The paper seeks to demystify Nietzsche’s concept of genealogy. Genealogy tells the story of historical origins in the form of a myth that is betrayed fromwithin, while readers have naively assumed it tells a story that Nietzsche endorses—whether of history or naturalized origins. Looked at more closely, genealogy,I claim, tells the story of human consciousness and its extraordinary fallibility. It relates the conditions and limits of consciousness and how these are activelyavoided and forgotten, for the most part in vain. The (...) lessons are these: there is no human time before consciousness; no unconscious activity that is uncontaminated by consciousness or culture; no period of prehistory that isn’t already historical or historicized, hence subject to dehistoricization (for prehistory, Urzeit, always comes after history, in the form of a myth); no primordial “innocence of becoming,” let alone any future condition free of these same constraints. Genealogy is the critique of the myth of knowing critique. (shrink)

The well-known label of “theater of the absurd” is based on the Aristotelian logic of the nonincluded middle, the common interpretation being that of the chaotic and irrational character of the universe, human destiny, and language. However, we propose another view on the subject, relying on the discoveries of quantum physics, the main principles of transdisciplinarity, and the literary theory of the possible worlds. We applied these ideas to some of Eugene Ionesco’s fa-mousplays, concluding that absurd becomes (...) an irrelevant notion if analyzed in this perspective. (shrink)

We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This paper argues (...) how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)

We’d like to do a little hypnosis on you. Imagine that you’re ensconced in your own family room, your study, or your queen-sized bed. Settling back, you pick up the remote, flick on the TV, and naturally you turn to PBS. This is what you hear:Host 1: Good evening. Welcome to Masterpiece Theatre. Because Alistair Cooke is away on assignment in Alaska, we’ve agreed to host the show tonight, and that’s both a pleasure and a privilege because our program this (...) evening marks the beginning of a fascinating new series, a first on television: Masterpiece Theatre will present you with a docudrama entitled “Masterpiece Theatre.”Host 2: Like “The First Churchills,” this show analyzes the situation of real-life people—tonight, people in the academy. Names have not been changed to protect either the innocent or the guilty, but all the situations are fictive and at times words that may never have been spoken are put into the mouths of people who did not speak them. Other lines, however, are direct quotations from various written sources, although none of the characters, as we depict them, should be confused with any “actual” persons, whether or not those persons would scribe to the idea of their own reality. Like “Upstairs/Downstairs,” this program will introduce you to a spectrum of characters from many walks of life. What’s different about tonight’s episode, though, is that all these characters have passionate opinions about the show itself. Why, the very idea of Masterpiece Theatre drives some of them to Guerrilla Theatre, others to Theatre of the Absurd. Yes, you’ve always already guessed it: we focus tonight on a drama involving what we used to call humanists—now for some a dirty word—and most of our characters are in deep trouble. Sandra M. Gilbert, professor of English at the University of California, Davis, and Susan Gubar, professor of English at Indiana University, are coauthors of No Man’s Land: The Place of the Woman Writer in the Twentieth Century, Volume 1: The War of the Words and Volume II: Sexchanges , the first installments of a three-part sequel to their Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . They have also coedited The Norton Anthology of Literature by Women: The Tradition in English. (shrink)

This essay looks at two young English-speaking Iraqi bloggers whose internationally recognized writings describe the chaos in post-Saddam Iraq. It examines sarcasm as a mode of resistance as employed by Salam Pax, characterized by BBC Radio in 2003 as “the most famous diarist in the world,” and Riverbend, whose blog was published as a book and translated into several languages. By subjecting the colonial discourse to ridicule, they not only successfully convey the angst their people suffer, but also mock a (...) stereotypical rhetoric that haunts the Western mentality regarding the Middle East. This essay negotiates their use of sarcasm as a means of non-violent resistance. It demonstrates how, for instance, they shift from the sarcastic to the absurd to unravel the banality of the colonial mind and the conceited position of its liberating enterprises. The aim of the paper is, therefore, to shed light on the emergence of a digitalized group of subalterns who write back to the center in the wake of the American intervention to topple the Baath regime in Iraq. Pax and Riverbend distinctively succeed in subverting the colonial and hegemonic gaze by unravelling the encroaching uncertainties of war through the deployment of sarcasm to signify resistance, and by transforming the coalition forces’ theatre of war into a theatre of the absurd. (shrink)

