Second Empire has forbidden any becoming-time of time. In its commodity
form, Paris is an anachronism. Now, let us turn to other objects and consider how
Benjamin will discover possibilities of non-contemporaneity, projection, restoration
and inconclusiveness.
III. Memories of the future
Baudelaire is not alone in disquietude. Parisians too feel estranged from their
city: they no longer feel at home there, and start to become conscious of the
inhuman character of the metropolis (1935:12). The inhuman is an apt
Things Temporal Expose, Passages from Benjamin 53
characterization of a city whose objective temporal properties enact only monadic
recurrence. Derrida provides us with an observation to frame this anxiety:
In order to constitute the space of a habitable house and a home, you also need
an opening, a door and windows; you have to give up passage to the outside
world [letranger]. There is no house or interior without a door or windows. The
monad of home has to be hospitable in order to be ipse, itself at home, habitable
at-home in the relation of the self to itself. (2000:61)
Though not using the same terms as Derrida, Benjamin depicts Paris of the
Second Empire as having shuttered itself so that nothing (no-thing) different or
new can emerge or enter. To mix Benjamin and Derrida slightly, the interior does
have entrances and windows but these simple open onto the broader field of
Haussmanns stony spinning phantasmagoria. Nothing is ever new because of
novelty. It is necessary for any home or space to be open to an other who may
enter and potentially disrupt. The conditions of hospitality are those of
intersubjective dialectics more generally: the other must inhabit, affect and
engage with the self for either of these two positions to exist. What we tried to
demonstrate in the previous section may be considered the foreclosure of a
temporal hospitality. Negatively put, the objects disseminating novelty-time
block the entrance of other time forms so that the present is reiterated.
Benjamin realizes this necessity of the guest and other (hospitality). But he
reorients the entrance. To achieve non-contemporaneity within itself (and thus
redeem the possibility of a critical present rather than recurrent presencing)
Benjamin locates alternate temporalities within the same objects enacting
recurrent time. He expresses this immanent and objective otherness through the
categories of wish-image and primal past. These images emerge wherever
and whenever old and the new interpenetrate (1935:4), i.e. fashion, arcades,
crowds and boulevards but in such a way these new things are not resumed into
novelty. For within these new forms and objects there exist traces which could,
potentially, overcome the stammering and stalled dialectic of novelty and
transfigure the immaturity of the social product (1935:4).
What sort of traces? How could the new and the time-forms in which it
inheres be thought differently and transfigured? Overcoming this social
immaturity requires the realization that this so-called immaturity is the most
developed time-form of Second Empire Paris (i.e. novelty). When Benjamin writes
that what emerges in these wish images is the resolute effort to distance oneself
from all that is antiquated which includes . . . the recent past (1935:4), he
identifies a distance that must be put between a mode of time that is itself
antiquated, or a form of time which is the constant antiquation of the present into
the recent past, over again.
To distance oneself from the eternal present is to deflect the imagination (which
is given impetus by the new) back upon the primal past. In the dream in which each
epoch entertains images of its successor, the latter appears wedded to elements of
primal history [Urgeschichte] (1935:4, my emphasis). The primal past does not
mean an ideal unrealized. Rather, the potential of the primal past motivates and
impels us to critically reflect upon the present because its desires were never
fulfilled. What provokes this reflection, Benjamin avers, is the impetus of the new
and of new social products that might be engendered such that they would not
54 A. Lefebvre
service recurrence. Objects embody alternative time-forms that deflect us from the
cycle and closure of hellish time unto an indeterminate and open primal past:
And the experiences of such a society as stored in the unconscious of the
collective engender, through interpenetration with what is new, the utopia that
has left its trace in a thousand configurations of life, from enduring edifices to passing
fashion (1935:45, my emphasis). The wish-image here, a utopia tracing its
memory is a fundamentally temporal concept. Moreover, it is inscribed in
objects, incommunicable except through objects.
Before returning to the object-time thematic, we should to develop the temporal
implications of the wish-image. Although not directly elaborated in the Exposes,
this wish-time relation is expressly treated in On Some Motifs in Baudelaire.
