In lieu of an abstract, here is a brief excerpt of the content:Building Literacy Bridges for Adolescents Using Holocaust Literature and TheatreWayne Brinda (bio)IntroductionDo you have a sibling or best friend whom you dared to do something? Did you ever slip surreptitiously into a place where you should not be? What if your best friend or sibling later became your enemy because of a situation beyond your control? Could that happen? What would you do? Think about those questions as (...) you read this excerpt from In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust and visualize the action:The boys look more alike than brothers. In fact, they are identical twins, indistinguishable in the smooth innocence of their faces, their wide brown eyes, and their hair, nearly shaven to their scalps to thwart the summer heat... At the entrance to the grand church of St. Stephen's Basilica in Budapest, the boys slip surreptitiously through the six-inch-wide opening of the formidable oak middle door, with its inlaid bronze portraits of the Hungarian kings. They giggle gleefully and a bit nervously as they peer into the dimly lit chamber, which feels refreshingly cool in contrast to the scorching afternoon sun they have just escaped. The twins mimic and build on each other's playful daring. Even their spirited laughter is identical, punctuated by squeals of delight... Let's go find his hand. What? St. Stephen's hand. I heard that his hand is kept in a golden box behind the altar somewhere. Let's go find it. No. We're not supposed to be back there. That's the craziest thing I ever heard—a king's hand inside a box in a church. He must have been pretty mad when they cut his hand off.1 [End Page 31]This small theatrical imaginative experience begins the adventure of two twin Hungarian Jewish boys who became caught up in World War II, the Holocaust, communism, and the aftermath.Those two boys became the father and uncle of the author, Eugene Pogany, who wrote In My Brother's Image: Twin Brothers Separated by Faith after the Holocaust. Pogany recalls and tries to reconcile their experiences, differences, and conflicts with each other that lasted a lifetime and beyond. As educators and those who work with adolescents, we seek to reconcile the past experiences and conflicts our students have with reading by finding strategies that bridge adolescents and literature. Two powerful tools for building such bridges are nonfiction literature written about the experiences of young people and adults during and after the Holocaust and using theatre to bring these stories to life.McEwan noted that as literature becomes complex, adolescents tend to struggle with comprehension and may forgo the idea of discovering enjoyment.2 Incorporating nonfiction stories from the Holocaust with innovative theatre experiences of the literature into the curriculum can engage students in literature with complex themes, characters, and plots. This is especially true when the learning is assessed by using projects developed by, with, and for young adolescents. As a result, the literature becomes comprehensible, accessible, relevant, enjoyable, and aesthetically stimulating.As an educator, researcher, and artistic director of a theatre for young adults, I reflect on the charge by Snow and Biancarosa that educators need to "figure out how to ensure that every student gets beyond the basic literacy skills of the early-elementary grades, to the more challenging and more rewarding literacy of the middle and secondary school years."3 For some students, literacy bridges are gateways to new worlds, skills, and possibilities for enjoyment. For students who struggle with reading, those bridges are obstacles they are afraid or even refuse to cross because of past fears or failures. Even with guidance and support, many students will stop reading when the text becomes complex or never even attempt to read the book when they decide it has no relevancy or purpose after looking at its title, skimming the back, looking for pictures, or counting the pages.This leads to a question and thoughts that inspired my research on using Holocaust literature and theatre to engage young students in discovering, comprehending, visualizing, and aesthetically enjoying the literary experience:• What can be done in the... (shrink)

This article has been translated into English by Nancy Luxon and published with permission. Michel Foucault, La littérature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud], in Folie, langage, littéature, eds. H.-P. Fruchaud, D. Lorenzini, & J. Revel, pp. 89–109 © Librairie philosophique J. Vrin, Paris, 2019. www.vrin.fr Requests for re-use of La littéature et la folie [La folie dans le théâtre baroque et le théâtre d'Artaud] should be directed to Librairie philosophique J. Vrin, Paris. (...) Literature and madness dominate Michel Foucault’s early writings in the 1960s, and indeed much of his career. In this text, Foucault considers the relation between madness, language, and silence; the difficult frontier between language and literary convention; and the experience of madness within language. He moves from a meditation on madness, to a rare commentary on theatre, stagecraft, and Artaud, and finishes by considering literature’s capacity for rupture. ‘Literature and Madness’ is a translation of a text written by Foucault in the 1960s, and recently published in Folie, langage, littérature, ed. Henri-Paul Fruchaud, Daniele Lorenzini and Judith Revel (Paris: Vrin, 2019, 89–109). This version includes a translator’s introduction by Nancy Luxon and was given a distinct subtitle to distinguish it from a similar lecture with the same title in that volume. (shrink)

The abilities to read, to write, and to compute are of crucial importance. Students who cannot read, write, or compute are in deep trouble. But important though these skills are, they do not encompass all of what people know or the ways in which what they know. An innovative literacy/theater project implemented in two sixth-grade classrooms of a high-poverty, urban, western Pennsylvania middle school was designed to help urban teachers address aliteracy by engaging their students in the discovery of three (...) young adult novels.1 The project was built on a partnership with a semiprofessional theater company that produced adaptations of the literature and designed instructional support materials to meet .. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

