In 1926: living at the edge of time - Monoskop

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GRAMOPHONES 113 Lessing, who is committed to the most progressive political agendas and to the most conservative cultural values, nothing is worse than the noise of modern life. "I've decided to steal a pocketwatch at some point-with the hope of being arrested. In prison I will at least have peace from the rug beating, the piano playing, the car horns, the gramophones, and the telephones" (Lessing, 401). [see Automobiles, Telephones, Silence vs. Noise] Those who share Lessing's disgust at the cacophony of modern life are even more repelled at the way in which "electrically" reproduced music and mass-produced lyrics are superseding what they consider to be authentic forms of literature and culture. Every couple of weeks, someone takes a poll: "Who is the most popular poet of the year?" The answer to this question is always inadequate. The poets who are familiar to us shouldn't even be taken into consideration. Not Rilke or Cisar Flaischlen, not Goethe or Gottfried Benn, but Fritz Griinbaum ("If You Can't Do It, Let Me Try!"), Schanzer and Welisch ("If You See My Aunt"), Beda ("Bananas, of All Things!"), Dr. Robert Katscher ("Madonna, You're Prettier Than the Sunshine")and who else? Still quite a few, even before Flaischlen, Rilke, and Benn get on the list. The 222 Latest Hits-that's the most widely read lyric anthology. Every two months the contents are revised and updated. The whole thing costs just ten pfennigs. (Siemsen, 256; Kittler, 127) Why doesn't anybody ever object to classical orchestras or folksongs? Why is it only the gramophone that provokes such strong emotions and such endless controversy? The enthusiasm and the irritation which it generates stem from one and the same cause. Producing human sounds in the absence of human bodies, the gramophone inspires both the fear of ghosts and the hope for eternal life. Related Entries Automobiles, Bullfighting, Dancing, Gomina, Jazz, Mountaineering, Murder, Reporters, Telephones, Authenticity vs. Artificiality, Present vs. Past, Silence vs. Noise, Male = Female (Gender Trouble), Immanence = Transcendence (Death)
114 ARRAYS References Johannes R. Becher, Maschinenrhythmen. Berlin, 1926. Jorge Luis Borges, "Historia del Tango." In Borges, Prosa completa, vol. 1. Madrid,1985. Luis BUlluel, Mein letzter Seufzer. Frankfurt, 1985. Caras y Caretas. Simon Collier, Carlos Garde!: Su vida, su musica, su epoca. Buenos Aires, 1986. Ernst Jiinger, Feuer und Blut: Ein kleiner Ausschnitt aus einer grossen Schlacht (1926). Hamburg, 1941. Egon Erwin Kisch, Die Hetzjagd: Eine Tragikomodie in funf Akten des K.u.K. Generalstabs. In Kisch, Hetzjagd durch die Zeit. Berlin, 1926. Friedrich Kittler, Grammophon, Film, Typewriter. Berlin, 1986. Jiirgen Kolbe, Heller Zauber: Thomas Mann in Munchen, 1894-1933. Berlin, 1987. Theodor Lessing, "Die blauschwarze Rose" (1926). In Lessing, "lch warf eine Flaschenpost ins Eismeer der Geschichte": Essays und Feuilletons, 1923- 1933. Neuwied, 1986. Thomas Mann, "Unordnung und friihes Leid" (1926). In Mann, Siimtliche Erziihlungen. Frankfurt, 1963. New York Times. Rene Schickele, Maria Capponi. Munich, 1926. Barbel Schrader and Jiirgen Schebera, eds., Kunstmetropole Berlin, 1918-1933: Die Kunststadt in der Novemberrevolution / Die "goldenen" Zwanziger / Die Kunststadt in der Krise. Berlin, 1987. Hans Siemsen, "Die Literatur der Nichtleser" (1926). In Anton Kaes, ed., Weimarer Republik: Manifeste und Dokumente zur deutschen Literatur, 1918-1933. Stuttgart, 1983.
