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VERSION:2.0
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BEGIN:VEVENT
DTSTAMP:20260611T062726Z
DTSTART;TZID=Australia/Melbourne:20150312T121500
DTEND;TZID=Australia/Melbourne:20150312T141500
SUMMARY:The image/word distinction in Walter Benjamin's "Arcades Project"
UID:20260616T062146Z-iCalPlugin-Grails@philevents-web-bd7db559-gt5qm
TZID:Australia/Melbourne
LOCATION:Old Physics Building\, Melbourne\, Australia
DESCRIPTION:<p><strong>Abstract:</strong> This paper defends the thesis that there are multiple points of exchange between the categories of &lsquo\;word&rsquo\; and &lsquo\;image&rsquo\; in Walter Benjamin&rsquo\;s Arcades Project. Benjamin describes the truth of the articulate wish of the past as &lsquo\;graphically perceptible&rsquo\; and the image as &lsquo\;readable.&rsquo\; In this respect the vocabulary of &lsquo\;word&rsquo\; and &lsquo\;image&rsquo\; that Benjamin&rsquo\;s early work had opposed are not just deployed in concert\, but specific features of the vocabulary of &lsquo\;word&rsquo\; and &lsquo\;image&rsquo\; become exchangeable. This paper will set out the significance of this exchange in relation to the break it marks with Benjamin&rsquo\;s early way of opposing the word and the image. I will argue that the exchange of features between word and image in the late work can explain the mechanics and intended effect of his idea that the meaning of history can be perceived in an image. The study of this exchange shows that although the framework of &lsquo\;graphic perception&rsquo\; entails an experience of motivating meaning that is epistemologically grounded\, the citation model of history is unable to secure the extension of the sought after legibility of the nineteenth century to a recipient.</p>
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