In Above Time, James R. Guthrie explores the origins of the two preeminent transcendentalists' revolutionary approaches to time, as well as to the related concepts of history, memory, and change. Most critical discussions of this period neglect the important truth that the entire American transcendentalist project involved a transcendence of temporality as well as of materiality. Correspondingly, both writers call in their major works for temporal reform, to be achieved primarily by rejecting the past and future in order to live in an amplified present moment.
Emerson and Thoreau were compelled to see time in a new light by concurrent developments in the sciences and the professions. Geologists were just then hotly debating the age of the earth, while zoologists were beginning to unravel the mysteries of speciation, and archaeologists were deciphering the Egyptian hieroglyphs. These discoveries worked collectively to enlarge the scope of time, thereby helping pave the way for the appearance of Darwin's Origin of Species in 1859.
Well aware of these wider cultural developments, Emerson and Thoreau both tried (although with varying degrees of success) to integrate contemporary scientific thought with their preexisting late-romantic idealism. As transcendentalists, they already believed in the existence of "correspondences"—affinities between man and nature, formalized as symbols. These symbols could then be decoded to discover the animating presence in the world of eternal laws as pervasive as the laws of science. Yet unlike scientists, Emerson and Thoreau hoped to go beyond merely understanding nature to achieving a kind of passionate identity with it, and they believed that such a union might be achieved only if time was first recognized as being a purely human construct with little or no validity in the rest of the natural world. Consequently, both authors employ a series of philosophical, rhetorical, and psychological strategies designed to jolt their readers out of time, often by attacking received cultural notions about temporality.
Marcel Proust, Virginia Woolf, and Vladimir Nabokov transformed the art of the novel in order to convey the experience of time. Nevertheless, their works have been read as expressions of a desire to transcend time—whether through an epiphany of memory, an immanent moment of being, or a transcendent afterlife. Martin Hägglund takes on these themes but gives them another reading entirely. The fear of time and death does not stem from a desire to transcend time, he argues. On the contrary, it is generated by the investment in temporal life. From this vantage point, Hägglund offers in-depth analyses of Proust’s Recherche, Woolf’s Mrs. Dalloway, and Nabokov’s Ada.
Through his readings of literary works, Hägglund also sheds new light on topics of broad concern in the humanities, including time consciousness and memory, trauma and survival, the technology of writing and the aesthetic power of art. Finally, he develops an original theory of the relation between time and desire through an engagement with Freud and Lacan, addressing mourning and melancholia, pleasure and pain, attachment and loss. Dying for Time opens a new way of reading the dramas of desire as they are staged in both philosophy and literature.
In the first half of the nineteenth century, England became quite literally a world on wheels. The sweeping technological changes wrought by the railways, steam-powered factory engines, and progressively more sophisticated wheeled conveyances of all types produced a corresponding revolution in Victorian iconography: the image of the wheel emerged as a dominant trope for power, modernity, and progress.
In Fortune’s Wheel, an original and illuminating study, Elizabeth Campbell explores the ways in which Charles Dickens appropriated and made central to his novels the dominant symbol of his age. Between 1840 and 1860, a transformation took place in Dickens’ thinking about gender and time, and this revolution is recorded in iconographic representations of the goddess Fortune and wheel imagery that appear in his work.
Drawing on a rich history of both literary and visual representations of Fortune, Professor Campbell argues that Dickens’ contribution to both the iconographic and narrative traditions was to fuse the classical image of the wheel with the industrial one. As the wheel was increasingly identified as the official Victorian symbol for British industrial and economic progress, Dickens reacted by employing this icon to figure a more pessimistic historical vision—as the tragic symbol for human fate in the nineteenth century.
Fortune’s Wheel ably portrays the concept that, in both text and illustrations, images of fortune and the wheel in Dickens’ work record his abandonment of a linear, progressive, and arguably masculine view of history to embrace a cyclical model that has been identified with “women’s time.”
The Iliad defines its poetic goal as preserving the kleos aphthiton, “fame unwithered,” (IX.413) of its hero, Achilles. But how are we to understand the status of the “unwithered” in the Iliad?
