Diversity and psychological health issues at the workplace are pressing issues in today’s organizations. However, research linking the two fields is scant. To bridge this gap, drawing from team faultline research, social categorization theory, and the job-demands resources model, we propose that perceiving one’s team as fragmented into subgroups increases strain. We further argue that this relationship is mediated by task conflict and relationship conflict and that it is moderated by psychological empowerment and task interdependence. Multilevel structural equation models on (...) a two-wave sample consisting of 536 participants from 107 work teams across various industries and work contexts partially supported the hypotheses: Task conflict did indeed mediate the positive relationships between perceived subgroups and emotional exhaustion while relationship conflict did not; effects on stress symptoms were absent. Moreover, contrary to our expectations, neither empowerment, nor task interdependence moderated the mediation. Results indicate that team diversity can constitute a job demand that can affect psychological health. Focusing on the mediating role of task conflict, we offer a preliminary process model to guide future research at the crossroads of diversity and psychological health at work. (shrink)

We investigate the relationship between subgroup splits, subjectively perceived subgroups, and team identification and emotional exhaustion. Based on the job demands-resources model and on self-categorization theory, we propose that faultline strength and perceived subgroups negatively affect emotional exhaustion, mediated by team identification. We further propose that subgroup identification moderates the mediation such that subgroup identification compensates low levels of team identification. We tested our hypotheses with a two-wave questionnaire study in a sample of 105 participants from 48 teams from various (...) contexts. We found an effect of perceived subgroups on emotional exhaustion mediated by team identification, but no direct or indirect effect of faultline strength on emotional exhaustion. We also could not find that subgroup identification moderates the effect of team identification on emotional exhaustion. We discuss the need for further research on the link of subgroup splits in work teams and the rise of psychological health issues and derive that measures to prevent burnout should primarily focus on avoiding or reducing subgroup perception whereas affecting the actual demographic composition of work team should be of lower priority. (shrink)

During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from them”. To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship itself. To (...) fully capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity”. (shrink)

Describes the life and influence of B. Brecht. Offers useful explanations of several key concepts Brecht employed, and revised over his career, including: gestus, Verfremdung, and Verfremdungseffekt.

Bertolt Brecht’s poem “A Worker’s Speech to a Doctor” is frequently cited as a means to raise awareness among health workers of the health effects of living and working conditions. Less cited is his Call to Arms trilogy of poems, which calls for class-based action to transform the capitalist economic system that sickens and kills so many. In this article, we show how “A Worker’s Speech to a Doctor,” with its plea for empathy for the ill, contrasts with the (...) more activist and often militant tone of the Call to Arms trilogy: “Call to a Sick Communist,” “The Sick Communist’s Answer to the Comrades,” and “Call to the Doctors and Nurses.” We also show that, while “A Worker’s Speech to a Doctor” has been applied in the training of health workers, its accusatorial tone towards health workers’ complicity in the system the poem is critiquing risks alienating such workers. In contrast, the Call to Arms trilogy seeks common ground, inviting these same workers into the broader political and social fight against injustice. While we contend that the description of the sick worker as a “Communist” risks estranging these health workers, our analysis of the Call to Arms poems nevertheless indicates that their use can contribute to moving health workers’ educational discourse beyond a laudable but fleeting elicitation of empathy for the ill towards a structural critique and deeper systemic understanding in order to prompt action by health workers to reform or even replace the capitalist economic system that sickens and kills so many. (shrink)

Summary The aim of this paper is to compare Brechtian theory concerning empathy in theatre and recent studies showing the biological basis of empathy. First of all, a brief summary about the concept of empathy is provided, with particular attention to empathy in Brechtian theatre. Then, a paragraph is dedicated to explain how empathy and emotional involvement are linked to neurobiological mechanisms and body state. In the end, an analysis of the Verfremdungseffekte in the Threepenny Opera is traced to understand (...) how recent studies contradict Brechtian theory as far as empathy is concerned. (shrink)