In this article I have written about a set of experiences with theatre productions over the last few years that have appealed strongly, in different ways, to the heart. To contextualise the phenomenon, I have coined the phrase theatre of the heart, and have provided an analysis of its manifestations with reference to non-linear theatre, atmosphere, love, and wisdom and age. I have provided examples for each of those contexts from recent theatre practice. In sharing this experience and my interpretation (...) of it, I hope to enable other spectators to make sense of experiences they have encountered but may not be able to place, or to open them up to such experience in the first instance. My considerations may also support theatre artists to be courageous and develop the theatre of the heart further. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Franco-Ferraz, Theism and the Theatre of the Mind MiguelA. Badia-Cabrera In "Theatre andReligiousHypothesis,"1 MariaFranco-Ferraz offersan eloquent and reasoned argument in favour ofa fresh and different sort of hermeneutic approach to the Dialogues Concerning Natural Religion as a suitable means to disentangle the web of proverbially difficult philosophical questions posed by Hume in that work. In order to arrive at a coherent understanding ofthe Dialogues as a whole and (...) perhaps also to calm the sense of bafflement which the confrontation with this enigmatical text always provokes, many Hume scholars have taken as a point of departure and clue for unravelling it either one or two of Hume's principal philosophical doctrines or a presumedly unitary view of Hume's philosophy in general. Equipped with one or both of these instruments, they proceed to dissect the arguments of the Dialogues with the intention of determining what Hume's position really is. This task also almost invariably ends by assigning the victory in the dialectical struggle and the representation of the author's 'true' opinions to the character (sometimes even more than one) in whom they are more or less able to find the purest expression ofwhat theyhave previously decided is the kernel oressence ofHume's philosophy. Franco-Ferraz has taken a very different route. For her the key point of the Dialogues lies in the fictional setting in which the theological discussion takes place. She goes on to show that the literary form of the Dialogues is intrinsically connected with its philosophical content so as to serve to elucidate the precise nature ofthe conclusion which is established at the end, in Part XII. In other words, the theatrical structure facilitates a more profound and detailed investigation ofthe problems dealing with the existence and nature of God. In fact, Hume offers no final solutions to these problems and thereby none ofthe characters ofthe Dialogues can properly be said to present the victorious point of view or the one counting with the complete authority ofthe author ofthe play: The most important aspect of this text is the interaction between the different characters' points of view, which, by being in confrontation with each other, undergo reciprocal transformations. (Franco-Ferraz, 228) Volume XVI Number 2 131 MIGUEL A. BADÍA-CABRERA With this one cannot but agree. In addition she clinches her case by 'ai-trull·/ and convincingly showing that there is a profound relation between this theatrical form and some substantive philosophical theses which Hume developed in the Treatise, the first Enquiry, and The Natural History ofReligion. In reality, the theatre metaphor clarifies the sense ofthose philosophical doctrines, which in turn throw light on and corroborate her main contention about the conclusion of the Dialogues. For according to her, any definitive solution to the problems ofnatural theology is not presented at the end by any ofthe characters on behalfofa God-like author (Dieu auteur), and furthermore this deus ex machina solution would conflict especially with Hume's conception of the mind as being une pièce sans théâtre, a drama without a stage (Franco-Ferraz, 234). Such is the substance ofher thesis, if I have succeeded in giving a fairrepresentationofit. I thinkthatherinterpretation providesa novel outlook and one fruitful means ofaccess to an adequate understanding of the Dialogues. But I am quite hesitant with some particular and important aspects ofher reading of that text for the 'inconveniences', in Philo's sense ofthe word, which seem to follow from it, and alsohave a few difficulties in assessing the exact import of one or two of her central claims due to the somewhat vague manner in which, I think, these are formulated. First, at the verybeginningofher paper, Franco-Ferraz quotes the followingpassagefromPartIIIoftheDialoguesin which Demeaobjects to Cleanthes' claim, defended by two very ingenious analogies, that an orderly world like a coherent, articulate speech will always be taken as a sign ofintelligent design: When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. (D 155-56) I take issue with... (shrink)

