In 1926: living at the edge of time - Monoskop

More documents

Recommendations

Info

GOMINA 107 Nicola Lepp, "Leclermythen: Materialien zu einer Ikonographie cler schwarzen Leclerjacke." Osterreichische Zeitschrift fur Volkskunde 5, no. 47 (1963). Thomas Mann, "Unordnung und fruhes Leid" (1926). In Mann, Samtliche Erzahlungen. Frankfurt, 1963. Michael Morris, Madame Valentino: The Many Lives of Natasha Rambova. New York, 1991. Eva Orbanz, ed., Valentino: Biographie/Filmographie/Essays. Berlin, 1979. Dieter Reichardt, ed., Tango: Verweigerung und Trauer, Kontexte und Texte. Frankfurt, 1984. Revista de Occidente. Paul Robert, ed., Dictionnaire alphabhique et analogique de la langue franfaise. Paris, 1967. Phyllis Rose, Jazz Cleopatra: Josephine Baker in Her Time. New York, 1989.
GRAMOPHONES As a "small fragment of a great battle," Ernst Junger's war memoir Feuer und Blut (Fire and Blood) describes a German assault on trenches held by British soldiers. After a day of savage fighting, the narrator and some of his companions make a surprising discovery while they are exploring dugouts in recently conquered territory: "By the edge of the hollow we discover yet a second shelter built into the bank. It lies at ground level and even has windows. Before we enter it we call out a few times, holding grenades in our fists and threatening to throw them in the window. Nothing stirs; it appears to be abandoned. If the messengers were above, this is certainly where the officers live. Everything is comfortably furnished-even luxurious, in a way-and compared to our own standards seems almost unbelievable ... But what is that, standing in the corner? A gramophone of all things. H. quickly sets it in motion, and a merry tune fills the air. No, such jokes go too far. We don't belong here, and are taking a grave risk-an Englishman could look in the window at any moment. I knock the machine onto the ground. A scratching sound, and it falls silent" (Junger, 172ff.). The atmosphere of relaxed sociability evoked by this gramophone forms a grotesque contrast with the landscape of death surrounding the British dugout. But are the soldiers really taking a "risk" in playing that "merry tune"? Is the narrator right in fearing that the sounds may attract the enemy? Regardless of any questions about military appropriateness, his reaction points to a promise-and a threat-inherent in the gramophone itself: the 108
Page 2:
In 1926
Page 5 and 6:
Copyright © 1997 by the President
Page 8 and 9:
CONTENTS User's Manual • IX Array
Page 10 and 11:
User's Manual Where to Start Do not
Page 12 and 13:
USER'S MANUAL xi implication. A his
Page 14 and 15:
USER'S MANUAL xiii change in retros
Page 16:
USER'S MANUAL xv philosophy" (the u
Page 20 and 21:
AIRPLANES Airplanes look stout, rat
Page 22 and 23:
AIRPLANES 5 the expert hands of Cas
Page 24 and 25:
AIRPLANES 7 (Franco, 286). Since Fr
Page 26 and 27:
AIRPLANES 9 for him because he is j
Page 28 and 29:
AIRPLANES 11 Ramon Franco, De Palos
Page 30 and 31:
AMERICANS IN PARIS 13 sion, to unde
Page 32 and 33:
AMERICANS IN PARIS 15 precisely to
Page 34 and 35:
AMERICANS IN PARIS 17 to pay for hi
Page 36 and 37:
AMERICANS IN PARIS 19 am convinced
Page 38 and 39:
References AMERICANS IN PARIS 21 8
Page 40 and 41:
ASSEMBLY LINES 23 of labor-among in
Page 42 and 43:
ASSEMBLY LINES 2S jamin expresses a
Page 44 and 45:
AUTOMOBILES 27 because it looks lik
Page 46 and 47:
AUTOMOBILES 29 Alluding to the pres
Page 48 and 49:
AUTOMOBILES 31 for the huge apparat
Page 50 and 51:
AUTOMOBILES 33 Thomas Mann, "Unordn
Page 52 and 53:
BARS 35 But if Babe Ruth himself is
Page 54 and 55:
BARS 37 tion like grammars. As if b
Page 56 and 57:
BARS 39 into the sunlight and the h
Page 58 and 59:
BARS 41 Lawrence S. Ritter and Mark
Page 60 and 61:
BOXING 43 uses yet another boxing m
Page 62 and 63:
BOXING 45 Chicago Tribune slanders
Page 64 and 65:
BOXING 47 Harry Wills, the "Brown P
Page 66 and 67:
BOXING 49 emplary record as a soldi
Page 68 and 69:
BOXING 51 jealousy, but defeat make
Page 70 and 71:
BOXING 53 Flaschenpost ins Eismeer
Page 72 and 73:
BULLFIGHTING 55 danas." Despite Kes
Page 74 and 75: BULLFIGHTING 57 the famous toreador
Page 76 and 77: BULLFIGHTING 59 erotic desire: "The
Page 78 and 79: BULLFIGHTING 61 Action = Impotence
Page 80 and 81: CREMATION 63 phasize individuality.