Este texto compreende uma proposta educativa baseadano processo didático para o teatro desenvolvido pelo dramaturgo e teóricoalemão Bertolt Brecht, que tenta através do uso da peça A vida de Galileu, uma das mais importantes do autor, desenvolvercom alunos de Ensino Médio um processo semelhante ao desenvolvido por Brechtpara servir aos atores. Acrescenta-se a isso a ação da reflexão filosóficausada para pensar os temas discutidos na peça como o advento do conhecimentocientífico e as consequências deste para a formação do novo (...) homem, um homemregido agora pelas vias do pensamento racional. (shrink)

Nicht erst durch sein antibürgerliches Engagement verdient sich Brecht den Namen eines politischen Schriftstellers, sondern vor allem dadurch, dass die höchst kommunikative Sprache seiner Dichtung aktiv ins Bewusstsein eingreift. Im vorliegenden Buch wird gezeigt, wie die semantische Wirkung der sich im Gestischen festbeissenden Brechtschen Bilder durch strukturalistische und sprachwissenschaftliche Forschungsmethoden voll erfasst werden kann. Sich auf ein Drittes beziehend, bewirken Metaphern und Symbole im aktionsfördernden Kontext, verallgemeinernd und anschaulich zugleich, tiefgründig politische Klärung.

Taken together, the commentaries by Sigrid Merx and Tom Paulus suggest a remarkable dialectical relationship with regard to our article “Performing Phenomenology: Negotiating Presence in Intermedial Theatre”. On the one side a lack of elaborated political consciousness is being detected, while on the other side an alleged surplus of political consciousness is being criticized. Although apparently contradictory, these reactions seem to originate in the same ideological stress: both are somehow haunted by the legacy of Bertolt Brecht and the ideology (...) of the image implicit in critical theory. We argue that the tension between illusion and deconstruction indeed is crucial to the history of the mediatized image, but that it should be taken to a deeper level where it not only remains unsolved but where it forms the heart of the experience. The user knows very well that she is being fooled and, moreover, generously lets herself being fooled. We historicize this fundamental ambivalence with a short excursion in pre-cinematic, pre-Brechtian times. Throughout the nineteenth and the twentieth century, periodic shifts between illusion and its suspension indicates the emergence of what we, in the digital era, might refer to as a ‘meta-realism’, an imagery that incorporates its own critique inside itself. If this analysis holds true, we eventually have to reformulate the stakes of deconstruction and push critical theory beyond its own borders. (shrink)

This essay seeks to illuminate the motives behind Alfred Kurella's damning review of Bertold Brecht's Lehrstück The Measures Taken. This review of 1931 is commonly regarded as having turned the official marxist literary critique against Brecht, straining the relations between the playwright and the nomenklatura for the years that followed. Yet, a closer examination of Alfred Kurella's biography reveals that his review of The Measures Taken has much less to do with Bertold Brecht or with marxist cultural politics, than with (...) the serious political difficulties its author was facing at the time. (shrink)

Bertolt Brecht and Theodor W. Adorno stand for opposing modes and stances within an artistic modernism oriented toward radical social transformation. In his 1962 essay ‘Commitment’, Adorno advanced a biting critique of Brecht’s work and artistic position. Adorno’s arguments have often been dismissed but, surprisingly, are seldom closely engaged with. This paper assesses these two approaches that have been so central to twentieth-century debates in aesthetics: Brecht’s dialectical realism and Adorno’s sublime or dissonant modernism. It provides what still has (...) been missing: a close reading and immanent critique of Adorno’s case against Brecht. And it clarifies one methodological blind spot of Adorno’s formalist conceptualisation of autonomy: he fails to provide the detailed analysis of context that his own dialectical method immanently calls for. The paper shows how and why Brecht’s dialectical realism holds up under Adorno’s attack, and draws conclusions for contemporary artistic practice. (shrink)