Notable theorists have argued that theatre and drama play positive roles in the moral education of children and adults, including cultivating their capacity for empathy. Yet other theorists have expressed concerns that plays and educational practices involving improvisation might not lead to positive changes in real life, and might even have negative influences on actors and audiences. This paper focuses in particular on the dramatic methods employed by Theatre of the Oppressed, devised by Augusto Boal, and on the methods involved (...) in the development of the play The Laramie Project, developed by Moisés Kaufman and the Tectonic Theatre Project. It argues that Theatre of the Oppressed and The Laramie Project cultivate actors’ and audiences’ empathetic capacities, while overcoming many theorists’ worries about the impact of drama. (shrink)

This chapter explores the notion of territory in the works of both Gilles Deleuze and Martin Heidegger. It examines whether race and its minor theatre want a dwelling place and investigates whether there is a political potential within the body without organs which offers a resistance to the homely conception of dwelling. It provides a contextualisation of this future theatre in the Deleuzo-Guattarian project of minor literature as a whole and questions the practicality of the schizo-stroll and the BWO. It (...) also discusses the notion of Heideggerian deterritorialisation. (shrink)

This book provides both a historical analysis of the philosophical problem of individuation, and a new trajectory in its treatment. Drawing on the work of Gilles Deleuze, as well as C.S. Peirce and the lesser-known Gilbert Simondon, Alberto Toscano takes the problem of individuation, as reconfigured by Kant and Nietzsche, into the realm of modernity, providing a unique and vibrant contribution to contemporary debates in European philosophy.

Druzhinin’s insistence that the behaviour portrayed in fictional films can be considered a “reliable source of evidence for […] experiential analysis” of the cognitive use of ….

Resumen: Este trabajo tiene como fin analizar el teatro como una representación de los conflictos del ser y su relación con el mundo. Se centra en el teatro de Gustavo Ott, para quien el Espectáculo es la Alteridad de la sociedad contemporánea, sus obras dramáticas plantean en el tema y la puesta en escena conflictos existenciales del hombre, así como la violencia, la muerte, lo absurdo, lo oscuro, la crueldad y el humor. Por ello, la investigación pretende describir cómo el (...) autor estetiza la violencia y experimenta puestas en escenas teatrales con la literatura y el cine, utilizando teorías y de La Alteridad de M. Bajtín; La Sociedad del Espectáculo, M. Vargas Llosa y El Cine de Q. Tarantino, por medio de una investigación cualitativa, con lectura analítica y amplios registros documentales.: This article is intended to analyse the Teatro, As A Representation of the conflicts of the self and its relationship with the world. Search the Through the actors--the characters, the Other being no more than the Self, evidencer A Concienc Cultural heritage in a Show society. The Research focuses on the theatre of Gustavo Ott, for whom The Show is la Alteridad of contemporary SocietyTheir Dramatic works Pose in the subject and staging existential conflicts of man, as well as Violence, death, the Absurd, the dark, the cruelty And The humour. Therefore, the article intends to describe as the author merely aestheticised the violence and experiments in theatrical scenes with literature and cinema, using Theories and methods of La Alteridad of M. Bakhtin; La Sociedad of the Show, M. Vargas Llosa, The Cinema of Q. Tarantino, Through qualitative research, with analytical reading and extensive documentary records. (shrink)

In the 1880s and 1890s, performance played a significant role in the lives of the American philosopher Charles Sanders Peirce (1839–1914) and his second wife, Juliette Peirce (185?–1934). Having moved to Milford, Pennsylvania, in April 1887, Charles and Juliette were still adjusting to country life. Milford, situated on the Delaware River among forests that seemed inexhaustible, had been settled by Hugenot immigrants whose French language and cultural influence were still strong. When the Peirces arrived, the town was already shifting from (...) the lumber industry to tourism, particularly as a summer retreat for the wealthy. Nearby Port Jervis offered relatively easy access by train to the cosmopolitan life in New.. (shrink)

A study of the most frequent positions of the Pronoun ἐγώ in the iambic trimeter of Greek Theatre, and in Tragedy in particular, with a comparison between Aeschylus, Sophocles and Euripides: Over all, Aeschylus and Sophocles seem to display opposing tendencies.

KUŠNÍROVÁ, Eva : The Theatre of Particular Features. Theatre Ensemble Hviezdoslav Spišská Nová Ves. Prešov: Faculty of Arts, Prešov university of Prešov in Prešov. ISBN 978-80-555-1818-3. 305 p.