This essay uses the concept of the constellation to characterize the relations among interdisciplinarity, cultural memory, and comparative literature. To do so entails: (a) reviewing the paradoxical interdisciplinarity of comparative literature, (b) tracing its establishment at a liberal arts college (Bryn Mawr College, USA), and (c) describing a course on “The Cultural Politics of Memory” that tested the limits of scholarship and testimony. The discussion includes an account of an unusual conference on cultural memory: that is, the ways (...) in which different cultural groups identify and describe their shared pasts. The informality and collegial dialogue of the conference were associated with a liberal arts context. It then turns to the question of theorizing aspects of cultural memory that are conveyed at the margins of conventional discourse: by what is largely unsaid, or represented in dance or pantomime. Because each of the performances discussed here is related in a distinct way to a preceding historical trauma (the Khmer Rouge regime in Cambodia, African American slavery in the USA, the terrorism of the Shining Path in Peru), it was important to determine what source of memory, what archival materials, could persist through traumas that often suppress memory. Traditional archives consist of written documents. Moreover, they often support or represent official histories. New ways of thinking about archives--their composition, their place in cultural history, and their theoretical dimensions--have suggested new approaches to cultural memory. The essay ends with accounts of three forms of dance or pantomime that convey cultural histories informed by trauma in significantly different ways. A narrative thread foregrounds the close relations between scholarship and pedagogy. (shrink)

Engaging existentialism: transformative possibilities and local agendas -- The Mexican existentialist ethos -- The seminal Mexican existentialism of Rodolfo Usigli's theater -- Excavating Comala: the existentialist Juan Rulfo, the Grupo Hiperión, and lo mexicano in Pedro Páramo -- "Christs for all passions": José Revuelta's El luto humano [Human mourning] -- Rosario Castellanos's freedom.

Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, (...) incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For specialists, students and workers in philosophy, comparative literature, aesthetic phenomenologists and historians of art. (shrink)

