Theodore Kisiel
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780262029681
- eISBN:
- 9780262330008
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262029681.003.0008
- Subject:
- Philosophy, History of Philosophy
The “destroyed” first draft of 1926, reconstructed from footnote references to Division III and archived bundles of notes, finally spotlights the transcendental perfect tenses of an ...
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The “destroyed” first draft of 1926, reconstructed from footnote references to Division III and archived bundles of notes, finally spotlights the transcendental perfect tenses of an ecstatic-horizonal time of Dasein (BT, §69c). The second draft of Summer Semester 1927 develops this time of Dasein as “the horizon from which something like be-ing becomes understandable at all,” whereby the transcendental science of ontology projects—and so objectifies!—be-ing upon this horizon of time.Horizonal temporality and its blatant objectifying is overcome by the late thirties by grounding Dasein in a temporal playing field (Zeit-Spiel-Raum) or more simply, in time-space. The post-turn final draft of “Time and Being” (1962) centers on an appropriating event as an It that lets and gives be-ing and time. More specifically, It sends be-ing, It extends time-space as It withdraws into an insuperable concealment.Less
The “destroyed” first draft of 1926, reconstructed from footnote references to Division III and archived bundles of notes, finally spotlights the transcendental perfect tenses of an ecstatic-horizonal time of Dasein (BT, §69c). The second draft of Summer Semester 1927 develops this time of Dasein as “the horizon from which something like be-ing becomes understandable at all,” whereby the transcendental science of ontology projects—and so objectifies!—be-ing upon this horizon of time.Horizonal temporality and its blatant objectifying is overcome by the late thirties by grounding Dasein in a temporal playing field (Zeit-Spiel-Raum) or more simply, in time-space. The post-turn final draft of “Time and Being” (1962) centers on an appropriating event as an It that lets and gives be-ing and time. More specifically, It sends be-ing, It extends time-space as It withdraws into an insuperable concealment.
Melissa Ames (ed.)
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617032936
- eISBN:
- 9781617032943
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617032936.001.0001
- Subject:
- Film, Television and Radio, Television
This collection analyzes twenty-first-century American television programs that rely upon temporal and narrative experimentation. These shows play with time, slowing it down to unfold the narrative ...
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This collection analyzes twenty-first-century American television programs that rely upon temporal and narrative experimentation. These shows play with time, slowing it down to unfold the narrative through time retardation and compression. They disrupt the chronological flow of time itself, using flashbacks and insisting that viewers be able to situate themselves in both the present and the past narrative threads. Although temporal play existed on the small screen prior to the new millennium, never before has narrative time been so freely adapted in mainstream television. The essayists offer explanations for not only the frequency of time play in contemporary programming, but the implications of its sometimes disorienting presence. Drawing upon the fields of cultural studies, television scholarship, and literary studies, as well as overarching theories concerning postmodernity and narratology, the book offers some critical suggestions. The increasing number of television programs concerned with time may stem from any and all of the following: recent scientific approaches to quantum physics and temporality; new conceptions of history and posthistory; or trends in late-capitalistic production and consumption, in the new culture of instantaneity, or in the recent trauma culture amplified after the September 11 attacks. In short, these televisual time experiments may very well be an aesthetic response to the climate from which they derive. These essays analyze both ends of this continuum and also attend to another crucial variable: the television viewer watching this new temporal play.Less
This collection analyzes twenty-first-century American television programs that rely upon temporal and narrative experimentation. These shows play with time, slowing it down to unfold the narrative through time retardation and compression. They disrupt the chronological flow of time itself, using flashbacks and insisting that viewers be able to situate themselves in both the present and the past narrative threads. Although temporal play existed on the small screen prior to the new millennium, never before has narrative time been so freely adapted in mainstream television. The essayists offer explanations for not only the frequency of time play in contemporary programming, but the implications of its sometimes disorienting presence. Drawing upon the fields of cultural studies, television scholarship, and literary studies, as well as overarching theories concerning postmodernity and narratology, the book offers some critical suggestions. The increasing number of television programs concerned with time may stem from any and all of the following: recent scientific approaches to quantum physics and temporality; new conceptions of history and posthistory; or trends in late-capitalistic production and consumption, in the new culture of instantaneity, or in the recent trauma culture amplified after the September 11 attacks. In short, these televisual time experiments may very well be an aesthetic response to the climate from which they derive. These essays analyze both ends of this continuum and also attend to another crucial variable: the television viewer watching this new temporal play.
