In 1926: living at the edge of time - Monoskop

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SILENCE VS. NOISE 327 light enters the mouth of the tunnel, followed by a unanimous, unheardof shouting, which immediately grows to extreme intensity, like a giant engine whose individual vibrations can no longer be distinguished ... Every new second wants to swallow the previous second in its burning throat, although an increase of tension seems impossible. Compared to this raging outburst, all previous battles are fading away like children's play ... Here, the only way of surviving is to let go and allow oneself be molded by the hand of the world spirit itself. Here, we experience history at a focal point" (Junger, 101f£'). junger's formula of "letting oneself be molded by the hand of the world spirit" is just another example of subject-definition by setting limits to subjecthood. No individual voice can ever be heard over the din of modern warfare. Likewise, no individual voice can usually be identified among the noisy spectators of a boxing match. This is why the Silence of the huge crowd that accompanies the Dempsey-Tunney fight for the world heavyweight title is so eloquent. It announces that something important is about to happen-something beyond the individual victory or the individual defeat. [see Boxing] When the fight is over, and the more than 144,000 spectators begin yelling the name of Jack Dempsey, the defeated ex-champion, they honor a fighter who, because he has taken a severe beating from his opponent, has looked into the face of death. [see Immanence = Transcendence (Death)] Eloquent Silence and powerful collective voices always come from a perspective of Authenticity; they always confirm the belief in an existing cosmological order. As antitheses to expressive Silence, one might cite the victims' sighs in Lorca's Romance de la Guardia Civil espanola; the sound of jazz; a gramophone playing in a Great War trench; the always expected, yet always disturbing ringing of the telephone in Kafka's Schloss; the strange sounds from the receiver that precede each telephone conversation and each radio transmission; the "strong needles" that amplify the recorded music played at dance parties. [see Dancing, Jazz, Telephone, Wireless Communication] All Noise that occurs for no particular reason stands opposite to Silence and expression. It is provocative without being eloquent. For while Silence may easily coincide with meaning, Silence and Noise do not go together-with perhaps one exception. Most of the many pictures that Joan Mira completes during the summer have no titles. But among the very few pictures that have titles are The Cry and Dog Barking at the Moon (Dupin, 498-499).
328 CODES Related Entries Airplanes, Americans in Paris, Automobiles, Bars, Boxing, Dancing, Gramophones, Jazz, Telephone, Wireless Communication, Authenticity vs. Artificiality, Immanence vs. Transcendence, Individuality vs. Collectivity, Male vs. Female, Immanence = Transcendence (Death) References Walter Benjamin, Einbahnstraf5e (1926). In Benjamin, Gesammelte Schriften, vol. 4, part 1. Frankfurt, 1972. Agatha Christie, The Murder of Roger Ackroyd. London, 1926 .• Jacques Dupin, Joan Mir6: Leben und Werk. Cologne, 1961. Ramon Franco, De Palos al Plata. Madrid, 1926. Federico Garda Lorca, Romance de la Guardia Civil espanola (1926). In Garda Lorca, Obras completas. Madrid, 1971. Hans Grimm, Yolk ohne Raum, 2 vols. Munich, 1926. Antoni Gronowicz, Garbo: Her Story. New York, 1990. Ricardo Giiiraides, Don Segundo Sombra (1926). Buenos Aires, 1927. Martin Heidegger, Sein und Zeit (written 1926, published 1927). Tiibingen, 1984. Martin Heidegger and Elisabeth Blochmann, Briefwechsel, 1918-1969. Marbach,1989. Adolf Hitler, Mein Kampf (1926). Munich, 1941. Ernst jiinger, Feuer und Blut: Ein kleiner Ausschnitt aus einer grossen Schlacht (1926). Hamburg, 1941. Fritz Lang, Metropolis (1926). New York, 1973. D. H. Lawrence, The Plumed Serpent (1926). London, 1933. Theodor Lessing, "Die blauschwarze Rose" (1926). In Lessing, "Ich warf eine Flaschenpost ins Eismeer der Geschichte": Essays und Feuilletons, 1923- 1933. Neuwied, 1986. Jean-Fran~ois Lyotard, Le Dif{erend. Paris, 1983. Pages of Time: 1926. Goodlettsville, Tenn., n.d. G. Wohlfart and J. Kreuzer, "Schweigen, Stille." In Joachim Ritter and Karlfried Griinder, eds., Historisches Worterbuch der Philosophie, vol. 8. Basel, 1992.
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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
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MOUNTAINEERING 139 berger: "How wou
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MOVIE PALACES In downtown Buenos Ai
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MOVIE PALACES 143 shorts, which is
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MOVIE PALACES 145 sional world of f
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MOVIE PALACES 147 right kind of nou
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MUMMIES Early in the year, the smal
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MUMMIES 151 the past had reached th
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MUMMIES 153 vades the street life o
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MURDER On Sunday, August 8, the Ber
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MURDER 157 of the criminal, now red
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MURDER 159 it is based on a single
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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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Page 298 and 299: IMMANENCE VS. TRANSCENDENCE Often,
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Page 320 and 321: MALE VS. FEMALE Heinrich Mann rathe
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Page 328 and 329: References MALE VS. FEMALE 311 Berl
Page 330 and 331: PRESENT VS. PAST 313 more convincin
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Page 346 and 347: SOBRIETY VS. EXUBERANCE Philosophic
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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
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Page 369 and 370: 352 CODES COLLAPSED agree with Krac
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Page 373 and 374: 356 CODES COLLAPSED taking into acc
Page 375 and 376: AUTHENTICITY = ARTIFICIALITY (LIFE)
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Page 379 and 380: 362 CODES COLLAPSED as irresistible
Page 381 and 382: CENTER = PERIPHERY (INFINITUDE) The
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Page 391 and 392: 374 CODES COLLAPSED measure one's f
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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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