The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
them as if over electrical wires!' Dolf Sternberger, Panorama (Hamburg, 1938), . 9,3] InJugendstil, the bourgeoisie begins to come to terms with the conditions-not yet, to be sure, of its social dominion-but of its dominion over nature. Insight into these conditions engenders a strain at the threshold of its consciousness. Hence the mysticism (Maeterlinck) which seeks to deflect this pressure; but hence also the reception of technological forms in Jugendstil-for example, of hollow space. [S9,4] The chapter in Zarathustra entitled "Unter T6chtern der Wiiste" is instructive, not only for the fact that the flower maidens-an important Jugendstil motif-make an appearance here in Nietzsche, but also in view of Nietzsche's kinship with Guys. The phrase "deep but without thoughts'"'' perfectly captures the expression worn by the prostitutes in Guys. [S9.,1] The extreme point in the technological organization of the world is the liquida· tion of fertility. The frigid woman embodies the ideal of beauty in Jugendstil. (Jugendstil sees in every woman not Helena but Olympia.) [S9.,2] Individual, group, mass-the group is the principle of genre. For Jugendstil, the isolation of the individual is typical (see Ibsen). [S9a,3] Jugendstil represents an advance, insofar as the bourgeoisie gains access to the technological bases of its control over nature; a regression, insofar as it loses the power of looking the everyday in the face. (That can still be done only within the security of the saving lie.)25-The bourgeoisie senses that its days are numbered; all the more it wishes to stay young. Thus, it deludes itself with the prospect of a longer life or, at the least, a deatll in beauty. [S9a,4] Segantini and Munch; Margarete B6hme and Przybyszewski. [S9.,5] Vaihinger's philosophy of the "as if" isJugendstil's little death knell, sounding for those condemned. [S9a,6] With the early works of Hennebique and the Perret brothers, a new chapter opens in the history of architecture. The desire for escape and renewal, it. should he added, had been seen in the efforts of the Jugendstil school, which failed miserably. These architeets, it seemed, would torture stone to the point of exhaustion, and they thus prepared the way for a fierce reaction in favor of simplicity. Architectural art was to he reborn in serene forms through the utilization of new materials.' Marcel Zahar, !.!.Les Tendances actuelles de l'architecture," Encyclopedie fl"anqa;se, vol. 17, p. 17). [S9.,7]
In his "Salons;' Baudelaire has given himself out as an implacable foe of genre. Baudelaire stands at the beginning of that "modern style" which represents an attempt to liquidate genre. In LeJ FleurJ du mal, this Jugendstil emerges for the first time with its characteristic floral motif. [SI0,IJ The following passage from Valery (OeuvreJ compldeJ, J, cited by Therive, Le TemPJ, April 20, 1939) reads like a reply to Baudelaire: "Modem man is a slave to modernity .... We will soon have to build heavily insulated cloisters .... Speed, numbers, effects of surprise, contrast, repetition, size, novelty, and credulity will be despised there:'" [SI0,2J Concerning sensation: this pattern-novelty and the depreciation that befalls it, with a shock-has found a peculiarly drastic expression since the middle of the nineteenth century. The worn coin loses nothing of its value; the postmarked stamp is devalued. It is probably the first sort of voucher whose validity is inseparable from its character of newness. (The registration of value goes together here with its cancellation.) [SI0,3J On the motif of sterility inJugendstil: procreation was felt to be the least worthy manner of subscribing to the animal side of creation. [SI0,4J The "no" to be grasped as the antithesis of what goes "according to plan:' On the subject of planning, compare Scheerbart's Lesabendio: we are all so weary because we bave no plan. [SI0,5J "Novelty. The cult of novelty. The new is one of those poisonous stimulants which end up becoming more necessary than any food; drugs which onee they get a hold on us, need to be taken in progressively larger doses until they are fatal, though we'd die without them. It is a curious habit-growing thus attached to that perishable part of things in which precisely their novelty consists." Paul Valery, Choses Wes , PI'. 14-15.27 [SI0,6J Decisive passage in Proust concerning the aura. He speaks of his journey to Balbec and comments that it would probably be made today in an automobile, which, moreover, would have its advantages. "But, after all, the special attraction of the journey lies not in our being able to alight at places on the way ... , but in its making the difference between departure and arrival not as imperceptible but as intense as possible, so that we are conscious of it ... intact, as it existed in our mind when imagination bore us from the place in which we were living right to the very heart of a place we longed to see, in a single sweep which seemed miraculous to us not so much because it covered a certain distance as because it united two distinct individualities of the world, took us from one name to an other name; and this difference is accentuated (more than in a form of locomo tion in which, since one can stop and alight where one chooses, there can scarcely be said to be any point of arrival ) by the mysterious operation that is performed
- Page 523 and 524: 00 o "' "'After the Cafe de Paris c
- Page 525 and 526: strain of knowing that her life is
- Page 527 and 528: way, in that red cotton fabric that
- Page 529 and 530: the Palais-Royal of 1789 . ... In s
- Page 531 and 532: [The Streets of Paris] In short, th
- Page 533 and 534: 'Pont d'Austerlitz! Its famous name
- Page 535 and 536: well as their population, and havin
- Page 537 and 538: of the inhabitants." J. B. Pujoulx,
- Page 539 and 540: the bit of blue which the northern
- Page 541 and 542: The importance accorded the traffic
- Page 543 and 544: the coarse moustaches of these infe
- Page 545 and 546: sentation of certain still-life obj
- Page 547 and 548: Principal panoramic representations
- Page 549 and 550: Diorama on the Rue de Bondy, 1837.