Antithetical to gambling or fashionable time (the time of the perpetual
punctum), a wish reaches out or back in time, relating the present and future to
ones earliest hopes of fulfillment: [a wish] accompanies one to the far reaches of
time, that fills and divides time. Thus a wish fulfilled is the crowning of
experience (1968a:179). Wishes therefore require focused and almost concerted
attention to follow it to completion; in fact, the temporality of the wish is such that
the wish merely completes time (1968a:179). As a wish-image, the traces
discerned in thousands of material configurations would require a perceptive
reader to actualize these objective potentials. A subject could complete the
temporal possibilities inhering within the object and thereby accomplish the wish
as the experience of a speculative unity between realized object and redeemed
subject. In its realization, the object would be rescued from both oblivion and
recurrence. And its rescue would also be our own for [it is] a matter of doing
justice to the concrete historical situation of the interest taken in the object
(Benjamin 1999:391). By realizing our deepest and most sustained longings, the
object would be released from its former being into the higher concretion of
now-being [Jetztsein] (waking being!) (Benjamin 1999:391).
Thus, Buck-Morss represents a heroic epic, full of motifs of rescue and peril.
The dialectical historian blasts apart the continuum of history, constructing
historical objects in a politically explosive constellation of past and present, as
a lightning flash of truth . . . a reflection of true transcendence (Buck-Morss
1989:241). In these terms, objects are devoured by their realized potential; they are
accomplished through the assemblages of a subject able to guide the coincident
wish of the subject and object to completion. In the Afterword to her Dialectics of
Seeing, Buck-Morss unequivocally locates Benjamin texts through the ambition of
achieving wish images: Benjamins dialectical images are neither aesthetic nor
arbitrary. He understood historical perspective as a focus on the past that made
the present, as revolutionary now-time (1989:339). Revolutionary now-time
overcomes the punctum of recurrent time; the flash of realization is brought about
only with the perspective and transcendence of seeing an object to fruition in the
temporality of the wish-image. Benjamin, she writes, kept his eyes on this beacon
[of revolutionary now-time] and objects unlock their promises in orbit of this
revolutionary instantiation (Buck-Morss 1989:339).
Buck-Morss is by no means alone in her interpretative strategy. Max Pensky
follows Buck-Morss closely in his question of the nonarbitrariness of the
dialectical image (1992:212). Graeme Gilloch goes so far as to identify the
fundamental basis of Benjamins critical historiography in two procedural
steps: objects are first emptied out and overcome of myth, and afterwards the
Things Temporal Expose, Passages from Benjamin 55
object appears in its afterlife as a form of premonition signing towards the
future (1996:1378). Mitchell, like Gilloch, avers that Benjamin aim[s] at the
formulation of dialectical images, which would capture the objectivity of historical
life as a form of natural history (Mitchell 2001:183, my emphasis). Beatrice
Hassen identifies a speculative idealism in the Trauerspiel whereby the object
travels outside of itself in order to be relieved by redemption and objective
selfpossession,
thereby becoming and being for-itself:
At the deepest point of its fall or immersion into nothingness, allegory in fact
turned into a redemptive figure of itself. A metafigure of sorts, it became,
ironically, a dialectical trick that imbues lifeless matter with the spirit of
resurrection . . . his analysis retained the salvific model such a new conception of
history was to explode. (Hassen 1998:100, 102)
56 A. Lefebvre
Here, our deposited, utopic wish images are addressed as a promesse de bonheur.
Utopia is promissory in temporal terms a not-yet event impelling advent. We
call to the object in hope and expectation; we allow it to deflect and inhabit our
imagination rather than repeat its current manifestation as in fashion, for
example. As Baudelaire writes in Le Voyage, we travel deep in the Unknown
to find the new (Benjamin 1939:22) but here the Unknown emerges from within
the familiar and mundane to lead us out of self-incurred immaturity.
At this level, however, the notion of the apostrophe is no different from the
revolutionary beacon Buck-Morss reads into Benjamin if we invoke it only to
heed our own call and constellation. The Unknown would only be what we had
engendered all along. But Benjamins apostrophe is not limitable to this model
because the call issues from two directions. On the one hand, the collective
consciousness calls out to its own objects and receives, in the form of utopia, a
promise of the future. On the other hand, objects engender our wish images and
configurations of life, thus reversing the direction of the address. As Benjamin
remarks, our wish images and imagination are given impetus by what is new. We
call to them and they call to us. The objective (the things, forms of life) and the
state of constant flux, it is the integration of different tongues into the action of
translation (1968b:77). Every empirico-historical speech tries to restitute an
original logos in the movement of languages in translation. In this sense, the pure
language that results from translation is similar to the double apostrophe I
detected earlier where modern objects and primal or utopic imagery reciprocally
provoke one another into realization. In both cases translation and apostrophe
we are witness to a task and imperative whereby the translator is poised both
to give the new product (the translation, the modern object) inspiration from the
old, and have the old (the primal dream or original text) gain survival, afterlife,
and heightened fulfillment in the new.
