Clock (Time’s Pre-sequels)

Golub, Spencer

doi:10.1007/978-3-030-31889-5_3

Clock (Time’s Pre-sequels)

Spencer Golub²

Chapter
First Online: 19 October 2019

125 Accesses

Abstract

Different modalities of time in books, music and science fiction, action, and Western films. The use of time-to-space ratio as a way of constructing character and mise-en-scène. Fictional characters struggle with Heidegger’s “problematic of temporality.” The anxiety of death as a being-toward-ness is overwritten with an always already presencing of the future. The attempt to counter our thrownness into existence with a deeper understanding of taking care in Dasein (the Being of beings in Heidegger). Pre-cognition presents along with the sense not merely of being too late but of, “were we too late?” Heidegger sharpens mise-en-scène to the point of mise-en-temps, making our way toward what he called “the possibility of a pure problematic of being.”

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Notes

1.
Heidegger, What Is Called Thinking? 21 and 23; Sterne, Tristram Shandy, 330, 333, 334, and 335.
2.
Sterne, Tristram Shandy, 332.
3.
Heidegger, What Is Called Thinking? 11.
4.
Ibid., 30 and 35.
5.
Sterne, Tristram Shandy, 268, 325, and 326.
6.
Ingold distinguishes between the maze and the labyrinth, the former “offering not one but multiple choices, at which each may be freely made but most lead to a dead end. It also differs, however, in that its avenues are demarcated by barriers which obstruct any view other than the way immediately ahead. The maze, then, does not open up to the world, as the labyrinth does. On the contrary, it encloses, trapping its inmates within the false antinomy of freedom and necessity.” Tristram Shandy is not a maze, but a labyrinth. Walter Benjamin, Berlin Childhood Around 1900, trans. H. Eiland (Cambridge: Harvard University Press, 2006), 53–54; Ingold, The Life of Lines, 130–1.
7.
Ingold, 132.
8.
Annalisa Coliva, “Which Hinge Epistemology?” in Hinge Epistemology, ed. Anna Coliva and Danièle Moyal-Sharrock (Boston: Brill, 2016), 17 and 18.
9.
David Markson, This Is Not a Novel (Washington, DC: Counterpoint, 2001), 88.
10.
Sterne, Tristram Shandy, 364 and 373.
11.
Ibid., 398–400.
12.
Ibid., 344, 358, 362, and 374.
13.
One After 909, music and lyrics by John Lennon and Paul McCartney, EMI Music Publishing, 1969.
14.
Ibid.
15.
Heidegger, On the Way to Language, 81, 82, 83k, and 104.
16.
One After 909.
17.
Heidegger, On the Way to Language, 94, 95, 102, 103, 104, 105, 106, and 108.
18.
Ludwig Wittgenstein, Remarks on the Foundations of Mathematics, ed. G.H. von Wright, R. Rhees, and G.E.M. Anscombe and trans. G.E.M. Anscombe (Cambridge: MIT Press, 1983), Part II, §16.
19.
Heidegger, What Is Called Thinking? 8 and 9.
20.
Wittgenstein, Remarks on the Foundations of Mathematics, Part I, Appendix I, §18.
21.
Quoted in Edmond Jabès, The Book of Margins, trans. Rosmarie Waldrop (Chicago: The University of Chicago Press, 1993), 36.
22.
Tell No One (dir. Guillaume Canet, 2008).
23.
Heiner Muller, Hamletmachine, in Hamletmachine and Other Texts for the Stage, ed. and trans. Carl Weber (New York: Performing Arts Journal Publications, 1984), 53, 54, 55, and 58.
24.
Heidegger, Introduction to Metaphysics, §67, 93.
25.
Ibid., §64, 89, §66, 91, and §67, 92.
26.
Ibid., §69, 96; Heidegger, Being and Time, 23.
27.
Ibid., §64, 89.
28.
Anne Carson, “Introduction,” to Sophokles, Elektra, in An Oresteia, trans. Anne Carson (New York: Farrar, Straus and Giroux, 2009), 77.
29.
Heidegger, Being and Time, §46:236, 227 and §48:244, 235.
30.
Ibid., §52:248, 239.
31.
Ibid., §52:266, 254.
32.
Ibid., §70:368, 350.
33.
Ibid., §69 (b):365, 348.
34.
By contrast, “the they-self has slunk away from its ownmost being-guilty, and so it talks about mistakes all the more vociferously.” Heidegger, Being and Time, §57:274–77, 264–67, §58:286–87, 274–75, and §58:288, 276.
35.
Heidegger, Being and Time, §48:243, 234.
36.
Ibid., §48:246, 237.
37.
“Although [12 Monkeys] was inspired by Chris Marker’s classic short, La Jetée (1962), director Terry Gilliam had not seen it when this was made.” http://www.imdb.com/title/tt0114746/trivia?ref_=tt_trv_trv.
