In 1926: living at the edge of time - Monoskop

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CONTENTS User's Manual • IX Arrays Airplanes· 3, Americans in Paris· 12, Assembly Lines· 22, Automobiles· 26, Bars· 34, Boxing· 42, Bullfighting· 54, Cremation· 62, Dancing· 66, Elevators· 75, Employees· 80, Endurance· 87, Engineers· 93, Gomina . 102, Gramophones· 108, Hunger Artists· 115, Jazz· 120, League of Nations· 126, Mountaineering· 132, Movie Palaces· 141, Mummies· 149, Murder· 155, Ocean Liners· 164, Polarities· 172, Railroads· 177, Reporters· 185, Revues· 191, Roof Gardens· 198, Six-Day Races· 203, Stars· 207, Strikes· 217, Telephones· 225, Timepieces· 233, Wireless Communication· 241 Codes Action vs. Impotence· 253, Authenticity vs. Artificiality· 262, Center vs. Periphery· 272, Immanence vs. Transcendence· 281, Individuality vs. Collectivity· 293, Male vs. Female· 303, Present vs. Past· 312, Silence vs. Noise· 320, Sobriety vs. Exuberance· 329, Uncertainty vs. Reality· 336 vii
viii CONTENTS Codes Collapsed Action = Impotence (Tragedy) . 351, Authenticity = Artificiality (Life) ·358, Center = Periphery (Infinitude) . 364, Immanence = Transcendence (Death) . 372, Individuality = Collectivity (Leader) . 383, Male = Female (Gender Trouble) . 390, Present = Past (Eternity) ·400 Frames After Learning from History· 411 Being-in-the-Worlds of 1926: Martin Heidegger, Hans Friedrich Blunck, Carl Van Vechten . 437 Notes • 481 Acknowledgments • 499 Index • 501
Page 2: In 1926
Page 5 and 6: Copyright © 1997 by the President
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
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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
Page 270 and 271:
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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Page 290 and 291:
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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Page 318 and 319:
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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
Page 467 and 468:
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
Page 522:
Sieburg, Friedrich, 99; "Adoration
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