scholarly journals From the Future to the Past (and Back Again?): A Review of Aleida Assmann’s Is Time Out of Joint? On the Rise and Fall of the Modern Time Regime (Ithaca: Cornell University Press and Cornell University Library, 2020)

Author(s):  
Joe P. L. Davidson
2020 ◽  
pp. 224-232
Author(s):  
Aleida Assmann

This concluding chapter poses the question of whether or not we have too much past and too little future. After all, the notion of the past has dramatically increased in its range of meanings, as has the future. The relation between the past, the present, and the future is a three-fold relationship in which one dimension cannot exist for long without the others. Ordering this three-fold temporal structure anew and bringing the three dimensions into a balanced relation, however, continues to be an open adventure. To be sure, it is also the greatest challenge posed by the demise of the modern time regime.


2020 ◽  
pp. 201-223
Author(s):  
Aleida Assmann

This chapter argues for the repair of the modern time regime. It shows that saving the past by means of a “culture of preservation” is itself a central part of Western modernization. However, there is as yet no straight line leading from this compensatory culture of preservation to the entire spectrum of practices, problems, and controversies associated with the “cultures of memory.” Under the paradigm of cultural memory, the past in particular is no longer the exclusive domain of the historian, nor can the use made of it be reduced to the function of a comforting medium of deceleration. The new entanglement of the past with the future—of the space of experience with the horizon of expectation—that characterizes the present time regime has implications, requirements, and effects that are much more far-reaching. New perspectives on and interests in the past now have important roles to play. The modern time regime therefore needs not only compensation, but also repair.


Author(s):  
Aleida Assmann

Is, as Hamlet once complained, time out of joint? Have the ways we understand the past and the future—and their relationship to the present—been reordered? The past, it seems, has returned with a vengeance: as aggressive nostalgia, as traumatic memory, or as atavistic origin narratives rooted in nation, race, or tribe. The future, meanwhile, has lost its utopian glamor, with the belief in progress and hope for a better future eroded by fears of ecological collapse. This book argues that the apparently solid moorings of our temporal orientation have collapsed within the span of a generation. To understand this profound cultural crisis, the book reconstructs the rise and fall of what it calls “time regime of modernity” that underpins notions of modernization and progress, a shared understanding that is now under threat. It assesses the deep change in the temporality of modern Western culture as it relates to our historical experience, historical theory, and our life-world of shared experience, explaining what we have both gained and lost during this profound transformation.


Discourse ◽  
2021 ◽  
Vol 7 (3) ◽  
pp. 36-51
Author(s):  
A. E. Yakimov

Introduction. The article is devoted to the general theoretical analysis of Dziga Vertov’s cinema as a language of temporal reflection. According to essential hypothesis of this research Vertov’s work expresses the feature of the temporal regime of the culture of Soviet modernity.Methodology and sources. The author uses the terms “temporal reflection” and “time regime of culture” guided by the A. Assmann’s work “Is Time Out of Joint? On the Rise and Fall of the Modern Time Regime”. The article is rethinking these concepts and point out as a methodological ground for the analysis of non-fiction cinematography.Results and discussion. As a result of the analysis of both Vertov’s films and texts and theoretical works devoted to the study of his work, it is argued that Vertov’s non-fiction films could be considered as a symbolic language of temporal reflection. Particular attention is paid to Vertov’s both theoretical works and manifestos, and at the technical level – to the cinematographic techniques and means of expression of time. The temporal regime of modernity according to the Assmann includes features such as the turning point of time, the fiction of a new beginning, creative destruction, the emergence of the concept of “historical” and the acceleration of time. The analysis of the film “Man with a Movie Camera” (1929) given in the article demonstrates that Vertov’s work expresses these features. This conclusion is also confirmed by a number of theoretical positions in Vertov’s works, some of which are presented in the article.Conclusion. Based on the analysis, it is concluded that Vertov’s cinematic experiments are inventing a new language for comprehending time of history and culture. This language functions on account of the mechanical reduction of reality and the synthesis of the resulting images-perceptions based on the principle of ideological and poetic advisability.


2020 ◽  
pp. 175-200
Author(s):  
Aleida Assmann

This chapter argues that we are not at the terminal end of the modern time regime but merely at the beginning of its renewal. Before sketching out the main features of this renewal, the chapter first considers the disorientation and uncertainty that accompanies this temporal reorientation. Like William Shakespeare's Hamlet at the beginning of the Renaissance four hundred years ago, we are today being confronted with a change of temporal ontology. Here, Hamlet's cry, “The time is out of joint!” is an alarming diagnosis that has been steadily intensifying since the beginning of the twenty-first century. And as this chapter shows, it has only become more and more deafening.


2016 ◽  
Vol 12 (2) ◽  
pp. 136
Author(s):  
Nur Cahyati Wahyuni ◽  
Martina Uki

A university library as a learning space should put learning as a major issue. As the organization itself, university library needs to measure its quality as a learning organization for members of the organization and as a learning space for the academic community, in order to live sustainably in the process of changing learning trends. The quantitative method was applied in this study using benchmarking model of Garvin's learning organization. The results show that UGM Library has transformed to be a learning organization. Most of the indicators have reached, whereas some others are still below the standard of benchmark. Meanwhile there was difference in score based on level of education. The study was the first time conducted at UGM Library within a certain period of time; therefore there is no description of comparison process between the past and now. In the future its is expected there is further measurement to identify the development of preparedness of UGM Library as a learning organization.


2014 ◽  
Vol 8 (2) ◽  
pp. 180-195
Author(s):  
Réal Fillion

Speculative philosophy of history is concerned with history as a whole, which includes explicitly relating the past to the present and the present to the future. It proposes a philosophical appreciation of the importance of history in our lives and in our self-knowledge, but where history is understood not only as revealing to us what is past, but also as a shaping of the present, which itself sets the conditions for future developments. The notion of history-as-a-whole I propose to call, for the purposes of discussion, the past-present-future complex and it is this complex that is the explicit concern of the speculative philosopher of history. The speculative philosopher of history is never far from the historian and her work, whose concern is to elucidate the past and reveal its intelligibility, and in that sense, the past remains the privileged “object” of history, precisely because the past, as past, needs to be re-presented in order to be known, and is known through its re-presentations. I will here briefly discuss Frank Ankersmit’s account of the work of representation in his recent Meaning, Truth, and Reference in Historical Representation (Ithaca: Cornell University Press, 2012). Two things about this work of re-presentation will be noted: 1) because what is re-presented is a past reality, it provides a contrast to present reality, and 2) because the past re-presented is meant to be an account of the reality of the past, it gives us a sense of the necessity of what has been. For the speculative philosopher of history, taking these two features together raises the modal consideration of the relation between the necessity of what has come to pass (as re-presented) and the lived contingency of the present. Here I will briefly discuss the relevance of Michel Foucault’s work in relating past and present in terms of the contingent formations that shape our lives (including the histories we re-present). While Foucault’s focus on contingent formations privileges the notion of possibility within the historical field of the present, it does not systematically address how such possibility might relate to the future. For this last modal consideration, I will discuss briefly Ernst Bloch’s work, specifically the notions of Not-Yet- and What-Is- as discussed in the Principle of Hope (Cambridge: The MIT Press, 1986) as a way to address the future within the past-present-future complex that is the concern of speculative philosophy of history.


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