Even without developing the complex relations between translation and
objective time, this example may serve to describe how modernite is always citing
primal history (1935:10, my emphasis). Translation produces an echo of the
original within the profane; the translator without entering, aiming at that single
spot where the echo is able to give, in its own language, the reverberation of the
work in the alien one (1968b:76). Modernity is always leaving a trace of primal
history arche classlessness is pure language in that neither exist except as a
movement of difference and integration only to pick up its echo and
reverberation, making our own language alien and the echo originary.
Let us consider a specific instance of translation: Fourier and the arcades. As
before, Fourier is the cite/site where the old and new converge: the secret cue for
the Fourierist utopia is the advent of machines (1939:16). In order to transfigure
the immaturity of the social product, Fourier reaches back to a primal past prior
and subsequent to all designations of maturity and immaturity. He evokes the echo
of pure language, the land of milk and honey, the primeval wish symbol . . .
filled with new life (1935:45). In The Task of the Translator Benjamin claimed
that the original lives on and gains survival and eternity in its translations; pure
58 A. Lefebvre
language is achievable, as a sort of penumbra only in translation (1968b:72).
Moreover, Benjamin insists that The higher the level of a work [the original], the
more does it remain translatable even if its meaning is touched upon only
fleetingly (1968b:81). What text could have a higher level than a utopic wishimage?
This is perhaps why the trace of utopia has left its trace in a thousand
configurations of life, from enduring edifices to passing fashions (1935:4). Primal
history is the original existing work (although it never actually existed) that, as
impetus, provokes reality into achieving its own fiction, hence a movement of
translation.
Thus for Benjamin Fourier is not a proper name at all; instead, it is a
utopianhermeneutic.
Since objects are bearers of the potential of modernity, it would take
a keen and careful listener a complex meshing of the passions mechanistes with
the passion cabaliste to discern our wish images (1939:16). It takes a Fourieristic
sense to perceive that Arcades, those myth-scapes of commodity, are house no
less than street . . . the phanlanstery becomes a city of arcades (1935:10, 5).
Fourier is the possibility of allowing an object its possibility which reality has
debased and cheated it. Adorno too claims that a negative dialectic is a chance to
penetrate the hardened object, to perceive and apprehend, however tenuously,
a history congealed in things (1973:523).
The difference between the dialectic of recognizing traces of a primal past and
translating them through modern means, and the appearance of novelty as
commodity-time form is everything. Dream-images and primal pasts are not
actualized directly nor finally but admit only temporary and provisional
instantiation, and this is precisely the task of both the literary and Fourieristic
translator. Modernity fails when we moderns fail to recognize and realize the
objective qualities of temporality, and thus we lose our ability of response: The
The emphases I have placed in the text are intended to draw attention to an
opportunity and foreclosure of the threshold. Modernity is this threshold, which is
both a hermeneutic and a time. Objects are suspended in it and responsibility
occurs only through it. The threshold is the utopian trace and pure language.
Things Temporal Expose, Passages from Benjamin 59
Here, subjects-objects engage the possibility of the production of temporality, i.e.
the ur-moment of modernity. Not as its origin or determining point at which it
could have gone one way or another. Rather, they engage the ur-moment as
opportunity for the discerning observer to envy a past that never was, and
actualize survive, as Adorno would later term it what is alive once its
realization has been missed. Recuperating these particular things Benjamin lists is
immaterial but indicates that even though all these were recuperated into
recurrent time, they lingered on a threshold for a moment they produced.
As Adorno commented, Benjamin texts attempt to make philosophically
fruitful what has not yet been foreclosed by great intentions (1974:52). It is not
simply that the practical must submit to the fantastic in order to evoke the
dialectic. These objects are described as residual, the original having been
removed or absent. These objects then have potency and possibility because they
are not instructed by great intentions nor programs; they are residual in that they
enable and teach us the time for dreams and wishes: this makes them original and
primary. In this sense, modernity is always originary, providing we take the time
for its objects. Boredom is the threshold to great deeds (1999:105) and it is this
threshold, this possibility and primacy of the object that allows us to perceive a
chthonic city and modernity, without Sisyphus.
Note
1. The author would like to thank John ONeill and Sonya Scott for their careful readings
of this paper.
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