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The Arcades Project

TLDR
Translators' Foreword Exposes Paris, the Capital of the Nineteenth Century (1935) "Paris, the City of the Twenty-First Century" (1939) Convolutes Overview First Sketches Early Drafts "Arcades" "The Arcades of Paris" 'The Ring of Saturn" Addenda Expose of 1935, Early Version Materials for the Expose and Exposition of 1935 Materials for Arcades' "Dialectics at a Standstill," by Rolf Tiedemann "The Story of Old Benjamin," by Lisa Fitt
Abstract
Translators' Foreword Exposes "Paris, the Capital of the Nineteenth Century" (1935) "Paris, Capital of the Nineteenth Century" (1939) Convolutes Overview First Sketches Early Drafts "Arcades" "The Arcades of Paris" "The Ring of Saturn" Addenda Expose of 1935, Early Version Materials for the Expose of 1935 Materials for "Arcades" "Dialectics at a Standstill," by Rolf Tiedemann "The Story of Old Benjamin," by Lisa Fittko Translators' Notes Guide to Names and Terms Index

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Eugène Atget and Documentary Photography of the City

TL;DR: In this article, the authors focus on the documentary photography of Eugene Atget in late 19th and early 20th-century Paris and explore Atget's position as a pioneering documentary photographer.

Traces of the stillborn?: the governance of the rule of social law

TL;DR: A more critically oriented historical institutionalism journeys into the interior of institutions beyond "interestedness" toward committedness, toward the endogenous emergence of the argumentative logic of a mode of legitimation as mentioned in this paper.
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E. E. Cummings's Tom: A Ballet and Uncle Tom's Doll-Dance of Modernism

TL;DR: The authors analyzed the influence of modernist notions of the primitive and the automaton on the choreography of a ballet based on Harriet Beecher Stowe's Uncle Tom's Cabin.
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Philosophical problems in contemporary art criticism: objectivism, poststructuralism, and the axiom of authorship

TL;DR: The authors argues that poststructuralism, which has served as the default philosophical foundation for philosophers of art, is the target of this article, and argues that the road to an Objectivist aesthetics must first be cleared of philosophical debris like poststructionuralism before we can hope to go back to the world of art.