Trust is frequently discussed with reference to the professional–patient relationship. However, trust is less explored in relation to the ways in which understanding of, and responses to, questions of ethics are discussed by both the “public” and “experts.” Public engagement activity in healthcare ethics may invoke “trust” in analysing a moral question or problem but less frequently conceives of trust as integral to “public engagement” itself. This paper explores the relationship between trust and the ways in which questions of healthcare (...) ethics are identified and negotiated by both “experts” and the public. Drawing on two examples from the author’s “public engagement” work—a radio programme for the British Broadcasting Corporation and work with a playwright and theatre—the paper interrogates the ways in which “public engagement” is often characterized. The author argues that the common approach to public engagement in questions of ethics is unhelpfully constrained by a systemic disposition which continues to privilege the professional or expert voice at the expense of meaningful exchange and dialogue. By creating space for novel interactions between the “expert” and the “public,” authentic engagement is achieved that enables not only the participants to flourish but also contributes to trust itself. (shrink)

During the nineteen years of her play-writing career, Aphra Behn had far more new plays staged than anyone else. This book is the first to examine all her theatrical work. It explains her often dominant place in the complex theatrical culture of Charles II's reign, her divided political sympathies, and her interests as a free-thinking intellectual. It also reveals her as a brilliant theatrical practitioner, who used the seen as richly and significantly as the spoken.

The oil-rich nation-states of the Arabian Peninsula are investing large sums in the development of an international sports industry for the region. In an effort to field its own national sports tea...

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on (...) videotaped professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

Book I: Before -- The origin -- Book II: Genesis -- Here goes nothing -- The light at the end of the tunnel -- Directions -- The geography of nowhere -- Book III: In residence -- Foyer -- Living room -- Dinner party -- East Room -- West Wing -- A room of one's own -- The children's hour -- In the garden -- Reflecting pool -- Book IV: Public library -- Dictionary of nothing -- The reading room -- Writers' (...) room -- In the stacks -- Samuel Beckett -- Italo Calvino -- E.M. Cioran -- Edmond Jabès -- Thomas Merton -- Rumi -- William Shakespeare -- Poets' corner -- Through a glass darkly -- The classics -- Book V: Concert Hall -- Overture -- Silence of the spheres -- Symphonies of silence -- Moments of silence -- The audience -- Book VI: School -- Knowing nothing -- The joy of unknowing -- Mathematics -- The arts -- Science sutra -- Creative thinking -- Paradoxical logic -- Master class -- Recess -- Final exam -- Book VII: Museum -- Permanent collection -- The moderns -- Warhol retrospective -- Gallery of blind spots -- In studio -- Nothing is beautiful -- Book VIII: Theater district -- Comedy tonight -- Mostly mystery -- Sing along -- In the wings -- Theater of the absurd -- Book IX: House of worship -- Nothing is sacred -- Seminary -- House of doubt -- Practicing nothing -- Book X: Downtown -- City hall -- At the office -- Inn on Main Street -- Restaurant -- Corner bar -- Wall Street -- Book XI: City limits -- This way out -- Tunnel at the end of the light -- Cemetery -- Last words -- After lite. (shrink)

This article addresses the architecture of the Inns of Court, the home of the Common Law. The approach taken, however, rejects an approach that would reduce the Inns to a roster of historical details and laudatory description. Instead, the Inns are seen, if not actually felt, as the embodiment of the “original” ground of law. This experience is revealed through a three-stage discovery process that situates the Inns within the medieval context of symbol and ritual as informed by Turner’s concept (...) of liminality; analyzes the space of the Inns using concepts of bodily disunity derived from the psychoanalysis of Lacan and Klein; relates this space to the “body of Law” in phenomenological terms, as a function of the irresolvable priority of either arché or anarché. The article concludes with a series of speculative propositions on a series of originary architectonic sites: the labyrinth, the pinnacle, and the door. These culminate in the assertion that the architecture of the Inns of Court stages the deferral of bodily interiority through which the Law simultaneously derives its infinite remove and its authority. (shrink)

In its infancy the British Association for the Advancement of Science derived a good deal of its inspiration from the writings of Francis Bacon. But the pursuit of Baconian policies brought with it attendant dangers which critics from Charles Dickens to the Times were not slow to magnify. Although the situation was further complicated by the sensitiveness of institutional Christianity at the start of Victoria's reign, some of the hazards which the Association endured had to be accepted simply as consequences (...) of the attempt to provide a secure platform for British science. (shrink)