This article explores the world of theatre from within and beyond the stage and brings together Roland Barthes as a critic and Samuel Beckett as a playwright via a third character, the Romanian-born playwright Eugène Ionesco, who anathematized the former and admired the latter. The article starts from Martin Esslin’s The Theatre of the Absurd (1961), which defined Beckett’s and Ionesco’s art, pointing out that whilst Esslin showed why their works produced ‘bewilderment’ in England and the US, he ignored the (...) Paris debates of the 1950s to early 1960s. It then covers the intricate history of Barthes’s polemical articles on avant-garde theatre and focuses on Barthes hailing Bertolt Brecht as an innovator who redefined theatre as belonging to a community. The next section engages with Beckett’s and Ionesco’s ideas on staging and their relation to Brecht and the Brechtians. The epilogue proposes a reading of Ionesco’s satirical play Improvisation or the Shepherd’s Chameleon (1955), which features Barthes and two other representatives of nouvelle critique as characters. (shrink)

Bertolt Brecht is internationally known as one of the most influential dramatists, directors, and theater theorists of the twentieth century and also, within German culture, as one of its most innovative modern poets and prose stylists. Whereas Brecht’s contributions to a Marxist aesthetics of drama, theater, poetry, and prose are widely acknowledged, he is less well known as a major thinker on ethical issues, mostly because of his materialist orientation, which conflicts with ethical traditions rooted in metaphysics. Against these (...) traditions, Brecht envisioned an “ethics for the satisfaction of needs”1 and claimed that “material needs as ethical, ethical ones as material, this is not grasped.”2 This.. (shrink)

In this paper, I explore German playwright Bertolt Brecht’s conception of the art of acting, and his views on the new actor’s conduct towards their craft, as a pedagogical model for Brechts’ broader view on how we should live our lives. Drawing on his key writings – most importantly, his famous street scene essay – I will show that Brecht’s conception of the theory-practice connection in his approach to actor training/acting bears some deeper insight into Brecht’s conception of the (...) art of living a flourishing life. The new actor is called to develop a conduct of careful observation and imitation of human action, one that is marked by the pleasure and lightness of exploring the contradictory workings of the social world. By placing the actor’s craft at the heart of his educational philosophy, Brecht invites us (the audience) into the theatre as a pedagogical space. Here, not unlike Brecht’s actors, we are summoned to hone our ability to boldly engage with a complex world of human actions and ideas. Brecht maintains that there resides an intellectual as well as sensual delight in being challenged to not simply accept theatre’s presentations as ‘truth’; instead, we are to learn to ‘weigh up’, ‘test’, and ‘improvise’ joyfully with theatre’s proposed ideas and practices—so that we may find out if they serve, or hinder, the creation of a larger flourishing life (beyond the theatre): a life in which we can move together, pleasurably. (shrink)

Brecht’s Life of Galileo provides elements for elaborating what I call “a theory of the encounter of practices”. The concept of the encounter pushes back against teleological theories that predestine modern science to operate as an instrument of domination. I argue that Life of Galileo stages the missed encounters in modernity between science, politics, and art at the same time as it foregrounds the emancipatory power of science. I trace the encounter of practices from the play’s opening scenes – highlighting (...) what I call Galileo’s “double life”. Then, I turn to the most important scene of the play, Scene 10, in which political and artistic practices repurpose Galileo’s novel inventions for their emancipatory desires. In the virtual potentialities of this encounter, that is, despite the missed encounter between Galileo and “the people”, Brecht’s Life of Galileo continues to be fruitful for theorizing the emancipatory power of science. (shrink)

Dying is easy; comedy is hard. Comedy is sovereign. I begin with an excerpt from Bertolt Brecht’s Fugitive Conversations. Ziffel, a physicist, is chatting with the worker Kalle: For humor, I always think of the philosopher Hegel.... He had the makings of one of the greatest humorists among the philosophers.... I read his book The Great Logic once, when I had rheumatism and couldn’t move. It’s one of the greatest humorous works of world literature. It treats of the way (...) of life of concepts, those slippery, unstable, irresponsible existences; how they abuse one another and fight with knives and then sit down together to supper as though nothing had happened.... They can live... (shrink)