At the end of his attack on my use of the psychoanalytic model for the interpretation of literature, Heller raises the question concerning what the task of the literary critic is or ought to be. His own "sketch of the Kleistean theme's historical ancestry and its later development," he says, seeks to deepen and enrich the reader's appreciation of Kleist's literary art, the artistry of his phrasing, the persuasiveness of his incidents, the conclusiveness of his examples." By implication he (...) suggests that my method does not have this end—that is, appreciation—for its goal. In this he is partially right. "Appreciation" in Heller's sense is not as directly a goal for me. But does Heller's method of intellectual history and literary relation meet his own criteria of deepening and enriching the reader's appreciation of Kleist? In his capsule treatment of Great Thinkers of the Western World from Plato to Marx, we learn that many writers besides Kleist treated Kleist's theme of man's fall from unconscious grace. What exactly does this tell us about Kleist's treatment of it? How does it deepen the reader's appreciation of Kleist's literary art, the artistry of his phrasing, the persuasiveness of his incidents? It doesn't. It isn't even about Kleist. Although Heller tells us that it is the "thought" and "imagery" which "make for the great distinction of the essay" , his evidence for this consists, in the case of the former, in his tracing the history of the essay's thought and, in the case of the latter, in his statements that Kleist's use of the puppet as the exemplar of the unselfconscious graceful being is "unusual" and "novel" and that his bear story, though it may lack "in immediate plausibility," "gains in making Kleist's point" and is "a memorable exemplar" of the "art of grotesque inventions that are capable of floating for quite a while above and between the comic and the serious before landing with scintillating effect in one domain or the other" . Margret Schaefer is a lecturer in the department of psychiatry at Northwestern University Medical School. She responds here to Erich Heller's "The Dismantling of a Marionette Theater; or, Psychology and the Misinterpretation of Literature" , in which he discussed her article, "Kleist's 'About the Puppet Theater,". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Theater of Nature: Jean Bodin and Renaissance Science by Ann BlairPeter DearAnn Blair. The Theater of Nature: Jean Bodin and Renaissance Science. Princeton: Princeton University Press, 1997. Pp. xiv + 382. Cloth, $45.00.Jean Bodin’s Universae naturae theatrum (1596) is the least celebrated of all the major publications by this outstanding figure of the French renaissance. It lacks the apparent political, historiographical, and philosophical relevance of Bodin’s well-known (...) earlier works (the Methodus ad facilem historiarum cognitionem of 1566, Les six livres de la République of 1576, and De la démonomanie des sorciers of 1580, all receiving much more attention then as now). Ann Blair focuses our attention on the Theatrum, as a text whose significance for her book exists on at least three interrelated levels: there is its relation to Bodin’s views in the more famous texts; its advantage as a treatise on natural philosophy about whose author we know much more (intellectually) than those of most such works; and in connection with the last, there is above all its value as a distinguished representative of a genre of natural philosophical writings that was prominent in the late sixteenth and early seventeenth centuries.It is the third consideration that motivates Blair’s book most centrally. She declares her wish to enrich our view of the history of science with works, like the Theatrum, that were not made by subsequently regarded stars such as Galileo or Descartes; the very typicality of its genre makes the Theatrum, she argues, a valuable window on contemporary understandings of what natural knowledge was and should be about. Bodin’s enterprise possessed a religious core: natural philosophy was for him a tool to be used in shoring up broadly irenical positions (of the kind associated with the Colloquium heptaplomeres, usually attributed, as here, to Bodin). This kind of “natural theology” avant la lettre characterized a good number of different thinkers and writers on natural philosophy in this period, many of them German (besides their discussion here, Blair is considering such people, and their project of pia philosophia, more fully in her current work). It is a subject that, more than anything, stands at the heart of her study.Bodin, rather conventionally, tried to establish a close liaison between natural philosophy and religious knowledge—that is, between those things to be inferred from experience of the natural world and the central dogmas of faith. Less conventionally, he attempted to demonstrate on occasion truths that were far from orthodox. Regardless of whether Bodin was “really” a Catholic or a Protestant (and Blair observes the great interest in the Theatrum shown by German Calvinists in the first few decades after its original publication), his general religious stance was one of accommodation. Thus good philosophizing could demonstrate (in the weak, rhetorical sense of that term) such doctrines as the existence and providence of God; contentious issues, such as the correct interpretation of the Eucharist, were left aside. Nonetheless, Bodin also argued, at such length and with such vigor as to have the propositions condemned by the Catholic church, that human souls and angels (as well as, more usually, demons) were corporeal beings. The importance to Bodin of this position stemmed from its sociopolitical implications: in particular, if human souls were incorporeal, it became unclear how rewards and punishments—necessary sanctions for restoring the social order threatened by the Wars of Religion—could be meted out after death. Curiously, such a view seems to imply that pleasure and pain are inextricably connected to bodies alone. [End Page 363]Among the historiographical strands informing Blair’s approach is recent literature on the “history of the book,” best known through the work of Roger Chartier. Accordingly, Blair discusses the vicissitudes of production of Bodin’s book in its various editions and emissions, and carefully considers, along with the likely reading practices by the aid of which Bodin came to compose it, the various uses to which its first readers put it. Her major interpretive trope is that of the commonplace book. While acknowledging the lack of direct material evidence for Bodin’s use of such a technique as his chief means of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Theater—A PrécisJames R. Hamilton (bio)In The Art of Theater I propose and explain a claim that many theater people hold true in some form but, so far as I can tell, have defended in a manner that has had almost no success outside discussions among themselves.1 The claim proposed is that, in an unqualified way, theater is a form of art. By that I mean theatrical (...) performances are what are created in the practice of theater and that theatrical performances are works of art because they can be picked out and appreciated in the same ways we appreciate other kinds of artworks.2The agenda I set for the book is to state and explain what that claim comes to—exactly and in detail. Accordingly, most of the book consists of explanations of what else must be true if the claim is true, together with arguments defending the truth of those entailments. Some of the material consists of clarifying what the claim does not entail, and some passages contain arguments to show that alternative claims have problems that this one does not. Of these, I have allowed the explanation and clarification materials to carry the burden. Many philosophers and literary theorists are likely to find the claim incomprehensible because they have inherited, rather than critically accepted, a conception of theater as centrally dependent on literary texts.3 Philosophers, literary theorists, and theater theorists are better served by the explanations and clarifications I offer, however, because they show the claim can withstand the immediate objections or worries likely to arise.The direct argumentation I offer for the claim is historical. Indeed, I begin the book by tracing how theater has been conceived and practiced in the European theatrical tradition since the 1850s. I start there and then for several reasons. First, it is the beginning of a period of great achievement in theater, when literary artists began again to write for theater. Second, the same period also gave rise to a now dominant conception of theater: namely, [End Page 4] the idea that theatrical performances, or at least the most often performed, are events that are dependant primarily if not exclusively on literary texts. Finally, the 1850s were also the beginning of a period in which theater people were both doing and thinking about theater in ways that resisted that very same dominant conception. The conclusion I come to in tracing this history is that—without always intending to and sometimes by intending the opposite—theater’s theoretical practitioners have put us in a position to see the truth of the claim that theatrical performance itself is an independent form of art. Assured we can see that truth in the actual historical practices of theater, even in its most self-consciously text-oriented period, I then proceed to explain and clarify the claim.To begin with, the enormous success of the conjunction of literature and theater in late European theater practice means that any view of the art status of theatrical performances must explain the relation between a performance and a literary text, at least when a literary text is used in the performance. This is the first bit of explanation I undertake. A number of models of this relationship have been proposed, and I survey three of the primary ones. First, the “literary” model holds that performances illustrate or, at best, interpret the text and exist as a means to present the content—or the interpreted content—of the text in a performance mode. Second, the “two-text” model holds that the content of the literary text must be translated, adapted, transformed, reconstructed, or otherwise “reinscribed” in the language of theater. A third model, popular in analytic aesthetics, attempts to piggyback an account of theatrical works, texts, and theatrical performances on the well-developed ontology of musical works, scores, and musical performance.4 This third model might provide the right ontology of theatrical performances. Before we try to determine what kinds of things or events make our experience of theater what it is, however, first we should seek the best explanation of that experience. And that is the task I undertake in... (shrink)