Page 82 and 83: CREMATION 65 Individuality vs. Coll
Page 84 and 85: DANCING 67 Karl Gustav Vollmiiller.
Page 86 and 87: DANCING 69 Fascination with rhythm
Page 88 and 89: DANCING slowly around the floor, ob
Page 90 and 91: DANCING 73 seriousness of Ausdrucks
Page 92 and 93: ELEVATORS Three days before the cha
Page 94 and 95: ELEVATORS 77 "pater nosters"-has se
Page 96 and 97: References ELEVATORS 8 Uhr-Abendbla
Page 98 and 99: EMPLOYEES 81 obsession-with the con
Page 100 and 101: EMPLOYEES 83 roles, as is the case
Page 102 and 103: EMPLOYEES 85 anonymous underlings,
Page 104 and 105: ENDURANCE On Saturday, August 7, ni
Page 106 and 107: ENDURANCE 89 themselves against the
Page 108 and 109: ENDURANCE 91 hand, to the emergence
Page 110 and 111: ENGINEERS The first page of Walter
Page 112 and 113: ENGINEERS 95 more seriously than te
Page 114 and 115: ENGINEERS 97 against the modern spi
Page 116 and 117: ENGINEERS 99 "social engineering" m
Page 118 and 119: ENGINEERS 101 Gustav Stresemann, "S
Page 120 and 121: GOMINA 103 never loses its strong a
Page 122 and 123: GOMINA lOS industry transubstantiat
Page 126 and 127: GRAMOPHONES 109 gramophone makes pr
Page 128 and 129: GRAMOPHONES 111 duet GARDEL-RAZZANO
Page 130 and 131: GRAMOPHONES 113 Lessing, who is com
Page 132 and 133: HUNGER ARTISTS In his poem "Der Hun
Page 134 and 135: HUNGER ARTISTS 117 cline, hunger ar
Page 136 and 137: HUNGER ARTISTS 119 exciting spectac
Page 138 and 139: JAZZ 121 Tunney, who is famous for
Page 140 and 141: JAZZ 123 sake. Our age seeks art no
Page 142 and 143: JAZZ 125 John Fordham, Jazz: Histor
Page 144 and 145: LEAGUE OF NATIONS 127 land, and Spa
Page 146 and 147: LEAGUE OF NATIONS 129 Rhineland, wh
Page 148 and 149: References LEAGUE OF NATIONS 8 Uhr-
Page 150 and 151: MOUNTAINEERING 133 the form of a te
Page 152 and 153: MOUNTAINEERING 135 (106). This iron
Page 154 and 155: MOUNTAINEERING 137 beating triumpha
Page 156 and 157: MOUNTAINEERING 139 berger: "How wou
Page 158 and 159: MOVIE PALACES In downtown Buenos Ai
Page 160 and 161: MOVIE PALACES 143 shorts, which is
Page 162 and 163: MOVIE PALACES 145 sional world of f
Page 164 and 165: MOVIE PALACES 147 right kind of nou
Page 166 and 167: MUMMIES Early in the year, the smal
Page 168 and 169: MUMMIES 151 the past had reached th
Page 170 and 171: MUMMIES 153 vades the street life o
Page 172 and 173: MURDER On Sunday, August 8, the Ber
Page 174 and 175:
MURDER 157 of the criminal, now red
Page 176 and 177:
MURDER 159 it is based on a single
Page 178 and 179:
MURDER 161 peatedly infringe on con
Page 180 and 181:
MURDER 163 thesis of individuality
Page 182 and 183:
OCEAN LINERS 165 I will confess to
Page 184 and 185:
OCEAN LINERS 167 From the perspecti
Page 186 and 187:
OCEAN LINERS 169 successful commerc
Page 188 and 189:
OCEAN LINERS 171 couldn't understan
Page 190 and 191:
POLARITIES 173 Periphery (Infinitud