- Page 551 and 552: The world exhibition of 1889 had a
- Page 553 and 554: merged with tlus, his image. Even t
- Page 555 and 556: figures . ... Before every door sto
- Page 557 and 558: A look at the ambiguity of the arca
- Page 559 and 560: inely unique-what will never recur.
- Page 561 and 562: only holds good in the space of the
- Page 563 and 564: of this Jugendstil than Barcelona,
- Page 565 and 566: ing, frescoes, decorative tapestry,
- Page 567 and 568: On the upside-down manor house: ""T
- Page 569 and 570: ancient grandeur of painting to its
- Page 571 and 572: This phony in sum knows how to mana
- Page 573: The fundamental motif of Jug ends t
- Page 577 and 578: T [Modes of Lighting] Et noctumis f
- Page 579 and 580: D this kind of lighting, which was
- Page 581 and 582: weekly, on Thursdays and Sundays, a
- Page 583 and 584: the glass tubing, and so forth-were
- Page 585 and 586: [;; to this general illumination, u
- Page 587 and 588: "The influence and development of S
- Page 589 and 590: process for producing gas lighting.
- Page 591 and 592: had run aground on metaphysics.' H
- Page 593 and 594: purpose of stock market quotations?
- Page 595 and 596: o 00 "' people who no longer threat
- Page 597 and 598: 2,700,000 volumes were put into cir
- Page 599 and 600: only the hanknotes of paradise, and
- Page 601 and 602: '" 00 "' proclaimed itself the wond
- Page 603 and 604: 00 00 '" is called "Le Voyageur du
- Page 605 and 606: ""Let us put an end to honors for A
- Page 607 and 608: Primate of the Gauls; there was the
- Page 609 and 610: Le Globe (October 31, 1331), with r
- Page 611 and 612: federation, when their hands are no
- Page 613 and 614: 00 '" "' women, were in no way the
- Page 615 and 616: o o '0 French bourgeoisie gains too
- Page 617 and 618: N '" co they arrived on the day bef
- Page 619 and 620: mediating power, the good sense of
- Page 621 and 622: guine in character anyway like all
- Page 623 and 624: 00 o
In his "Salons;' Baudelaire has given himself out as an implacable foe of genre.<br />
Baudelaire stands at the beginning of that "modern style" which represents an<br />
attempt to liquidate genre. In LeJ FleurJ du mal, this Jugendstil emerges for the<br />
first time with its characteristic floral motif. [SI0,IJ<br />
<strong>The</strong> following passage from Valery (OeuvreJ compldeJ, J, cited by <strong>The</strong>rive, Le<br />
TemPJ, April 20, 1939) reads like a reply to Baudelaire: "Modem man is a slave to<br />
modernity .... We will soon have to build heavily insulated cloisters .... Speed,<br />
numbers, effects of surprise, contrast, repetition, size, novelty, and credulity will<br />
be despised there:'" [SI0,2J<br />
Concerning sensation: this pattern-novelty and the depreciation that befalls it,<br />
with a shock-has found a peculiarly drastic expression since the middle of the<br />
nineteenth century. <strong>The</strong> worn coin loses nothing of its value; the postmarked<br />
stamp is devalued. It is probably the first sort of voucher whose validity is<br />
inseparable from its character of newness. (<strong>The</strong> registration of value goes together<br />
here with its cancellation.) [SI0,3J<br />
On the motif of sterility inJugendstil: procreation was felt to be the least worthy<br />
manner of subscribing to the animal side of creation. [SI0,4J<br />
<strong>The</strong> "no" to be grasped as the antithesis of what goes "according to plan:' On the<br />
subject of planning, compare Scheerbart's Lesabendio: we are all so weary because<br />
we bave no plan. [SI0,5J<br />
"Novelty. <strong>The</strong> cult of novelty. <strong>The</strong> new is one of those poisonous stimulants which<br />
end up becoming more necessary than any food; drugs which onee they get a hold<br />
on us, need to be taken in progressively larger doses until they are fatal, though<br />
we'd die without them. It is a curious habit-growing thus attached to that perishable<br />
part of things in which precisely their novelty consists." Paul Valery, Choses<br />
Wes , PI'. 14-15.27 [SI0,6J<br />
Decisive passage in Proust concerning the aura. He speaks of his journey to<br />
Balbec and comments that it would probably be made today in an automobile,<br />
which, moreover, would have its advantages. "But, after all, the special attraction<br />
of the journey lies not in our being able to alight at places on the way ... , but in<br />
its making the difference between departure and arrival not as imperceptible but<br />
as intense as possible, so that we are conscious of it ... intact, as it existed in our<br />
mind when imagination bore us from the place in which we were living right to<br />
the very heart of a place we longed to see, in a single sweep which seemed<br />
miraculous to us not so much because it covered a certain distance as because it<br />
united two distinct individualities of the world, took us from one name to an<br />
other name; and this difference is accentuated (more than in a form of locomo<br />
tion in which, since one can stop and alight where one chooses, there can scarcely<br />
be said to be any point of arrival ) by the mysterious operation that is performed
Change language