This paper approaches the spectrum of theater studies in Indonesia in an interdisciplinary manner, encompassing both descriptive and normative perspectives. From a descriptive standpoint, the spectrum is shaped by various ways of attributing meaning to theater as an entity. In a normative approach, various disciplines offer perspectives that contribute to creating a spectrum of meaning for theater in relation to the life of Indonesian society. Through a literature review, the research identifies at least three approaches to constructing theater studies (...) in Indonesia: synchronic, diachronic and, combined. These three approaches are drawn from disciplines outside of theater, such as historical, anthropological, and sociological studies. Based on this perspectives, theater studies in Indonesia has moved from viewing theater in its meaning as a form of sacred ritual in the past to theater as symbolic capital today. These interdisciplinary perspective has an influence on the meaning of theater in theater studies itself as a discipline. Theater in Indonesia as a subject of study, therefore, is not only understood as an art that originates from dramatic works, but is more broadly understood as all forms of art that are centered on human action displayed in live performances, including sacred rituals, cultural performances, and theatrical protests. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, (...) while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

Tom Stoppard is not the sort of playwright one might call anti-intellectual, yet he has persistently singled out the field of academic philosophy for special assault in his plays. Stoppard’s antipathy emerges from a history of contention between the theater and philosophy in England, one that originates in Friedrich Nietzsche’s Birth of Tragedy and its particular reception at the hands of George Bernard Shaw. Stoppard offers an apotheosis of this disputation in his 1972 farce Jumpers, which imagines a marriage between (...) a philosopher and an actress meant to demonstrate the superiority of the theater as a mode of speculative discourse. (shrink)

Short description: Part A : Philosophy, Literature, and Knowledge – Chapter I : Idealism and the Absolute – A. J. B. Hampton: “Herzen schlagen und doch bleibet die Rede zurück?” Philosophy, poetry, and Hölderlin’s development of language suffi cient to the Absolute – P. Sabot: L’absolu au miroir de la littérature. Versions de l’Hégélianisme’ chez Villiers de l’Isle Adam et chez Mallarmé – P. Gordon: Nietzsche’s Critique of the Kantian Absolute – Chapter II: Philosophy and Style – J.-P. Larthomas: (...) Le cas Kierkegaard (1813-1855) ou l’écriture comme dialectique de l’écoute – S. Hüsch: Style et signifi cation. Intériorité et communication indirecte chez Søren Kierkegaard – A. Milon: La question du style en philosophie: la grammaire non-style – C. Van Lerberghe: La question du style dans la phénoménologie asubjective de Jan Patocka – Chapter III: Poetry and Philosophy – J.-B. Dussert: Martin Heidegger en ses poèmes – C. de Roche: The poem and the monad: On the reception of Leibniz‘ monadology in Paul Celan’s poetics – M. de Jesus Cabral: Entre théâtre et philosophie : notes sur la poétique de Maurice Maeterlinck – Chapter IV : Literature, Philosophy, and (new) Mythology – A. Martinengo: La raison hors de soi. Herméneutique et mythe chez Paul Ricoeur – G. Boggio Marzet Tremoloso: Démythologisation comme acte mythopoïétique: le cas de Jason de Elisabeth Porquerol. – G. Coulter: Jean Baudrillard: The Literary / Poetic Philosopher – Chapter V : Literature and Ethics – J. Azoulai: L’Éthique de Spinoza dans Bouvard et Pécuchet: un vertige philosophique et littéraire – I. Vendrell: Can Literature be Moral Philosophy? A sceptical view on the Ethics of Literary Empathy – F. Picon: Envisager Todorov: Poétique, éthique et humanisme contemporain – Chapter VI : Philosophy and Textuality – E. Lecler: La littérature : la mort de la philosophie – J. A. Gosetti- Ferencei: Writing in Philosophy and the Literature and Philosophy of Writing (Plato, Mann, Blanchot) –W. Cristaudo: Bringing Back Character and Grammar: Freeing Literature from Excessive Reliance on Philosophy and Theory – C. Alfano: Parenthesising Cracks into the Ground of Philosophy: The Textuality of Stanley Cavell’s Philosophical Writing – Part B: Perspectives of a Dialogue between Philosophy and Literature: Philosophical Refl ections in Literary Creation – Chapter VII : Philosophical Dialogue and Literature – A. Baillot: Tieck et Solger, un dialogue philosophicolittéraire – V. Altachina: Le dialogue philosophique chez Diderot et chez Dostoïevski – Chapter XIII : Bergsonien Infl uences in Literature – C. Dewas: Bergson et Katzantzakis. Les limites du langage comme condition d’une métaphysique de la littérature – E. Pesenti Rossi: La philosophie à l’épreuve de la poésie : Bergson et Ungaretti – Chapter IX : Wittgenstein and Literature – G. Valdemarca: La revanche du sens commun : Wittgenstein, Musil et la chute de la certitude – A. Leaker: From the ‘numinous glow’ to ‘gut squalor’: Transcendence and the Ordinary in Wittgenstein and Don DeLillo’s Underworld – A. den Dulk: Wallace and Wittgenstein: Literature as Dialogue Concerning the Real World – Chapter X: Borges and Semprun: Writers and Philosophers – J.-F. Mattéi: Borges et la philosophie – T. Capmartin: Voyage au bout de la représentation dans Fictions: Quelques remarques ménardiennes sur Borges et le stoïcisme – V. Capdevielle- Hounieu: Jorge Semprún et l’hybridation du littéraire et du philosophique : pour une ‘fi ction essayistique’ – Chapter XI : Literary (Mis-) Readings of Philosophy – P. Lasarte: Misreadings of Arthur Schopenhauer in Sin Rumbo by Eugenio Cambaceres – S. Roldan: Qu’est-ce qui est fort comme la mort selon Maupassant? La détermination ultime d’Olivier Vertin vue sous l’angle de Schopenhauer – B. Nickel: L’infl uence de Ludwig Wittgenstein (1889–1951) sur la poésie concrète – Chapter XII: The Impact of Philosophy on 20th Century Literature and Poetry – B. Ertugrul: Walter Benjamin et Ingeborg Bachmann entre littérature et philosophie – J. Leclercq / M. Watthee-Delmotte: Michel Henry : pour un langage de la subjectivité. La pensée du roman Le Fils du roi – J. Hobus: “The happiness of the concentration camps”: Reading Imre Kertész’ Novel Fatelessness with Albert Camus’ Concept of the Absurd – S. Frogel: Man without God: Nietzsche, Kafka and Camus Der Herausgeber Sébastian Hüsch, Studium der Philosophie, Geschichte,. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, (...) while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Perhaps no one is more qualified to write about Japanese culture than Donald Keene, considered the leading interpreter of that nation's literature to the Western world. The author, editor, or translator of nearly three dozen books of criticism and works of literature, Keene now offers an enjoyable and beautifully written introduction to traditional Japanese culture for the general reader. The book acquaints the reader with Japanese aesthetics, poetry, fiction, and theater, and offers Keene's appreciations of these topics. Based (...) on lectures given at the New York Public Library, The Metropolitan Museum of Art, and the University of California, Los Angeles, the essays -though written by a renowned scholar- presuppose no knowledge of Japanese culture. Keene's deep learning, in fact, enables him to construct an overview as delightful to read as it is informative. His insights often illuminate aspects of traditional Japanese culture that endure today. One of these is the appreciation of "perishability." this appreciation os seen in countless little bits of Japanese life: in temples made of wood instead of durable materials; in the preference for objects -such as pottery- that are worn, broken, or used rather than new; and in the national love of the delicate cherry blossom, which normally falls after a brief three days of flowering. Keene quotes the fourteenth-century Buddhist monk Kenko, who wrote that "the most precious thing about life is its uncertainty." Throughout the volume, Keene demonstrates that the rich artistic and social traditions of Japan can indeed be understood by readers from our culture. This book will enlighten anyone interested in Japanese literature and culture. (shrink)