Page 192 and 193:
POLARITIES 175 did you find that po
Page 194 and 195:
RAI LROADS The world of railroads i
Page 196 and 197:
RAILROADS 179 as an emblem of rando
Page 198 and 199:
RAILROADS 181 into the impulse to m
Page 200 and 201:
RAILROADS 183 coextensive with the
Page 202 and 203:
REPORTERS In its June 26 issue, the
Page 204 and 205:
REPORTERS 187 (Kittler, 317), and a
Page 206 and 207:
REPORTERS 189 Germany, and the Unit
Page 208 and 209:
REVUES Wherever the French writer P
Page 210 and 211:
REVUES 193 Moulin Rouge, featuring
Page 212 and 213:
REVUES 195 thing [das Echteste]. Sh
Page 214 and 215:
REVUES 197 Marcel Denise, "Les merv
Page 216 and 217:
ROOF GARDENS 199 is the city. The c
Page 218 and 219:
ROOF GARDENS 201 reached the stage
Page 220 and 221:
SIX-DAY RACES In the Berliner Volks
Page 222 and 223:
SIX-DAY RACES 205 day environment (
Page 224 and 225:
STARS The promotional flier of Chri
Page 226 and 227:
STARS 209 as a symptom of cultural
Page 228 and 229:
STARS 211 remain clouded by unhappi
Page 230 and 231:
STARS 213 striking inability to liv
Page 232 and 233:
STARS 215 Hollywood than from Berli
Page 234 and 235:
STRIKES British Trade Union Congres
Page 236 and 237:
STRIKES 219 the government, whose d
Page 238 and 239:
STRIKES 221 between Baldwin and Cha
Page 240 and 241:
STRIKES 223 As if this were contrar
Page 242 and 243:
TELEPHONES The student yearbook of
Page 244 and 245:
TELEPHONES 227 Although in the Unit
Page 246 and 247:
TELEPHONES 229 go to the castle wit
Page 248 and 249:
TELEPHONES 231 workers' city.' Fred
Page 250 and 251:
TIMEPIECES All kinds of timepieces
Page 252 and 253:
TIMEPIECES 235 Death has instructed
Page 254 and 255:
TIMEPIECES 237 structure, continuit
Page 256 and 257:
TIMEPIECES 239 ognizable to him and
Page 258 and 259:
WIRELESS COMMUNICATION An illustrat
Page 260 and 261:
WIRELESS COMMUNICATION 243 that the
Page 262 and 263:
WIRELESS COMMUNICATION 245 strategy
Page 264 and 265:
WIRELESS COMMUNICATION 247 Toledo o
Page 266:
References WIRELESS COMMUNICATION L
Page 270 and 271:
ACTION VS. IMPOTENCE In Hemingway's
Page 272 and 273:
ACTION VS. IMPOTENCE 255 Direct Act
Page 274 and 275:
ACTION VS. IMPOTENCE 257 trickled d
Page 276 and 277:
ACTION VS. IMPOTENCE 259 such words
Page 278 and 279:
ACTION VS. IMPOTENCE 261 T. E. Lawr
Page 280 and 281:
AUTHENTICITY VS. ARTIFICIALITY 263
Page 282 and 283:
Page 284 and 285:
AUTHENTICITY VS. ARTIFICIALITY An i
Page 286 and 287:
AUTHENTICITY VS. ARTIFICIALITY Wher
Page 288 and 289:
Page 290 and 291:
CENTER VS. PERIPHERY 273 of artific
Page 292 and 293:
CENTER VS. PERIPHERY 275 tric posit
Page 294 and 295:
CENTER VS. PERIPHERY 277 Educationa
Page 296 and 297:
CENTER VS. PERIPHERY 279 Germany an
Page 298 and 299:
IMMANENCE VS. TRANSCENDENCE Often,
Page 300 and 301:
IMMANENCE VS. TRANSCENDENCE 283 (Na
Page 302 and 303:
IMMANENCE VS. TRANSCENDENCE 285 Imm
