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A poetics of "Care," or time and the...

Eubanks, Kevin Parker.

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A poetics of "Care," or time and the "Dasein" of modernism in Thomas Mann and Martin Heidegger (1924/1947).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	A poetics of "Care," or time and the "Dasein" of modernism in Thomas Mann and Martin Heidegger (1924/1947)./
作者:	Eubanks, Kevin Parker.
面頁冊數:	305 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: 1880.
Contained By:	Dissertation Abstracts International72-01A.
標題:	Literature, Modern. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3427714
ISBN:	9781124323633

A poetics of "Care," or time and the "Dasein" of modernism in Thomas Mann and Martin Heidegger (1924/1947).
Eubanks, Kevin Parker.

A poetics of "Care," or time and the "Dasein" of modernism in Thomas Mann and Martin Heidegger (1924/1947). - 305 p.

Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: 1880.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2010.

A Poetics of 'Care', or Time and the 'Dasein' of Modernism in Thomas Mann and Martin Heidegger (1924/1947) seeks to establish the usefulness of Martin Heidegger's reformulation of time and subjectivity during the period from 1924-1947 for reconceptualizing interpretations of time and tragic experience across the spectrum of literary and philosophical modernism(s). Between the earliest expressions of his temporality in The Concept of Time [Der Begriff der Zeit] (1924) and Being and Time [Sein und Zeit] (1927) and its later incarnation(s) in, for example, The Origin of the Work of Art [Ursprung des Kunstwerkes] (1936) and The Thinker as Poet [Aus der Erfahrung des Denkens] (1947), Heidegger finds conventional modernist approaches to time either too subjectivist or too relativist in formulation. Heidegger not only rejects a conception of time as that in which subjectivity happens but also an idea of time as that toward which subjectivity is oriented from the outside. In neither case, according to Heidegger, do these framings capture the embeddedness of time for the subject. For Heidegger, time is much more than the object of a definable and radical, even playful, experimentalism with which we have come to associate modernism; it is neither comprised of stable modes (past, present, future), nor is it hierarchical, subjective or even a relation among other relations that, along with the question of time, are said to have preoccupied the modernists, most notably the questions of narrative, history and subjectivity. According to Heidegger, temporality is the relation of being itself, what he calls Dasein as being-there or being-in-the-world, and it is thus at Dasein that the very possibility of a distinctly modernist narrative, history or subjectivity is configured.

ISBN: 9781124323633Subjects--Topical Terms:

624011
Literature, Modern.

A poetics of "Care," or time and the "Dasein" of modernism in Thomas Mann and Martin Heidegger (1924/1947).
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520 $a A Poetics of 'Care', or Time and the 'Dasein' of Modernism in Thomas Mann and Martin Heidegger (1924/1947) seeks to establish the usefulness of Martin Heidegger's reformulation of time and subjectivity during the period from 1924-1947 for reconceptualizing interpretations of time and tragic experience across the spectrum of literary and philosophical modernism(s). Between the earliest expressions of his temporality in The Concept of Time [Der Begriff der Zeit] (1924) and Being and Time [Sein und Zeit] (1927) and its later incarnation(s) in, for example, The Origin of the Work of Art [Ursprung des Kunstwerkes] (1936) and The Thinker as Poet [Aus der Erfahrung des Denkens] (1947), Heidegger finds conventional modernist approaches to time either too subjectivist or too relativist in formulation. Heidegger not only rejects a conception of time as that in which subjectivity happens but also an idea of time as that toward which subjectivity is oriented from the outside. In neither case, according to Heidegger, do these framings capture the embeddedness of time for the subject. For Heidegger, time is much more than the object of a definable and radical, even playful, experimentalism with which we have come to associate modernism; it is neither comprised of stable modes (past, present, future), nor is it hierarchical, subjective or even a relation among other relations that, along with the question of time, are said to have preoccupied the modernists, most notably the questions of narrative, history and subjectivity. According to Heidegger, temporality is the relation of being itself, what he calls Dasein as being-there or being-in-the-world, and it is thus at Dasein that the very possibility of a distinctly modernist narrative, history or subjectivity is configured.
520 $a In a much more fundamental sense, Heidegger proposes time as a phenomenon at which subjectivity is always already happening, and as early as 1924 even goes so far as to equate time with the subject, or with what he calls "human, historical Dasein." Although it is the most conspicuous heir to the cultural obsession with time that is typically said to have dominated high modernism, the full scope of Heidegger's remarkable study of temporality during the period from 1924-1947 has never been elaborated -- neither in terms of its potential literary applications nor in terms of its engagement with the historical moment of modernism itself. Emphasizing the works of Heidegger's contemporary and fellow German, Thomas Mann, namely The Magic Mountain [Der Zauberberg ] and Doctor Faustus [Doktor Faustus], which bookend this crucial period in Mann's own development toward what I would like to call a Heideggerian recognition, I trace the way in which Dasein, the historical moment at which time "temporalizes itself," emerges as a construct capable of explaining these configurations and of fostering radically new interpretations of both the temporality of modernism as well as the modernism of temporality. In a final chapter, and taking into account Heidegger's insistence that time or Dasein as being-there is also always a "being-towards the possibility of its absolute impossibility," I explore the "rumor" (Geulen) of the end of art that preoccupied a later modernism and ultimately argue that the distinguishing mark of both modernism and the modernist time-novel is the tragic recognition that modernism is the historical being-towards its own impossibility.
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