These essays in aesthetics by the philosopher Ernst Bloch belong to the tradition of cultural criticism represented by Georg Lukács, Theodor Adorno, and Walter Benjamin. Bloch's fascination with art as a reflection of both social realities and human dreams is evident in them. Whether he is discussing architecture or detective novels, the theme that drives the work is always the same - the striving for "something better," for a "homeland" that is more socially aware, more humane, more just.The book opens (...) with an illuminating discussion between Bloch and Adorno on the meaning of utopia; then follow 12 essays written between 1930 and 1973, on topics as diverse as aesthetic theory, genres such as music, painting, theater, film, opera, poetry, and the novel, and perhaps most important, popular culture in the form of fairy tales, detective stories, and dime novels.Ernst Bloch was a profoundly original and unorthodox philosopher, social theorist, and cultural critic. The MIT Press has previously published his Natural Law and Human Dignity and his magnum opus, The Principle of Hope. The Utopian Function of Art and Literature is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (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 study deals with the functions of the feuilleton, which is in the newspaper but has an important role in the development of literature. The 19th century is a period in which Westernization movements began to enter political and social life. Political developments such as the Tanzimat Edict, the Reform Edict and the acceptance of the Constitutional Monarchy had significant effects on cultural life over time. Newspaper is the most important mass communication tool of that period that accelerates this (...) effect. Journalism has an important role in the introduction and development of Western genres such as novel, Western-style story, theater into Turkish literature. The newspaper, which plays an important role in the change of Turkish literature wih new genres, has cultural effects on large masses of people. The feuilleton, which emerged with the publication of long literary texts in certain series, continued its influence in Turkish journalism for a very long time. Feuilleton paved the way for more people to meet literature by making it possible for long literary texts to appear in the newspaper. Many young writers in Turkish literature became famous for their articles in newspapers. These articles found their place in the newspapers, generally with 'feuilleton'. Feuilleton is a cultural and literary activity in terms of journalism; in case in terms of literature, copyright and translation, especially popular literature, have enabled many works to meet with the reader. Thus, by ensuring the interaction between the reader and the work, he developed rapidly in the literary gathering-place. At the same time, it prevented the authors' book printing costs. Therefore, the feuilleton built a mutually beneficial relationship between literature and journalism, and mediated the revival of intellectual life. (shrink)

