In 1926: living at the edge of time - Monoskop

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REPORTERS 189 Germany, and the United States, a comparable advance is evident in the metropolitan centers of Latin America. On May 15, 0 Jornal do Brasil, a daily paper in Rio de Janeiro, publishes a long interview with the Italian poet Filippo Marinetti. Despite his obvious reservations about Marinetti's Fascist politics, the interviewer, a young journalist named Sergio Buarque de Holanda, presents the visitor's views without any critical comments: "We prefer to hear the political Marinetti, because for him politics is a pure form of poetry. In his politics and in his poetry, we find the same contradictions, incoherences, and lightning-flashes of beauty. These qualities make him an intriguing and exceptional person in the general confusion of the twentieth century" (Buarque de Holanda, 76). It is less Marinetti's opinions than his contradictions that render him an interesting topic for the newspapers, and being interesting is a good enough reason for 0 Jornal do Brasil to invite him for a second interview after he has visited Sao Paulo, Montevideo, and Buenos Aires. This time, Buarque de Holanda presents Marinetti as if his famous guest were himself a reporter. Marinetti appears as a traveler whose perceptions have been sharpened by the countries he visits: "I return to Brazil full of enthusiasm. Rio de Janeiro in particular has offered me many lively and extremely pleasant impressions. This city has stimulated my physical and intellectual sensibility in the most beautiful and festive way" (79). The interventions of censorship, which are a big concern (and a big opportunity for self-stylization) among intellectuals and artists [see Movie Palaces], may occasionally interest reporters as a topic but do not particularly hinder their journalistic activities. After all, the reporter strives to fascinate readers with lived experience, rather than to persuade them of the rightness of his own opinions. In Ramon del Valle-Inchin's novel Tirana Banderas, there is a scene in which an editor-in-chief explains to a young journalist that his report on a rally held by the political opposition is too favorable to be published. The editor suggests replacing the discursive mode of political commentary with the tonality of lived experience. According to him, the government will benefit if the opposition's rally is depicted as a circus show: "Here's an idea which, if successfully developed, would assure you professional success: write the article as if you were describing a circus act, with trained parrots. Emphasize their harangues. Begin with the most courteous congratulations to the Harris Brothers Company" (Valle-Inchin, 57). Far from protesting this strategy of political manipulation, the young reporter responds with
190 ARRAYS a mixture of flattery and enthusiasm: "What a first-rate journalist you are!" Related Entries Bars, Dancing, Employees, Gomina, Movie Palaces, Telephones, Timepieces, Wireless Communication, Authenticity vs. Artificiality, Sobriety vs. Exuberance, Uncertainty vs. Reality, Center = Periphery (Infinitude), Present = Past (Eternity) References Les Annees-memoire: 1926. Paris, 1988. Sergio Buarque de Holanda, "Marinetti, homen polftico" (1926). In Francisco de Assis Barbosa, ed., Rafzes de Sergio Buarque de Holanda. Rio de Janeiro, 1989. Chronik 1926: Tag fur Tag in Wort und Bild. Dortmund, 1985. Egon Erwin Kisch, Hetzjagd durch die Zeit. Berlin, 1926. Friedrich Kittler, Grammophon, Film, Typewriter. Berlin, 1986. Leo Lania, Reportage als soziale Funktion (1926). In Anton Kaes, ed., Weimarer Republik: Manifeste und Dokumente zur deutschen Literatur, 1918-1933. Stuttgart, 1983. Ernst Toller, "Russische Reisebilder" (1926). In Quer Durch: Reisebilder und Reden. Munich, 1978. Ramon del Valle-Inch in, Tirano Banderas (1926). Madrid, 1978. John Willet, Art and Politics in the Weimar Period: The New Sobriety, 1917- 1933. New York, 1978. Peter Zimmermann, "Die Reportage." In Thomas Kobner, ed., Zwischen den Weltkriegen: Neues Handbuch der Literaturwissenschaft, vol. 20. Wiesbaden, 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
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CREMATION 63 phasize individuality.
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CREMATION 65 Individuality vs. Coll
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DANCING 67 Karl Gustav Vollmiiller.
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DANCING 69 Fascination with rhythm
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DANCING slowly around the floor, ob
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DANCING 73 seriousness of Ausdrucks
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ELEVATORS Three days before the cha
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ELEVATORS 77 "pater nosters"-has se
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References ELEVATORS 8 Uhr-Abendbla
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EMPLOYEES 81 obsession-with the con
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EMPLOYEES 83 roles, as is the case
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EMPLOYEES 85 anonymous underlings,
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ENDURANCE On Saturday, August 7, ni
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ENDURANCE 89 themselves against the
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ENDURANCE 91 hand, to the emergence
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ENGINEERS The first page of Walter
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ENGINEERS 95 more seriously than te
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ENGINEERS 97 against the modern spi
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ENGINEERS 99 "social engineering" m
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ENGINEERS 101 Gustav Stresemann, "S
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GOMINA 103 never loses its strong a
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GOMINA lOS industry transubstantiat
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GOMINA 107 Nicola Lepp, "Leclermyth
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GRAMOPHONES 109 gramophone makes pr
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GRAMOPHONES 111 duet GARDEL-RAZZANO
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GRAMOPHONES 113 Lessing, who is com
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HUNGER ARTISTS In his poem "Der Hun
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HUNGER ARTISTS 117 cline, hunger ar
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HUNGER ARTISTS 119 exciting spectac
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JAZZ 121 Tunney, who is famous for
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JAZZ 123 sake. Our age seeks art no
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JAZZ 125 John Fordham, Jazz: Histor
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LEAGUE OF NATIONS 127 land, and Spa
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LEAGUE OF NATIONS 129 Rhineland, wh
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References LEAGUE OF NATIONS 8 Uhr-
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MOUNTAINEERING 133 the form of a te
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MOUNTAINEERING 135 (106). This iron
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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 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
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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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