38.
Steve Erickson, Our Ecstatic Days (New York: Simon & Schuster, 2005), 3.
39.
Heidegger, Being and Time, §29:135, 132, §65:328, 313, §66:333, 317, and §68 (b):343, 328.
40.
Heidegger, What Is Called Thinking? 3, 4, and 6.
41.
Ibid., 7 and 8.
42.
Ibid., 9 and 10.
43.
Ibid., 41.
44.
Ibid., 7.
45.
Ibid., 175, 176, 185, 187, 206, and 210.
46.
Stephane Mallarmé, One Toss of the Dice, a translation of Un Coupe des Jamais N’Abolira le Hasard by J.D. McLatchy, in Bloch, One Toss of the Dice: The Incredible Story of How a Poem Made Us Modern, ed. R. Howard (New York: Liverright and W.W. Norton, 2017), 169–87.
47.
The two later films to which I am alluding are Unbreakable (2000) and Split (2016), both of which were directed by M. Night Shyamalan and featured Bruce Willis in the same role.
48.
Heidegger, Being and Time, §18A./§87 and fn+: 86.
49.
Ibid., §18:86–87, 84–86, §19:89–90, 87–89, §20:92, 90–91, and §20:93, 92; M.C. Escher, “Classification and Description of the Numbered Reproductions,” in The Graphic Work of M.C. Escher, trans. John E. Brigham (New York: Ballantine Books, 1967), 15.
50.
In addition to “respect,” Daxa has a variety of meanings of “aspect”—view, looking-so, seeming, self-view or opinion. Heidegger, Introduction to Metaphysics, §77, 106, §79, 109–10, and §80, 110.
51.
Tim Ingold, The Life of Lines (New York: Routledge, 2015), 133; Emmanuel Levinas, Existence and Existents, trans. Alphonso Lingis (Pittsburgh: Duquesne University Press, 2001), 23; Ludwig Wittgenstein, The Blue Book, in The Blue and Brown Books, trans. Rush Rhees (New York: Harper & Row, 1965), 72.
52.
Heidegger, Being and Time, II §19:249, 251, 255, 256, and 259.
53.
Willard Van Orman Quine, Word & Object (Cambridge: The MIT Press, 1960), 1.
54.
Inwood, “Play and Games,” in A Heidegger Dictionary, 167; Heidegger, Einleitung in die Philosophie, Vol. 27, ed. O. Saame and I. Saame-Speidel (1966), lectures of 1928–1929, 312, quoted in Inwood, 167.
55.
Roubaud, The Great Fire of London, 107 (§20), 208 and 209.
56.
Heidegger, Introduction to Metaphysics, §136, 190 and 191.
57.
Ibid, §138, 193.
58.
Ibid., §139, 195.
59.
Heidegger, Being and Time, §15:67–69, 66–71.
60.
Ibid., II, §19:253; Inwood, “Time-Space,” in A Heidegger Dictionary, 222 and 223.
61.
Heidegger, Introduction to Metaphysics, §139:194, 195; §140:195, 196, §141:197, 198, §142:198–99, §143:201, and §151:213.
62.
Inwood, A Heidegger Dictionary, 186, 187, and 188; Braver, Heidegger, 89.
63.
Magda King, A Guide to Heidegger’s Being and Time, ed. John Llewelyn (Albany: State University of New York Press, 2001), 196.
64.
Heidegger, Being and Time, §66:326, 311; King, A Guide to Heidegger’s Being and Time, 218 and 219.
65.
Martin Heidegger, The Basic Problems of Phenomenology, trans. Alfred Hofstadter (Bloomington: Indiana University Press, 1982), 249, 262, 264, 265, 266, and 267.
66.
Heidegger, Being and Time, §5:18, 17, §66:332, 317, and §68 (a):336, 321.
67.
Ibid., §68 (a):337, 322, §71:370, 359, and §71:371, 353; King, A Guide to Heidegger’s Being and Time, 223.
68.
Rouboud, The Great Fire of London, 282.
69.
Peter Szendy, Of Stigmatology: Punctuation as Experience, trans. Jan Plug (New York: Fordham University Press, 2018), 25.
70.
Roubaud, The Great Fire of London, 167 and 286.
71.
Stein, How to Write, 121.
72.
Ibid., 121–22.
73.
Ibid., 124.
74.
“This is a sentence. They are mainly in their way perfect.” Ibid.
75.
Ibid., 28.
76.
Ibid., 33–34.
77.
Ibid., 128.
78.
Ibid., 129.

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Department of Theatre Arts and Performance Studies, Brown University, Providence, RI, USA
Spencer Golub

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Golub, S. (2019). Clock (Time’s Pre-sequels). In: Heidegger and Future Presencing (The Black Pages). Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-31889-5_3

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DOI: https://doi.org/10.1007/978-3-030-31889-5_3
Published: 19 October 2019
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-31888-8
Online ISBN: 978-3-030-31889-5
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