A companion volume to Illuminations, the first collection of Walter Benjamin's writings, Reflections presents a further sampling of his wide-ranging work. Here Benjamin evolves a theory of language as the medium of all creation, discusses theater and surrealism, reminisces about Berlin in the 1920s, recalls conversations with Bertolt Brecht, and provides travelogues of various cities, including Moscow under Stalin. He moves seamlessly from literary criticism to autobiography to philosophical-theological speculations, cementing his reputation as one of the greatest and most (...) versatile writers of the twentieth century. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times. (shrink)

Beginning with a discussion of adaptations of François Jullien’s understanding of ‘potential born of disposition’ and ‘silent transformation’ in two recent analyses of capitalist contemporaneity (by Bennett and Dufourmantelle), this essay argues that as a philosophical tool, ‘China’ bears within it a rich and underanalysed genealogy that reframes critical theory’s approach to nature and its objects in a new geopolitical context. The remainder of the essay then unpacks the intellectual history and textual philology of one earlier and pivotal moment of (...) critical theory’s entanglement with ‘China’: Walter Benjamin’s transformation of ‘non-action’, or wu wei, into a complex for thinking through possibilities of what he might, with Jullien, call not-being in debt to Being. (shrink)

El presente artículo analiza la cuestión del materialismo y su relación con el arte en el pensamiento de Walter Benjamin. Es una cuestión harto controvertida en los debates sobre Benjamin, y el artículo estudia minuciosamente sus dos textos fundamentales que abordan la cuestión: El autor como productor y La obra de arte en la era de su reproductibilidad técnica. Antes de ello, se enmarca el problema en el contexto de la época y, en especial, en la relación de Benjamin con (...) Brecht, que fue tomado como uno de los elementos clave para entender el giro materialista del primero. Este hecho perturbó algunos de los colegas como Adorno, Horkheimer y Karplus, que veían a Brecht como un materialista excesivamente ortodoxo. El artículo defiende que si bien Benjamin giró hacia posiciones materialistas a lo largo de la década de los 30, ese materialismo no era como la de la ortodoxia marxista de la época, aunque, efectivamente, fue más allá de los planteamientos modernistas de Adorno. (shrink)

Brechts Sonettsammlung Studien entstand als Reaktion auf die sogenannte Expressionismusdebatte, die in der Exilzeitschrift Das Wort (1937/38) ausgetragen wurde. Es geht darin um die produktive Nutzung des klassischen Erbes der Weltliteratur. Während die theoretischen Schriften Brechts über diese Debatte in der Forschung viel Beachtung fanden, wurden die Studien bisher marginalisiert. Die Autorin legt erstmalig eine Gesamtdarstellung der Studien vor. Im Zentrum stehen die Bezüge zur Expressionismusdebatte, die sich, wie in der Arbeit gezeigt wird, nicht auf eine «Brecht-Lukács-Debatte» reduzieren läßt. Darüber (...) hinaus werden die Studien editionsgeschichtlich, gattungsästhetisch und im Gesamtzusammenhang des Sonett-Werkes Brechts untersucht. (shrink)

As two of the most important twentieth-century theatre directors, Bertolt Brecht and Vsevolod Meyerhold shared striking artistic, personal, and professional similarities. In addition to their middle-class background, both were the sons of merchants, well educated, politically persecuted, and exposed to the cultural innovations that spread throughout Germany and Russia during the 1920s and 1930s. Although Brecht's legacy is more salient, Meyerhold's artistic contributions can be traced to the work of numerous successors, including Brecht himself.