In Homeric Durability, Lorenzo F. Garcia, Jr., investigates the concept of time and temporality in Homeric epic by studying the semantics of “durability” and “decay”: namely, the ability of an entity to withstand the effects of time, and its eventual disintegration. Such objects—the ships of the Achaeans, the bodies of the dead, the walls of the Greeks and Trojans, and the tombs of the dead—all exist within time and possess a demonstrable “durability.” Even the gods themselves are temporal beings. Through a framework informed by phenomenology, psychology, and psychopathology, Garcia examines the temporal experience of Homer’s gods and argues that in moments of pain, sorrow, and shame, Homeric gods come to experience human temporality. If the gods themselves are defined by human temporal experience, Garcia argues, the epic tradition cannot but imagine its own temporal durability as limited: hence, one should understand kleos aphthiton as fame which has not yet decayed, rather than fame which will not decay.
Whether discussing Victorian men of letters who parodied the Book of John Mandeville, a fictionalized fourteenth-century travel narrative, or Hope Emily Allen, modern coeditor of the early-fifteenth-century Book of Margery Kempe, Dinshaw argues that these and other medievalists outside the academy inhabit different temporalities than modern professionals operating according to the clock. How Soon Is Now? clears space for amateurs, hobbyists, and dabblers who approach medieval worlds from positions of affect and attachment, from desires to build other kinds of worlds. Unruly, untimely, they urge us toward a disorderly and asynchronous collective.
Francis M. Dunn's Present Shock in Late Fifth-Century Greece examines the widespread social and cultural disorientation experienced by Athenians in a period that witnessed the revolution of 411 B.C.E. and the military misadventures in 413 and 404---a disturbance as powerful as that described in Alvin Toffler's Future Shock. The late fifth century was a time of vast cultural and intellectual change, ultimately leading to a shift away from Athenians' traditional tendency to seek authority in the past toward a greater reliance on the authority of the present. At the same time, Dunn argues, writers and thinkers not only registered the shock but explored ways to adjust to living with this new sense of uncertainty. Using literary case studies from this period, Dunn shows how narrative techniques changed to focus on depicting a world in which events were no longer wholly predetermined by the past, impressing upon readers the rewards and challenges of struggling to find their own way forward.
Although Present Shock in Late Fifth-Century Greece concentrates upon the late fifth century, this book's interdisciplinary approach will be of broad interest to scholars and students of ancient Greece, as well as anyone fascinated by the remarkably flexible human understanding of time.
Francis M. Dunn is Professor of Classics at the University of California, Santa Barbara. He is author of Tragedy's End: Closure and Innovation in Euripidean Drama (Oxford, 1996), and coeditor of Beginnings in Classical Literature (Cambridge, 1992) and Classical Closure: Reading the End in Greek and Latin Literature (Princeton, 1997).
"In this fascinating study, Francis Dunn argues that in late fifth-century Athens, life became focused on the present---that moving instant between past and future. Time itself changed: new clocks and calendars were developed, and narratives were full of suspense, accident, and uncertainty about things to come. Suddenly, future shock was now."
---David Konstan, John Rowe Workman Distinguished Professor of Classics and the Humanistic Tradition and Professor of Comparative Literature, Brown University
"In this fascinating work, Dunn examines the ways in which the Greeks constructed time and then shows how these can shed new light on various philosophical, dramatic, historical, scientific and rhetorical texts of the late fifth century. An original and most interesting study."
---Michael Gagarin, James R. Dougherty, Jr., Centennial Professor of Classics, the University of Texas at Austin
"Interesting, clear, and compelling, Present Shock in Late Fifth-Century Greece analyzes attitudes toward time in ancient Greece, focusing in particular on what Dunn terms 'present shock,' in which rapid cultural change undermined the authority of the past and submerged individuals in a disorienting present in late fifth-century Athens. Dunn offers smart and lucid analyses of a variety of complex texts, including pre-Socratic and sophistic philosophy, Euripidean tragedy, Thucydides, and medical texts, making an important contribution to discussions about classical Athenian thought that will be widely read and cited by scholars working on Greek cultural history and historiography."
---Victoria Wohl, Associate Professor, Department of Classics, University of Toronto
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