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One-Way Street

Benjamin, Walter Jennings Michael W.
Heftet / 2016 / Engelsk

Produktdetaljer

ISBN
9780674052291
Publisert
2016-05-02
Utgiver
Vendor
The Belknap Press
Vekt
159 gr
Høyde
191 mm
Bredde
127 mm
Dybde
11 mm
Aldersnivå
G, 01
Språk
Product language
Engelsk
Format
Product format
Heftet

Forfatter
Benjamin, Walter
Redaktør
Jennings Michael W.
Oversetter
Jephcott, Edmund
Preface by
Marcus Greil

Om bidragsyterne

Walter Benjamin (1892–1940) was the author of many works of literary and cultural analysis. Michael W. Jennings is Class of 1900 Professor of Modern Languages at Princeton University. Greil Marcus is the author of The Doors, Mystery Train, and other books.

One-Way Street

Benjamin, Walter Jennings Michael W.
Heftet / 2016 / Engelsk
Benjamin, Walter Jennings Michael W.
Heftet / 2016 / Engelsk
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The prose in <i>One-Way Street </i>is positively electrified by the historical moment…Far more important than any residues of past literature, however prevalent, are the ways in which <i>One-Way Street </i>ushers in a wholly original literary aesthetics. Its formal daring is unmatched by any of Benjamin’s earlier work…<i>One-Way Street </i>is dead set on a new mode of materialism, one that shares with Surrealism an esteem for everyday objects, debris, junk, and dross—for whatever is marginal, marginalized, outmoded, or fleeting. This edition’s index testifies to the dizzying thematic diversity of Benjamin’s undertaking: children’s toys, capital punishment, money, mobs, utopia, fancy goods, misery, souvenirs, beggars, and red neon advertising signs reflected in pools of dirty rain. Form in <i>One-Way Street </i>is no mere envelope, but the very arena in which these objects and phenomena clash and generate their sparks. Benjamin’s aphorisms mimic the rhythms of the street, instantiating the experiences most proper to it: distraction, reverie, shock, haste, detour, etc. Scathing critique is mixed with imagistic commentary and surrealistic prose poetry—all broken into shards and scattered like a mosaic of fragments. But however atomized and heterogeneous, the little pieces of <i>One-Way Street</i> pursue a common goal: an idiosyncratic exposé on history (specifically, the disintegration of culture) as deciphered in the most concrete of its artifacts and rituals.

- Michael Blum, Los Angeles Review of Books

<i>One-Way Street </i>is Benjamin’s most daring and experimental book; though short, it contains a wide range of genres ranging from aphorisms and political satire to maxims and instructions.

- Carolin Duttlinger, Times Literary Supplement

One-Way Street is a thoroughfare unlike anything else in literature—by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as “On the Concept of History” and The Arcades Project.Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called “the soul of the commodity.”Despite the diversity of its individual sections, Benjamin’s text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.
Les mer
Presented in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture, composed of 60 short prose pieces that vary wildly in style and theme, offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces.
Les mer
The prose in One-Way Street is positively electrified by the historical moment…Far more important than any residues of past literature, however prevalent, are the ways in which One-Way Street ushers in a wholly original literary aesthetics. Its formal daring is unmatched by any of Benjamin’s earlier work…One-Way Street is dead set on a new mode of materialism, one that shares with Surrealism an esteem for everyday objects, debris, junk, and dross—for whatever is marginal, marginalized, outmoded, or fleeting. This edition’s index testifies to the dizzying thematic diversity of Benjamin’s undertaking: children’s toys, capital punishment, money, mobs, utopia, fancy goods, misery, souvenirs, beggars, and red neon advertising signs reflected in pools of dirty rain. Form in One-Way Street is no mere envelope, but the very arena in which these objects and phenomena clash and generate their sparks. Benjamin’s aphorisms mimic the rhythms of the street, instantiating the experiences most proper to it: distraction, reverie, shock, haste, detour, etc. Scathing critique is mixed with imagistic commentary and surrealistic prose poetry—all broken into shards and scattered like a mosaic of fragments. But however atomized and heterogeneous, the little pieces of One-Way Street pursue a common goal: an idiosyncratic exposé on history (specifically, the disintegration of culture) as deciphered in the most concrete of its artifacts and rituals.
Les mer

