The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
No. 198 {The merit of this little volume lies in the evocation of the different districts of a great city. It is not their picturesque aspect that concerns the author, nor anything exterior. It is, rather, the unique character conferred on each of these quartiers by the social strata informing them and the occupations of the residents.} If the speculative phenomena attendant on "Haussmannization" remain for the most part in shadow, the tactical interests of the reform-interests which Napoleon III willingly concealed behind his impelal ambitions emerge more clearly. A contemporary apology for Haussmann's project is comparatively frank on this subject. It commends the new streets for "not subserving the customary tactics of the local insurrections." Before this, Paris had already been paved in wood so as to deprive the revolution of its building material. As Karl Gutzkow writes in his Pariser Bri'!ftn, "no one builds barricades out of blocks of wood." To appreciate what is meant by this, recall that in 1830 some six thousand barricades were counted in the city. Louis Philippe already had the nickname "Roi-Maon" . With Napoleon III, the mercantile, hygienic, and military forces bent on trans forming tl,e city's image were allied with the aspiration to immortalize in monuments of lasting peace. In Haussmann he found the energy necessary for implementation of the plan. Putting the energy to work was, of course, not easy for him. A careerist in the service of a usurper III. Haussmarm and Napoleon III II. Strategic embellishment III. Fantastic accounts of Haussmann Strategic embellishment The technique ofbamcade fighting The strategic lines The theoretic base Jurisprudence 'The spectacles; aesthetics Destluctive-Pacific Imperialism or lThe Haussmannization of Paris II Haussmann's means The careerist serving the usurper Napoleon as pretender to the throne TIle coup d \ etat and Haussmarm Intran The police and Orsini's assassination attempt Significance of substructions The railroads The world exhibitions The new city planning Haussmalill and the parlimnent Haussmann's later career
;': No. 20" 0> Plan of March 1934 +Haussmann, or Strategic Embellishment Grandville, or the World Exhibition**) Baudelaire, or the Streets of Paris***) Louis Philippe, or the Intcrior****) *****) ++) "i"Daguerre, or the Panorama Fourier, or the Arcades [[ Psychology of the newspaper: the need for novelty JJ ****) Fashion ***) FHineur Boredom *****) ****) ++ the collector Paris Capital of the Nineteenth Century [[portrait of Haussmann; destructive energies in him II Class warfare }fetish character of the commodity The boheme The collective unconscious [[Cross-schemas Paris Metaphysics Proletariat Physiognomies (?) Dialectics 11 Jugendsll1 (Jugendstil as end of the interior) 201a: Le Travail I. Fourier, or the Arcades His figure set off against the Empire / Antiquity and Cockaigne / Historical hedomsll1*** Fourier andJean Paul /Why there was no French idealism (II. Daguerre, or the Panorama (passage des Panoramas, 1800) Panoranlas / Museums / Exhibitions / TI,e premature syntheses / TI,e breakthrough of the daguerreotype / Irruption of technology into the realm of art} III. Louis Philippe, or the Interior The dream house** / (The collector / The fianeur / The gambler J IV Grandvll1e, or the Wo rld Exhibition Collector Happiness in machinery / The commodity in the cosmos / Gambler Fourier's dream Forger Plekhanov on 1889 Baneur V Haussmann, or the Embellislmlent of Paris *** Origin of the arcades and prinlal history ** the chthonic Paris
- Page 877 and 878: ance, we have to experience indire
- Page 879 and 880: Concretion extinguishes thought; ab
- Page 881 and 882: Thomasius, Vam Recht des Schlafi un
- Page 883 and 884: Fashion is intention that ignites;
- Page 886 and 887: Arcades This brief essay, dating fr
- Page 888 and 889: These originally untitled texts (G
- Page 890 and 891: on the tip of one's tongue. Nter al
- Page 892 and 893: information bureaus and detective a