Dear Professor Heller . . . Your paper had started out superbly. It was a great aesthetic and cognitive pleasure to follow you as you guided us through the intellectual history of the main idea of Kleist's essay, from Plato through the biblical Fall of Man, to Schiller, and Kierkegaard, and Kafka. Indeed the perceptive listener's experience was so satisfying that his disappointment was doubled when he came to realize that all this erudition and beauty had been displayed only in (...) order to serve as a contrast-providing background for the sharp delineation of a reductionistic explanation which you consider to be characteristic of psychoanalysis: the interpretation of the disturbance of man's naive, unselfconscious pre-Fall state as nothing more than a portrayal of sexual impotence—the reduction of a deep existential preoccupation to a case of phimosis. I am certain that the relief I felt when you then took up Freud's demonological-neurosis paper was not an idiosyncratic response on my part but an experience shared by many open-minded listeners in your psychoanalytic audience. Let us, therefore, disregard the "text" of your sermon and consider the substantial questions that you raised after you turned to Freud; these are to my mind the most central ones that you undertook to examine in your—despite its disappointing aspects—splendid address to us. Put into my own words, your most important question was this: What is the purpose of the psychoanalyst's efforts outside the clinical setting, in particular when his contributions take the form of a pathography? That is, To what end do analysts study the psychopathology of the creators of great works? I, too, have asked myself this question, and since you read my old essay "Beyond the Bounds of the Basic Rule" , you know some of my answers. But important basic questions are hardly ever answered once and for all; and I will, therefore, under the impact of your lecture, respond as if I had heard the question for the first time. Heinz Kohut, M.D., is Professorial Lecturer in Psychiatry at the University of Chicago and a teacher and training analyst at the Chicago Institute for Psychoanalysis. His works include The Restoration of the Self, The Analysis of the Self: A Systematic Approach to the Psychoanalytic Treatment of Narcissistic Personality Disorders—which has appeared in German, French, and Italian translations—, The Restoration of the Self and collection of his essays, Scientific Empathy and Empathic Science. His "A Reply to Margret Schaefer"" was published in the Spring 1978 issue of Critical Inquiry. See also: "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" by Margret Schaefer in Vol. 5, No. 1. (shrink)

In what sense can aesthetic experience be considered an opportunity for the development of personal identity, cognitive abilities, and emotions? Theatre proves to be an important field of investigation to approach this question. During a theatrical experience, the connection between fiction and reality can take the form of active cooperation between author, actor, and spectator. A better understanding of this point can be drawn by pointing out three kinds of spectator: we can distinguish a critical spectator, an emotional spectator, (...) and an instinctual spectator, who respectively represent: the imaginative and hermeneutic attitude; empathy and fictional emotions; the unconscious satisfaction of drives. So far, a parallel can be established between literature and theatre. However, these two aesthetic experiences are profoundly different: the type of immersion provided by the theatrical experience differs from reading, because the presence of the characters is physical and actual. The pragmatic theatrical framework is the same as that which underlies childhood games. This means that the public too is to some extent called to play, i.e. to act. To appreciate the implications of this thesis, a preliminary analysis of the performance Reality (Deflorian and Tagliarini 2012) is offered, examining how its experience contributes to the development of the spectating subject. (shrink)

The concepts “dispositive” and “intermediality” emerged at the same time and are becoming increasingly prominent. In this article, I propose to consider what intermediality brings to the dispositive, based on a case study of the diptych El Otro Lado de la Cama and Los Dos Lados de la Cama, two mainstream films from contemporary Spain in the early twenty-first century. Dispositive theory has been developed in France by academics working in the fields of modern literature and theater at the (...) University of Toulouse, notably Marie-Thérèse Mathet, Stéphane Lojkine, Philippe Ortel and Arnaud Rykner. In the late 1990s, this group adapted Foucault’s concept of the dispositive 2 to the fields of literature and.. (shrink)

Are there nonfiction genres of theater scripts, just as there are nonfiction genres of film, such as documentary, and of literature, such as biography and history? I propose that there are, and that Verbatim Theater qualifies as a nonfiction theater genre. What sets it apart is that it is supposed to instruct performers not merely to reenact, or represent, a series of events, but overall to present evidence or arguments for a thesis, or for the audience to draw their (...) own conclusions. For scripts to present evidence, audiences have to be able to filter out what is supposed to serve as evidence from what else occurs on stage. Unlike various other genres of theater that one might initially appear to be nonfiction—such as autobiographical dialogues, Documentary Theater, and ethnodrama—Verbatim Theater does this. (shrink)

Based on video-recordings of several weeks of rehearsals of a Japanese theater piece played by French actors, and adopting an ethnomethodological and conversation analytic perspective, this paper focuses on how the same few lines of a scene are subsequently enacted. In particular, it explores how the scene is played, not only in relation to the script but also to the situated moment-by-moment unfolding of embodied movements constituting the actions and achieving their detailed formatting and meaning. Whereas the dialogue refers to (...) the scripted text, we argue that the multimodal details of each scene constitute a unique situated course of action achieved for ‘another first time,’ whose multimodal configuration depends on the temporality and the shape of each step, gesture, and body posture, as they are embodied and responded to in the vivid present and its contingencies. We demonstrate this by revealing how variations of the scene are performed, explored, and serendipitously found by the actors. We focus in particular on embodied details like walking, sitting, hugging and kissing, and the sequential and temporal positions at which they co-occur with the lines of the script. The analysis demonstrates both the indexicality of the script interpretations and the creative contingencies of the embodied work of the actors. In this way, it aims at contributing to current growing literature revisiting theater rehearsal as a situated activity and an interactional multimodal achievement. (shrink)