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In 1926
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Copyright © 1997 by the President
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CONTENTS User's Manual • IX Array
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User's Manual Where to Start Do not
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USER'S MANUAL xi implication. A his
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USER'S MANUAL xiii change in retros
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USER'S MANUAL xv philosophy" (the u
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AIRPLANES Airplanes look stout, rat
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AIRPLANES 5 the expert hands of Cas
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AIRPLANES 7 (Franco, 286). Since Fr
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AIRPLANES 9 for him because he is j
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AIRPLANES 11 Ramon Franco, De Palos
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AMERICANS IN PARIS 13 sion, to unde
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AMERICANS IN PARIS 15 precisely to
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AMERICANS IN PARIS 17 to pay for hi
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AMERICANS IN PARIS 19 am convinced
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References AMERICANS IN PARIS 21 8
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ASSEMBLY LINES 23 of labor-among in
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ASSEMBLY LINES 2S jamin expresses a
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AUTOMOBILES 27 because it looks lik
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AUTOMOBILES 29 Alluding to the pres
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AUTOMOBILES 31 for the huge apparat
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AUTOMOBILES 33 Thomas Mann, "Unordn
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BARS 35 But if Babe Ruth himself is
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BARS 37 tion like grammars. As if b
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BARS 39 into the sunlight and the h
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BARS 41 Lawrence S. Ritter and Mark
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BOXING 43 uses yet another boxing m
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BOXING 45 Chicago Tribune slanders
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BOXING 47 Harry Wills, the "Brown P
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BOXING 49 emplary record as a soldi
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BOXING 51 jealousy, but defeat make
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BOXING 53 Flaschenpost ins Eismeer
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BULLFIGHTING 55 danas." Despite Kes
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BULLFIGHTING 57 the famous toreador
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BULLFIGHTING 59 erotic desire: "The
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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 124 and 125: GOMINA 107 Nicola Lepp, "Leclermyth
Page 126 and 127: GRAMOPHONES 109 gramophone makes pr
Page 128 and 129: GRAMOPHONES 111 duet GARDEL-RAZZANO
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
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MURDER 163 thesis of individuality
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OCEAN LINERS 165 I will confess to
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OCEAN LINERS 167 From the perspecti
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OCEAN LINERS 169 successful commerc
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OCEAN LINERS 171 couldn't understan
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POLARITIES 173 Periphery (Infinitud
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POLARITIES 175 did you find that po
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RAI LROADS The world of railroads i
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RAILROADS 179 as an emblem of rando
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RAILROADS 181 into the impulse to m
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RAILROADS 183 coextensive with the
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REPORTERS In its June 26 issue, the
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REPORTERS 187 (Kittler, 317), and a
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REPORTERS 189 Germany, and the Unit
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REVUES Wherever the French writer P
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REVUES 193 Moulin Rouge, featuring
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REVUES 195 thing [das Echteste]. Sh
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REVUES 197 Marcel Denise, "Les merv
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ROOF GARDENS 199 is the city. The c
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ROOF GARDENS 201 reached the stage
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SIX-DAY RACES In the Berliner Volks
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SIX-DAY RACES 205 day environment (
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STARS The promotional flier of Chri
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STARS 209 as a symptom of cultural
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STARS 211 remain clouded by unhappi
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STARS 213 striking inability to liv
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STARS 215 Hollywood than from Berli
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STRIKES British Trade Union Congres
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STRIKES 219 the government, whose d
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STRIKES 221 between Baldwin and Cha
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STRIKES 223 As if this were contrar
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TELEPHONES The student yearbook of
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TELEPHONES 227 Although in the Unit
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TELEPHONES 229 go to the castle wit
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TELEPHONES 231 workers' city.' Fred
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TIMEPIECES All kinds of timepieces
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TIMEPIECES 235 Death has instructed
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TIMEPIECES 237 structure, continuit
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TIMEPIECES 239 ognizable to him and
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WIRELESS COMMUNICATION An illustrat
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WIRELESS COMMUNICATION 243 that the
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WIRELESS COMMUNICATION 245 strategy
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WIRELESS COMMUNICATION 247 Toledo o
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References WIRELESS COMMUNICATION L
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ACTION VS. IMPOTENCE In Hemingway's
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ACTION VS. IMPOTENCE 255 Direct Act
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ACTION VS. IMPOTENCE 257 trickled d
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ACTION VS. IMPOTENCE 259 such words
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ACTION VS. IMPOTENCE 261 T. E. Lawr
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AUTHENTICITY VS. ARTIFICIALITY 263
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AUTHENTICITY VS. ARTIFICIALITY An i
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AUTHENTICITY VS. ARTIFICIALITY Wher
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CENTER VS. PERIPHERY 273 of artific
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CENTER VS. PERIPHERY 275 tric posit
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CENTER VS. PERIPHERY 277 Educationa
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CENTER VS. PERIPHERY 279 Germany an
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IMMANENCE VS. TRANSCENDENCE Often,
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IMMANENCE VS. TRANSCENDENCE 283 (Na
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IMMANENCE VS. TRANSCENDENCE 285 Imm
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IMMANENCE VS. TRANSCENDENCE 287 nen
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IMMANENCE VS. TRANSCENDENCE 289 ion
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IMMANENCE VS. TRANSCENDENCE 291 the