- Page 894 and 895: inclined to linger before the trans
- Page 896 and 897: ealized: here, at one time, after P
- Page 898 and 899: superstition. Thus in gambler and p
- Page 900 and 901: The Ring of Saturn or Some Remarks
- Page 902 and 903: allow our steel furnishings of toda
- Page 904: Walter BeIamin at the card catalogu
- Page 908 and 909: Expose of 1935, Early Version The e
- Page 910 and 911: The flaneur as counterpart of the "
- Page 912 and 913: essence of the images which the dre
- Page 914 and 915: Materials for the Expose of 1935 Th
- Page 916 and 917: Gaslight in Baudelaire Passage de l
- Page 918 and 919: The untranslatable literature of fl
- Page 920 and 921: To ols and workers with Haussmann (
- Page 922 and 923: Dialectic of the commodity A canon
- Page 924 and 925: No. 10 (Boredom) EconOll1ic rudimen
- Page 926 and 927: No. 12 Methodological Dialectical i
- Page 930 and 931: No. 21 I Fragments of the general l
- Page 932 and 933: (The cashier as livillg image, as a
- Page 934 and 935: Materials for "Arcades" Among Benja
- Page 936 and 937: How a first-class restaurant comes
- Page 938 and 939: A factory producing cockades for we
- Page 940: A bookstore places together an neig
- Page 944 and 945: Dialectics at a Standstill Approach
- Page 946 and 947: with and finally overgrown by quota
- Page 948 and 949: teenth century, and in it a specifi
- Page 950 and 951: the immersion of what has been into
- Page 952 and 953: various reasons. Retrospectively, h
- Page 954 and 955: (Expose of 1935, section I). To beg
- Page 956 and 957: image. Physiognomic thought was ass
- Page 958 and 959: two meanings in Belamin's texts; th
- Page 960 and 961: clocks, as during the July revoluti
- Page 962 and 963: continued, "told me how to find you
- Page 964 and 965: He said that his decision to spend
- Page 966 and 967: Mter the vineY31-d, we rested on a
- Page 968 and 969: For all that came later. l11en, bac
- Page 970 and 971: Translators' Notes Abbreviations GS
- Page 972 and 973: Expose of 1939 The second expose, "
- Page 974 and 975: 2. The Passage du Caire was the fir
- Page 976 and 977: ing; Friederike Kempner (1836-1904)
;': No. 20"<br />
0><br />
Plan of March 1934<br />
+Haussmann, or Strategic<br />
Embellishment<br />
Grandville, or the World Exhibition**)<br />
Baudelaire, or the Streets of Paris***)<br />
Louis Philippe, or the<br />
Intcrior****) *****) ++)<br />
"i"Daguerre, or the Panorama<br />
Fourier, or the <strong>Arcades</strong><br />
[[ Psychology of the newspaper:<br />
the need for novelty JJ<br />
****) Fashion<br />
***) FHineur<br />
Boredom *****)<br />
****)<br />
++<br />
the collector<br />
Paris<br />
Capital of the Nineteenth Century<br />
[[portrait of Haussmann;<br />
destructive energies in him II<br />
Class warfare<br />
}fetish character of the commodity<br />
<strong>The</strong> boheme<br />
<strong>The</strong> collective unconscious<br />
[[Cross-schemas<br />
Paris Metaphysics<br />
Proletariat Physiognomies (?)<br />
Dialectics 11<br />
Jugendsll1 (Jugendstil as end of the interior)<br />
201a: Le Travail<br />
I. Fourier, or the <strong>Arcades</strong><br />
His figure set off against the Empire / Antiquity and Cockaigne / Historical<br />
hedomsll1***<br />
Fourier andJean Paul /Why there was no French idealism<br />
(II. Daguerre, or the Panorama (passage des Panoramas, 1800)<br />
Panoranlas / Museums / Exhibitions / TI,e premature syntheses / TI,e<br />
breakthrough of the daguerreotype / Irruption of technology into the<br />
realm of art}<br />
III. Louis Philippe, or the Interior<br />
<strong>The</strong> dream house** / (<strong>The</strong> collector / <strong>The</strong> fianeur / <strong>The</strong> gambler J<br />
IV Grandvll1e, or the Wo rld Exhibition<br />
Collector<br />
Happiness in machinery / <strong>The</strong> commodity in the cosmos /<br />
Gambler<br />
Fourier's dream<br />
Forger<br />
Plekhanov on 1889<br />
Baneur<br />
V Haussmann, or the Embellislmlent of Paris<br />
*** Origin of the arcades and<br />
prinlal history<br />
** the chthonic Paris