In this book, Bonnie Lander Johnson explores early modern ideas of chastity, demonstrating how crucial early Stuart thinking on chastity was to political, medical, theological and moral debates, and that it was also a virtue that governed the construction of different literary genres. Drawing on a range of materials, from prose to theatre, theological controversy to legal trials, and court ceremonies - including royal birthing rituals - Lander Johnson unearths previously unrecognised opinions about chastity. She reveals that early Stuart (...) theatrical and court ceremonies were part of the same political debate as prose pamphlets and religious sermons. The volume also offers new readings of Milton's Comus, Shakespeare's The Winter's Tale, Henrietta Maria's queenship and John Ford's plays. It will appeal to scholars of early modern literature, theatre, political, medical and cultural history, and gender studies. (shrink)

Tzachi Zamir is Professor of English and General & Comparative Literature at the Hebrew University of Jerusalem, where he directs the Amirim Interdisciplinary Honors Programme in the Humanities. Just Literature: Philosophical Criticism and Justice is his fifth book, continuing the exploration of the relationship between philosophy and literature begun in Double Vision: Moral Philosophy and Shakespearean Drama (2007) and developed in Ascent: Philosophy and Paradise Lost (2017). Aside from his complex and innovative work in this field, he (...) is best-known for establishing the first systematic philosophical aesthetics of the art form of acting in Acts: Theater, Philosophy, and the Performing Self (2014). Just Literature is part of Routledge’s New Literary Theory series, published in the Routledge Focus format. Routledge Focus, like Palgrave Pivot and Emerald Points, is a fairly recent development in academic publishing, featuring short monographs whose publication is expedited in order to be able to provide commentary on or analysis of current events or topical issues. I am not sure about the value of the expedition for academic work, but I am in favour of the format, which is about half the length of a standard monograph and encourages clear, concise, and focused writing. Zamir introduces his unique approach to the overlap of literary studies and philosophy as being a response to the codependence of the aesthetic and epistemic values of literature, expressed in the following three claims: (1) exemplary literature enables insights by means of experiential pathways; (2) aesthetic value and epistemic or cognitive value are often interlinked; and (3) criticism becomes philosophical when it bridges the gap between emotion and insight. The purpose of Just Literature is twofold, to introduce philosophical criticism and to employ philosophical criticism to achieve a better understanding of the concept of justice. The monograph consists of an introduction, five chapters divided into two parts, a coda, and an appendix. The parts are divided by theory and practice, with the first sketching philosophical criticism in more detail than the introduction (Chapter 1) and introducing justice as a concept (Chapter 2). Part II applies this theory to practice, extrapolating the relationships between justice on the one hand and attachment (Chapter 3), pity (Chapter 4), and mercy (Chapter 5) on the other. The coda presents a pithy and memorable conclusion by means of a personal anecdote, recalling the author’s use of the same device in his second monograph, Ethics and the Beast: A Speciesist Argument for Animal Liberation (2007). (shrink)

This chapter contains section titled: The Backstory: 1850s to 1950s The Decisive Influences: Brecht, Artaud, Grotowski The Decisive Years: 1961 to 1985 The Final Threads: Absorption of New Practices into the Profession and the Academy.

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, utter (...) or write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

This book is a unique study of the work of Gabriel Marcel, a twentieth-century philosopher of international renown. This book brings a fresh perspective to the examination of Marcel's thought, highlighting facets of interest to many different audiences and presenting a clear exposition of the nature of creative fidelity.

Between 1918 and 1933, the masses became a decisive preoccupation of European culture, fueling modernist movements in art, literature, architecture, theater, and cinema, as well as the rise of communism and fascism and experiments in radical democracy. Spanning aesthetics, cultural studies, intellectual history, and political theory, this volume unpacks the significance of the shadow agent known as "the mass" during a critical period in European history. It follows its evolution into the preferred conceptual tool for social scientists, the ideal (...) slogan for politicians, and the chosen image for artists and writers trying to capture a society in flux and a people in upheaval. This volume is the second installment in Stefan Jonsson's epic study of the crowd and the mass in modern Europe, building on his work in _A Brief History of the Masses_, which focused on monumental artworks produced in 1789, 1889, and 1989. (shrink)

Newly published lectures by Foucault on madness, literature, and structuralism. Perceiving an enigmatic relationship between madness, language, and literature, French philosopher Michel Foucault developed ideas during the 1960s that are less explicit in his later, more well-known writings. Collected here, these previously unpublished texts reveal a Foucault who undertakes an analysis of language and experience detached from their historical constraints. Three issues predominate: the experience of madness across societies; madness and language in Artaud, Roussel, and Baroque theater; and (...) structuralist literary criticism. Not only do these texts pursue concepts unique to this period such as the “extra-linguistic,” but they also reveal a far more complex relationship between structuralism and Foucault than has typically been acknowledged. (shrink)

