Abstract

This article renders a close reading of those passages in Walter Benjamin's work where he uses the term “unscheinbar.” Arguing that this concept cannot be reduced to its privative prefix “un-,” the article explores how moments in time, objects or images that are not meaningful in themselves can nevertheless trigger an experience that is to be called such. The article analyzes Benjamin's ideas on friendliness, commemoration, melancholy, mémoire involontaire and photography with the purpose of understanding how a detail or fragment strikes us as significant, despite the fact that it cannot become visible as a unity or whole in its own right.