Walter Benjamin's magnum opus was a book he did not live to
write. In The Dialectics of Seeing, Susan Buck-Morss offers an
inventive reconstruction of the Passagen Werk, or Arcades Project,
as it might have taken form.Working with Benjamin's vast files of
citations and commentary which contain a myriad of historical
details from the dawn of consumer culture, Buck-Morss makes visible
the conceptual structure that gives these fragments philosophical
coherence. She uses images throughout the book to demonstrate that
Benjamin took the debris of mass culture seriously as the source of
philosophical truth.The Paris Arcades that so fascinated Benjamin
(as they did the Surrealists whose "materialist metaphysics" he
admired) were the prototype, the 19th century "ur-form" of the
modern shopping mall. Benjamin's dialectics of seeing demonstrate
how to read these consumer dream houses and so many other material
objects of the time - from air balloons to women's fashions, from
Baudelaire's poetry to Grandville's cartoons - as anticipations of
social utopia and, simultaneously, as clues for a radical political
critique.Buck-Morss plots Benjamin's intellectual orientation on
axes running east and west, north and south - Moscow Paris,
Berlin-Naples - and shows how such thinking in coordinates can
explain his understanding of "dialectics at a standstill." She
argues for the continuing relevance of Benjamin's insights but then
allows a set of "afterimages" to have the last word.Susan
Buck-Morss is Professor of Political Philosophy and Social Theory
at Cornell University. The Dialectics of Seeing is included in the
series Studies in Contemporary German Social Thought, edited by
Thomas McCarthy.
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