Called “the most important critic of his time” by Hannah Arendt, Walter Benjamin has only become more influential over the years, as his work has assumed a crucial place in current debates over the interactions of art, culture, and meaning. A “natural and extraordinary talent for letter writing was one of the most captivating facets of his nature,” writes Gershom Scholem in his Foreword to this volume; and Benjamin's correspondence reveals the evolution of some of his most powerful ideas, while (...) also offering an intimate picture of Benjamin himself and the times in which he lived. Writing at length to Scholem and Theodor Adorno, and exchanging letters with Rainer Maria Rilke, Hannah Arendt, Max Brod, and Bertolt Brecht, Benjamin elaborates on his ideas about metaphor and language. He reflects on literary figures from Kafka to Karl Kraus, and expounds his personal attitudes toward such subjects as Marxism and French national character. Providing an indispensable tool for any scholar wrestling with Benjamin’s work, The Correspondence of Walter Benjamin, 1910–1940 is a revelatory look at the man behind much of the twentieth century’s most significant criticism. (shrink)

Instead of an overture : no heirs -- The house in Schöne Aussicht : a Frankfurt childhood around 1910 -- From Teddie Wiesengrund to Dr. Wiesengrund-Adorno -- Adorno as "non-identical" man -- Transitions -- Bertolt Brecht : "to those who come after us" -- Theodor W. Adorno : "out of the firing-line" -- Hanns Eisler, the non-identical brother -- Fritz Lang, the American friend -- Frankfurt transfer -- Adorno as "identical" man -- The palimpsest of life.

Theodor W. Adorno—philosopher, cultural critic, sociologist, and music theorist—was one of the most important German intellectuals of the twentieth century. This concise, readable life is the first attempt to look at his philosophical and literary work in its essential political context. Central to Adorno’s intellectual development were his musical training, his father’s Jewish roots, and the rise of National Socialism in Germany, which forced him to emigrate to the United States. While in exile, he and Max Horkheimer wrote Dialectic of (...) Enlightenment, a bold attempt to illuminate the dark side of modernity, and on his own Adorno wrote a series of connected essays on the “culture industry”—his indictment of mass culture. A co-founder of the famous Frankfurt School, Adorno returned to head it after the war, assuming a key role in the intellectual life of postwar West Germany until his untimely death in 1969. Ja;ger’s biography sheds new light on many aspects of Adorno’s life and writings and on his relationships with such figures as Paul Celan, Bertolt Brecht, and Walter Benjamin. (shrink)

Moral pyschology and cultural analysis of the Sam Bankman-Fried fraud and effective altruism generally, with help from Beauvoir, Aristotle, and Bertolt Brecht.

In the past few years doomsayers and critics have predicted a decline in prominence of Bertolt Brecht, both as playwright and as theoretician. This paper presents the opposite point of view: the life and works of Bertolt Brecht are as renowned now as ever before, as demonstrated by immensely popular novels about his personal adventures and recent productions of his plays. Also, Brecht, the poet, continues, alive and well, to figure in multiple anthologies. Even his personal nature is (...) chronicled, for better or for worse, in numerous creative works. As a personality, he surfaces in fiction and poetry. Even the comments of critics who are predicting his fading from prominence are forced to acknowledge his visibility through the numerous stagings of his works and the application of his dramatic theories. Brecht's undiminished influence inspires, even now, fifty years after his death, a new generation of artists. Vilified or glorified, Brecht remains at the center of global attention of playwrights, directors, and their audiences. (shrink)

Alienation (Vefremdung) is a concept inextricably linked with the name of twentieth-century German playwright Bertolt Brecht, with modernism, the avant-garde and Marxists theory. However, as Phoebe von Held argues in this book 'alienation' as a sociological and aesthetic notion avant la lettre head already surfaced in the thought of eighteenth-century French philosopher and writer Denis Diderot. This original study destablizes the conventional understanding of alienation through a reading of Le Paradoxe sur le comTdien, Le Neveu de Rameau and other (...) works by Diderot, opening up new ways of interpretation and aesthetic practices. If alienation constitutes a historical development for the Marxist Brecht, for Diderot it defines an existential condition. Brecht uses the alienation-effect to undermine a form of naturalism based on subjectivity, identification and illusion; Diderot, by contrast, plunges the spectator into identification and illusion, to produce an aesthetic of theatricality that is profoundly alienating and yet remains anchored in subjectivity. (shrink)