There are several reasons to explore the role theater played in the life of Søren Kierkegaard and in the inspiration for his works. There are probably more reasons to analyze the role Kierkegaard played for theater, both as a source of inspiration and as a thinker reflecting on different facets of drama, performance, and acting. In the present study I focus on the diversity and complexity of Kierkegaard’s views on theater to elaborate on the possible connections and types of influence (...) he exercised on stage artists and theorists, shaping our contemporary theater theories. Approaches include literature, philosophy, theology, staging, acting, audience, and the history of theater, both in Kierkegaard’s times and later. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Necessity of TheaterNoël CarrollDespite the fact that theater was the first art form to be examined in depth by Western philosophers, it has not received a great deal of attention by contemporary philosophers of art. Essays on literature, music, and cinema are more likely to appear in journals such as the British Journal of Aesthetics and The Journal of Aesthetics and Art Criticism than are articles (...) on theater. But with the publication of Paul Woodruff's The Necessity of Theater: The Art of Watching and Being Watched, James Hamilton's The Art of Theater and the recent anthology Staging Philosophy, edited by David Zucker Saltz and David Krassner, the tide seems to be turning. Philosophers are interested in theater again. Perhaps some lovers of theater may regard this as bad news, recalling what Plato, Augustine, and Rousseau attempted to do to theater. But contemporary philosophers of theater belong more to the school of Aristotle than to that of Plato.Of these recent contributions to the philosophy of theater, Paul Woodruff's book is the one that most resembles Aristotle's Poetics, especially in terms of its analyses of plotting, characterization, conflict, choice, and mimesis. This is maybe no surprise, since Paul Woodruff is not only a professor of philosophy, but also a professor of classics at the University of Texas at Austin. [End Page 435]One thing that is immediately striking about The Necessity of Theater is the elegance of its intellectual design. Woodruff begins with the hypothesis that theater is the art by which human beings make or find human action worth watching in measure time and place. That is, theater is art of being watched and watching. This distinction between being watched and watching, then, provides Woodruff with the means to, on the one hand, examine the elements that go into making theater, and, on the other hand, the elements that go into watching or appreciating theater.Creating theater involves making something worth watching—something that will hold the audience's attention. What sorts of things command our attention? Human action, notably as it is organized in terms of a plot which Woodruff, like Aristotle, emphasizes must be of a magnitude sufficient to be cognitively manageable. Since actions require choices, Woodruff follows his analysis of plot, naturally enough, with a discussion of the choices that give rise to those actions for much the same reason that Aristotle includes dialogue as one of the components of tragedy.In order to be worth watching, Woodruff recommends that these choices be free and coherent. Since choices derive—or are thought to derive—from character, theater, in order to hold our attention, needs characters. These characters must be agents and, in addition, they must be capable of engaging our emotions, not just pity and fear, but the gamut of emotions, although the most important of these, on Woodruff's view, would appear to be the elicitation of care on the part of the audience on behalf of the characters on stage. Woodruff contends that care for a character is engendered by giving the character a past as well as hopes for the future (an aim, a project, a problem) and by making that person a center of love (that is, someone who loves and/or is loved by or who cares and is cared for by other people).Theater primarily makes us interested in watching people by encouraging us to respond to characters emotionally. It is able to do this because it traffics in mimesis. Woodruff understand mimesis as a matter of a mimetic object, a theater piece, bringing to the fore certain effects of the object of which it is a representation. With respect to a theater piece, the relevant effects are emotional effects. Because mimesis is selective, it may be able to achieve those effects more intensely than its off-stage model can; the selectivity of the theater piece both places greater emphasis on the emotion-provoking features of situations while also blocking out otherwise [End Page 436] interfering detail. However, theater does require the complicity of the audience who must fill-in the model imaginatively.The introduction of the role of the audience's... (shrink)

In the article the mutual influence of folk theatre, Austrian Singspiel and Viennese opera in the genres of comic opera, operetta and drama performances involving music, singing and dancing is studied. The powerful influence of Italian and French opera schools, as well as the Italian Commedia Dell'arte led to the flourishing of music and theatre art in Austria: opera buffa (A. Salieri, Ch. W. Glück, J. Haydn, W. A. Mozart), fairy-tale comedies of F. Raimund and satirical dramas of (...) Nestroy. Their game-like nature finds its expression in musical turns, satirical songs and duets. Viennese dance operetta has absorbed the traditions of Viennese popular comedy and comic opera. Recitative, vocal music and folk dances were the key elements of operettas (J. Strauss junior, F. von Suppe, K. Millöcker, K. Zeller, F. Lehar). The music and the game in Austria are the results of theatralization of life: the life turns into something like art. Austrian culture, which is addressed directly to the human being and short of complex philosophical musings and speculative schemes, has genetically built-in playful, musical and theatrical basis, as well as German. Strongly-pronounced playful and musical source as an important national component of the culture, its code, determine its highly fictitious character (staginess) and integrity (both genre and intermediately), thereby maintain its special status in the European culture. (shrink)