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Download File KEEPING TIME IN PLACE Modernism, Political Aesthetics, and the Transformation of Chronotopes in Late Modernity Alexis Radisoglou Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Alexis Radisoglou All rights reserved ABSTRACT Keeping Time in Place: Modernism, Political Aesthetics, and the Transformation of Chronotopes in Late Modernity Alexis Radisoglou In this dissertation, I identify a conspicuous shift in the formal articulation of time and space in modernist literature and film of the late 20th and early 21st centuries. This “transformation of chronotopes,” I argue, has important historical, political, and aesthetic implications that have to do with a critical negotiation of our – and art’s – being-in-history in late modernity. In case studies on the work of Theo Angelopoulos, Heiner Müller and Alexander Kluge, I demonstrate that literary and cinematic time-space articulations function as both formal sedimentations of and antagonistic aesthetic responses to a transformed understanding of time, space and the historical process in the wake of the world-historical transformations around and after 1989 as well as in an age of globalization. All three authors are centrally concerned with the precarious status of modernity and futurity today – with the question, that is, of what happens to the constitutively modern promise about an “open future” amid a wide-spread exhaustion of the historical imagination in European societies, amid hyper- acceleration in the fields of technology and the economy, and amid manifold processes of systemic autonomization that undermine concepts of human praxis and self-determination. Interrogating the conditions of possibility for a contemporary political aesthetic – can there be a conjunction of art and politics today? – Angelopoulos, Müller and Kluge are informed by and draw on different forms of modernist political aesthetics of the early 20th century in their engagement with the present and thus also pose the question about the continued relevance, the legacy and timeliness of political modernism today. TABLE OF CONTENTS INTRODUCTION The Transformation of Chronotopes: Notes on the Timeliness of Modernism 1 CHAPTER 1 What Does the Auteur Produce? Cinematic Form, Historical Time, and the Politics of Aesthetic Production in the Films of Theo Angelopoulos 30 CHAPTER 2 It’s 1989…: Empty Time, Historical Aposiop(oi)esis, and the Messianic Promise in the Late Poetry of Heiner Müller 119 CHAPTER 3 Democratic Poetics for the 21st Century: Globalization, Globality, and the Politics of Planetarity in the Later Fiction of Alexander Kluge 172 EPILOGUE Probable Impossibilities? Futurity, Transformation, and the Politics of Poiein 240 Bibliography 250 ! i ACKNOWLEDGMENTS To write a dissertation is to inhabit a chronotope of its own – and perhaps, occasionally, to keep time in place a little too long. Many people and different institutions have helped, over the years, to make the allmähliche Verfertigung einer Doktorarbeit a wonderful endeavor. I would like to thank my dissertation advisors, Andreas Huyssen and Stathis Gourgouris, for their advice, support and guidance, for their faith in this project, and for a style of mentoring that is equally constructive and un-patronizing. Their scholarship combines sensitivity to form, theoretical brilliance, historical acumen, and an engagement with the present in a way that I consider exemplary, and I have been very lucky to benefit so directly from their work as teachers and writers. The profound impact they both have had on my own thinking is present throughout this dissertation. The other members of my dissertation committee – Devin Fore, Kriss Ravetto- Biagioli and Oliver Simons – have asked many important questions and given much useful advice for carrying this project to the next stage. Much of what I know about modernity and time today I first heard about from Harro Müller, whose seminars and books were absolutely indispensable for the articulation of this project. Vangelis Calotychos and Karen Van Dyck made sure that, at Columbia too, part of my family was Greek. If I had ended up there in the first place without Dimitris Papanikolaou is not entirely certain: His teaching and mentorship during my undergraduate years at Oxford was one of those eye-opening experiences that usually precede – or at the very least enhance – the desire to stay in academia. I am grateful to the Graduate School of Arts and Sciences at Columbia University for offering me an International Travel Fellowship to do research in Europe for one semester. The German Academic Exchange Service (DAAD) generously supported me with ! ii a Long-Term Research Grant that allowed me to work and live in Berlin for a whole academic year. Thanks to an Olin Library Grant from the Max Kade Center for Contemporary German Literature at Washington University in St. Louis I was able to put the finishing touches on the dissertation manuscript while commencing work on future projects in the summer of 2015. The Department of Germanic Languages at Columbia