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INDIVIDUALITY VS. COLLECTIVITY Indi
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INDIVIDUALITY VS. COLLECTIVITY 295
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MALE VS. FEMALE Heinrich Mann rathe
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MALE VS. FEMALE 30S scension: "Thos
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MALE VS. FEMALE 307 specific situat
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MALE VS. FEMALE 309 the same binary
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References MALE VS. FEMALE 311 Berl
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PRESENT VS. PAST 313 more convincin
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PRESENT VS. PAST 315 something has
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PRESENT VS. PAST 317 have become gr
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PRESENT VS. PAST 319 (1926). In Ant
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SILENCE VS. NOISE 321 that true sex
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SILENCE VS. NOISE 323 maintain abso
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SILENCE VS. NOISE 32S is, whenever
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SILENCE VS. NOISE 327 light enters
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SOBRIETY VS. EXUBERANCE Philosophic
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SOBRIETY VS. EXUBERANCE 331 has beg
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SOBRIETY VS. EXUBERANCE 333 bobbed
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SOBRIETY VS. EXUBERANCE 33S Walter
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UNCERTAINTY VS. REALITY 337 loss ("
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UNCERTAINTY VS. REALITY 339 no time
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UNCERTAINTY VS. REALITY 341 is seen
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UNCERTAINTY VS. REALITY 343 Those w
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UNCERTAINTY VS. REALITY 345 fession
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UNCERTAINTY VS. REALITY 347 only ba
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CODES COLLAPSED
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352 CODES COLLAPSED agree with Krac
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354 CODES COLLAPSED It must be the
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356 CODES COLLAPSED taking into acc
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AUTHENTICITY = ARTIFICIALITY (LIFE)
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360 CODES COLLAPSED "pure music" an
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362 CODES COLLAPSED as irresistible
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CENTER = PERIPHERY (INFINITUDE) The
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366 CODES COLLAPSED blurring of the
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368 CODES COLLAPSED aesthetic but a
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370 CODES COLLAPSED the provinces o
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IMMANENCE = TRANSCENDENCE (DEATH) T
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374 CODES COLLAPSED measure one's f
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376 CODES COLLAPSED after his Death
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378 CODES COLLAPSED If it's just on
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380 CODES COLLAPSED the self from l
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382 CODES COLLAPSED Agatha Christie
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384 CODES COLLAPSED the Italian nat
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386 CODES COLLAPSED foresight canno
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388 CODES COLLAPSED 26-47; Werneck
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MALE = FEMALE (GENDER TROUBLE) The
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392 CODES COLLAPSED young teacher n
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394 CODES COLLAPSED to historical c
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396 CODES COLLAPSED theme of forbid
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398 CODES COLLAPSED homosexuality h
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PRESENT = PAST (ETERNITY) The futur
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402 CODES COLLAPSED Wave the blood-
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404 CODES COLLAPSED Every freedom c
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406 CODES COLLAPSED raphy of the ci
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FRAMES
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412 FRAMES "learning" and "using" j
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414 FRAMES "historical" induction f
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416 FRAMES tions." If neohistorians
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418 FRAMES to underlie all the chan
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420 FRAMES environments-ranging fro
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422 FRAMES standing. What turned in
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424 FRAMES thought has confronted f
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426 FRAMES of hermeneutics and subj
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428 FRAMES awaken and preorient the
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430 FRAMES were potentially relevan
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432 FRAMES tions into an (illusory
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434 FRAMES worlds in their environm
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436 FRAMES notebook in which Flaube
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438 FRAMES able faculty my most pro
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440 FRAMES on June 18, again urging
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442 FRAMES The Year in the Book The
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444 FRAMES Epistemological Losses a
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446 FRAMES Being-just-present-at-ha
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448 FRAMES tricity and distance tha
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450 FRAMES Heidegger provides no ar
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452 FRAMES ducts the self-immunizat
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454 FRAMES More demanding than the
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456 FRAMES its Un-heim-lichkeit-not
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458 FRAMES fessor of pedagogy. A fr
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460 FRAMES the philosophy of histor
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462 FRAMES literature of 1926 (from
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464 FRAMES and past deconstruct the
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466 FRAMES before Heidegger. He men
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468 FRAMES cable binary logic, this
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470 FRAMES But the king remained si
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472 FRAMES room, a reproduction of
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474 FRAMES pate in the vibrant supe
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476 FRAMES subjecthood and agency r
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478 FRAMES ticity, like Heidegger a
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NOTES After Learning from History 1
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NOTES TO PAGES 420-424 483 Museum (
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NOTES TO PAGES 434-437 485 41. See,
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NOTES TO PAGES 439-441 487 noch zu
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NOTES TO PAGES 444-446 489 much mor
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NOTES TO PAGES 449-453 491 cura; se
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NOTES TO PAGES 456-460 493 70. An e
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NOTES TO PAGES 463-465 495 'zeitlic
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NOTES TO PAGES 469-470 497 fahren,
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ACKNOWLEDGMENTS THANKS to Ulla Link
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Alcantara Machado, Antonio de, 288,
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Hauptmann, Gerhart: Dorothea Angerm
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Sieburg, Friedrich, 99; "Adoration
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