Page 304 and 305:
IMMANENCE VS. TRANSCENDENCE 287 nen
Page 306 and 307:
IMMANENCE VS. TRANSCENDENCE 289 ion
Page 308 and 309:
IMMANENCE VS. TRANSCENDENCE 291 the
Page 310 and 311:
INDIVIDUALITY VS. COLLECTIVITY Indi
Page 312 and 313:
INDIVIDUALITY VS. COLLECTIVITY 295
Page 314 and 315:
Page 316 and 317:
Page 318 and 319:
Page 320 and 321:
MALE VS. FEMALE Heinrich Mann rathe
Page 322 and 323:
MALE VS. FEMALE 30S scension: "Thos
Page 324 and 325:
MALE VS. FEMALE 307 specific situat
Page 326 and 327:
MALE VS. FEMALE 309 the same binary
Page 328 and 329:
References MALE VS. FEMALE 311 Berl
Page 330 and 331:
PRESENT VS. PAST 313 more convincin
Page 332 and 333:
PRESENT VS. PAST 315 something has
Page 334 and 335:
PRESENT VS. PAST 317 have become gr
Page 336 and 337:
PRESENT VS. PAST 319 (1926). In Ant
Page 338 and 339:
SILENCE VS. NOISE 321 that true sex
Page 340 and 341:
SILENCE VS. NOISE 323 maintain abso
Page 342 and 343:
SILENCE VS. NOISE 32S is, whenever
Page 344 and 345:
SILENCE VS. NOISE 327 light enters
Page 346 and 347:
SOBRIETY VS. EXUBERANCE Philosophic
Page 348 and 349:
SOBRIETY VS. EXUBERANCE 331 has beg
Page 350 and 351:
SOBRIETY VS. EXUBERANCE 333 bobbed
Page 352 and 353:
SOBRIETY VS. EXUBERANCE 33S Walter
Page 354 and 355:
UNCERTAINTY VS. REALITY 337 loss ("
Page 356 and 357:
UNCERTAINTY VS. REALITY 339 no time
Page 358 and 359:
UNCERTAINTY VS. REALITY 341 is seen
Page 360 and 361:
UNCERTAINTY VS. REALITY 343 Those w
Page 362 and 363:
UNCERTAINTY VS. REALITY 345 fession
Page 364 and 365:
UNCERTAINTY VS. REALITY 347 only ba
Page 366:
CODES COLLAPSED
Page 369 and 370:
352 CODES COLLAPSED agree with Krac
Page 371 and 372:
354 CODES COLLAPSED It must be the
Page 373 and 374:
356 CODES COLLAPSED taking into acc
Page 375 and 376:
AUTHENTICITY = ARTIFICIALITY (LIFE)
Page 377 and 378:
360 CODES COLLAPSED "pure music" an
Page 379 and 380:
362 CODES COLLAPSED as irresistible
Page 381 and 382:
CENTER = PERIPHERY (INFINITUDE) The
Page 383 and 384:
366 CODES COLLAPSED blurring of the
Page 385 and 386:
368 CODES COLLAPSED aesthetic but a
Page 387 and 388:
370 CODES COLLAPSED the provinces o
Page 389 and 390:
IMMANENCE = TRANSCENDENCE (DEATH) T
Page 391 and 392:
374 CODES COLLAPSED measure one's f
Page 393 and 394:
376 CODES COLLAPSED after his Death
Page 395 and 396:
378 CODES COLLAPSED If it's just on
Page 397 and 398:
380 CODES COLLAPSED the self from l
Page 399 and 400:
382 CODES COLLAPSED Agatha Christie
Page 401 and 402:
384 CODES COLLAPSED the Italian nat
Page 403 and 404:
386 CODES COLLAPSED foresight canno
Page 405 and 406:
388 CODES COLLAPSED 26-47; Werneck
Page 407 and 408:
MALE = FEMALE (GENDER TROUBLE) The
Page 409 and 410:
392 CODES COLLAPSED young teacher n
Page 411 and 412:
394 CODES COLLAPSED to historical c
Page 413 and 414:
396 CODES COLLAPSED theme of forbid
Page 415 and 416:
398 CODES COLLAPSED homosexuality h