University was a home department in the best sense of the term. An atmosphere of genuine respect, collegiality and – very often – friendship made it a great place to work at. I am particularly glad to have met and become friends with the other members of my cohort, Arthur Salvo and Patrick Walsh, as well as with Dalia Inbal, Julia Nordmann, Christoph Schaub, Johanna Urzedowski, and – at ICLS – Sarah Jean Lazur. If the department was home, then the best place in the house was where Bill Dellinger and Peggy Quisenberry were: they run things so well, but first and foremost they are lovely. I will look back to this period with even more fondness for the fact that Laure Astourian was part of it. Above all, however, I always knew that, back home in Germany, someone was there: These could never have been such happy and fulfilling years without the unconditional love and support of my parents. It is to them, of course, that I dedicate this dissertation. ! iii Für Mama και στον µπαµπά, with love ! iv Introduction THE TRANSFORMATION OF CHRONOTOPES NOTES ON THE TIMELINESS OF MODERNISM ____________________________________! “Krisis” richtete sich gleichsam auf die Zeitnot, die zu begreifen, den Sinn des Begriffs ausmachte. - Reinhart Koselleck Die ungelösten Antagonismen der Realität kehren wieder in den Kunstwerken als die immanenten Probleme ihrer Form. - Theodor W. Adorno The temporal structure of European societies today is marked by what seems like a paradox: Amid a proliferation of globalizing processes and in the wake of the digital revolution, the late 20th century witnessed, on the one hand, an unrelenting acceleration of almost all spheres of life. Politics and history, on the other hand, seem to have been gripped by forces of stagnation, if not outright paralysis. Political praxis of a genuinely transformative kind has become all but inconceivable, as scenarios of alternative futures have largely disappeared from the historical imagination. The mantra of contemporary political discourse that “there is no alternative” very clearly bespeaks this predicament. If modernity’s allure consisted not least in the philosophical discovery, during the Age of Enlightenment, of history as a universal terrain of action – a playing field on which an open future could be made through human agency and self-determination – then this very promise of modernity has become deeply precarious. Individual and collective action today often appear to be subjected to autonomous systemic processes, whose intricacy and whose pace can no longer be controlled by the deliberative mechanisms of a (democratic) politics. There is, arguably, no ! 1 time for projecting a future. The crisis of our imaginary of modernity, accordingly, is also a crisis of our notion of historical time.1 How, I ask here, can modernist literature and film from Europe contribute to our own understanding and to contemporary theorizations of this historical juncture? To speak of modernism’s timeliness, in this context, is at once to engage with the constitutive role of temporality in the modernist imagination and to suggest the possibility of modernism’s having been eclipsed. It is in this field of tension that my dissertation, Keeping Time in Place: Modernism, Political Aesthetics, and the Transformation of Chronotopes in Late Modernity, is situated. What I am concerned with, above all, is the nexus of modernist aesthetic practice, historical temporalities and the politics of aesthetic production, as well as the viability today of the conjunction of aesthetics and politics. The point of departure for my analysis is the observation that in the late 20th and early 21st century a conspicuous shift manifests itself in the formal articulation of time and space in the work of prominent modernist authors and filmmakers of this period. This “transformation of chronotopes,” I argue, carries important historical, political and aesthetic implications that have to do, ultimately, with a critical negotiation of our – and art’s – being-in-history in late modernity. CHRONOTOPE AND ZEITRAUM: ARTICULATIONS OF TIME AND SPACE Since the terms of analysis I offer in the title of this study are not entirely self-evident, I will in the following explicate in some more detail the conceptual framework and structure of my dissertation. Each of the case studies I present here departs from close reading and formal analysis. My emphasis thereby is on the formal articulation of time and space in fiction, poetry and film.2 The notion of a “chronotope,” of course, which I use here to designate this ! 2 kind of time-space articulation, points to the work of Mikhail Bakhtin, who first introduced the term in 1938 in his influential essay “Forms of Time and of the Chronotope in the Novel: Notes toward a Historical Poetics.” “We will give the name chronotope (literally, ‘time space’),” Bakhtin writes, “to the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature.” In the literary artistic chronotope, spatial and temporal indicators are fused into one carefully thought-out, concrete whole.
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