Things Temporal Exposé, Passages from Benjamin

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 Benjamin's 1935 and 1939 Exposés for The Arcades Project, my paper develops the keywords of the Exposés (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 Benjamin's “objective” framing of temporality. In the Exposés 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.