Page 417 and 418:
PRESENT = PAST (ETERNITY) The futur
Page 419 and 420:
402 CODES COLLAPSED Wave the blood-
Page 421 and 422:
404 CODES COLLAPSED Every freedom c
Page 423 and 424:
406 CODES COLLAPSED raphy of the ci
Page 426:
FRAMES
Page 429 and 430:
412 FRAMES "learning" and "using" j
Page 431 and 432:
414 FRAMES "historical" induction f
Page 433 and 434:
416 FRAMES tions." If neohistorians
Page 435 and 436:
418 FRAMES to underlie all the chan
Page 437 and 438:
420 FRAMES environments-ranging fro
Page 439 and 440:
422 FRAMES standing. What turned in
Page 441 and 442:
424 FRAMES thought has confronted f
Page 443 and 444:
426 FRAMES of hermeneutics and subj
Page 445 and 446:
428 FRAMES awaken and preorient the
Page 447 and 448:
430 FRAMES were potentially relevan
Page 449 and 450:
432 FRAMES tions into an (illusory
Page 451 and 452:
434 FRAMES worlds in their environm
Page 453 and 454:
436 FRAMES notebook in which Flaube
Page 455 and 456:
438 FRAMES able faculty my most pro
Page 457 and 458:
440 FRAMES on June 18, again urging
Page 459 and 460:
442 FRAMES The Year in the Book The
Page 461 and 462:
444 FRAMES Epistemological Losses a
Page 463 and 464:
446 FRAMES Being-just-present-at-ha
Page 465 and 466:
448 FRAMES tricity and distance tha
Page 467 and 468:
450 FRAMES Heidegger provides no ar
Page 469 and 470:
452 FRAMES ducts the self-immunizat
Page 471 and 472:
454 FRAMES More demanding than the
Page 473 and 474:
456 FRAMES its Un-heim-lichkeit-not
Page 475 and 476:
458 FRAMES fessor of pedagogy. A fr
Page 477 and 478:
460 FRAMES the philosophy of histor
Page 479 and 480:
462 FRAMES literature of 1926 (from
Page 481 and 482:
464 FRAMES and past deconstruct the
Page 483 and 484:
466 FRAMES before Heidegger. He men
Page 485 and 486:
468 FRAMES cable binary logic, this
Page 487 and 488:
470 FRAMES But the king remained si
Page 489 and 490:
472 FRAMES room, a reproduction of
Page 491 and 492:
474 FRAMES pate in the vibrant supe
Page 493 and 494:
476 FRAMES subjecthood and agency r
Page 495 and 496:
478 FRAMES ticity, like Heidegger a
Page 498 and 499:
NOTES After Learning from History 1
Page 500 and 501:
NOTES TO PAGES 420-424 483 Museum (
Page 502 and 503:
NOTES TO PAGES 434-437 485 41. See,
Page 504 and 505:
NOTES TO PAGES 439-441 487 noch zu
Page 506 and 507:
NOTES TO PAGES 444-446 489 much mor
Page 508 and 509:
NOTES TO PAGES 449-453 491 cura; se
Page 510 and 511:
NOTES TO PAGES 456-460 493 70. An e
Page 512 and 513:
NOTES TO PAGES 463-465 495 'zeitlic
Page 514 and 515:
NOTES TO PAGES 469-470 497 fahren,
Page 516 and 517:
ACKNOWLEDGMENTS THANKS to Ulla Link
Page 518 and 519:
Alcantara Machado, Antonio de, 288,
Page 520 and 521:
Hauptmann, Gerhart: Dorothea Angerm
Page 522:
Sieburg, Friedrich, 99; "Adoration
show all

In 1926: living at the edge of time - Monoskop

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?