Relaterte produkter

The prose in <i>One-Way Street </i>is positively electrified by the historical moment…Far more important than any residues of past literature, however prevalent, are the ways in which <i>One-Way Street </i>ushers in a wholly original literary aesthetics. Its formal daring is unmatched by any of Benjamin’s earlier work…<i>One-Way Street </i>is dead set on a new mode of materialism, one that shares with Surrealism an esteem for everyday objects, debris, junk, and dross—for whatever is marginal, marginalized, outmoded, or fleeting. This edition’s index testifies to the dizzying thematic diversity of Benjamin’s undertaking: children’s toys, capital punishment, money, mobs, utopia, fancy goods, misery, souvenirs, beggars, and red neon advertising signs reflected in pools of dirty rain. Form in <i>One-Way Street </i>is no mere envelope, but the very arena in which these objects and phenomena clash and generate their sparks. Benjamin’s aphorisms mimic the rhythms of the street, instantiating the experiences most proper to it: distraction, reverie, shock, haste, detour, etc. Scathing critique is mixed with imagistic commentary and surrealistic prose poetry—all broken into shards and scattered like a mosaic of fragments. But however atomized and heterogeneous, the little pieces of <i>One-Way Street</i> pursue a common goal: an idiosyncratic exposé on history (specifically, the disintegration of culture) as deciphered in the most concrete of its artifacts and rituals.

- Michael Blum, Los Angeles Review of Books

<i>One-Way Street </i>is Benjamin’s most daring and experimental book; though short, it contains a wide range of genres ranging from aphorisms and political satire to maxims and instructions.

- Carolin Duttlinger, Times Literary Supplement

One-Way Street is a thoroughfare unlike anything else in literature—by turns exhilarating and bewildering, requiring mental agility and a special kind of urban literacy. Presented here in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces such as “On the Concept of History” and The Arcades Project.Composed of sixty short prose pieces that vary wildly in style and theme, One-Way Street evokes a dense cityscape of shops, cafes, and apartments, alive with the hubbub of social interactions and papered over with public inscriptions of all kinds: advertisements, signs, posters, slogans. Benjamin avoids all semblance of linear narrative, enticing readers with a seemingly random sequence of aphorisms, reminiscences, jokes, off-the-cuff observations, dreamlike fantasias, serious philosophical inquiries, apparently unserious philosophical parodies, and trenchant political commentaries. Providing remarkable insight into the occluded meanings of everyday things, Benjamin time and again proves himself the unrivalled interpreter of what he called “the soul of the commodity.”Despite the diversity of its individual sections, Benjamin’s text is far from formless. Drawing on the avant-garde aesthetics of Dada, Constructivism, and Surrealism, its unusual construction implies a practice of reading that cannot be reduced to simple formulas. Still refractory, still radical, One-Way Street is a work in perpetual progress.
Les mer
Presented in a new edition with expanded notes, this genre-defying meditation on the semiotics of late-1920s Weimar culture, composed of 60 short prose pieces that vary wildly in style and theme, offers a fresh opportunity to encounter Walter Benjamin at his most virtuosic and experimental, writing in a vein that anticipates later masterpieces.
Les mer
The prose in One-Way Street is positively electrified by the historical moment…Far more important than any residues of past literature, however prevalent, are the ways in which One-Way Street ushers in a wholly original literary aesthetics. Its formal daring is unmatched by any of Benjamin’s earlier work…One-Way Street is dead set on a new mode of materialism, one that shares with Surrealism an esteem for everyday objects, debris, junk, and dross—for whatever is marginal, marginalized, outmoded, or fleeting. This edition’s index testifies to the dizzying thematic diversity of Benjamin’s undertaking: children’s toys, capital punishment, money, mobs, utopia, fancy goods, misery, souvenirs, beggars, and red neon advertising signs reflected in pools of dirty rain. Form in One-Way Street is no mere envelope, but the very arena in which these objects and phenomena clash and generate their sparks. Benjamin’s aphorisms mimic the rhythms of the street, instantiating the experiences most proper to it: distraction, reverie, shock, haste, detour, etc. Scathing critique is mixed with imagistic commentary and surrealistic prose poetry—all broken into shards and scattered like a mosaic of fragments. But however atomized and heterogeneous, the little pieces of One-Way Street pursue a common goal: an idiosyncratic exposé on history (specifically, the disintegration of culture) as deciphered in the most concrete of its artifacts and rituals.
Les mer

Produktdetaljer

ISBN
9780674052291
Publisert
2016-05-02
Utgiver
Vendor
The Belknap Press
Vekt
159 gr
Høyde
191 mm
Bredde
127 mm
Dybde
11 mm
Aldersnivå
G, 01
Språk
Product language
Engelsk
Format
Product format
Heftet

Forfatter
Benjamin, Walter
Redaktør
Jennings Michael W.
Oversetter
Jephcott, Edmund
Preface by
Marcus Greil

Om bidragsyterne

Walter Benjamin (1892–1940) was the author of many works of literary and cultural analysis. Michael W. Jennings is Class of 1900 Professor of Modern Languages at Princeton University. Greil Marcus is the author of The Doors, Mystery Train, and other books.

Relaterte produkter