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This title was first published in 2001. A volume of essays on the Pauline, ecclesiastical body of Christ -the church. It is, of course, not possible to separate completely one body of Christ from another, and the essays do not make the attempt. The dark, institutional history of the church is a running theme, a running sore, throughout the volume; in that sense the essays respond to Michel Foucault''s insistence that we should be mindful of the institutions that surreptitiously inform our discourse and culture. The essays deal with the myriad of ways in which the church is named, spoken and, above all, written in the age of secularization. In this sense, the contributors are simply exploring the relationship between the church and modern writing.
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This title was first published in 2001. A volume of essays on the Pauline, ecclesiastical body of Christ -the church. It is, of course, not possible to separate completely one body of Christ from another, and the essays do not make the attempt. The dark, institutional history of the church is a running theme, a running sore, throughout the volume; in that sense the essays respond to Michel Foucault''s insistence that we should be mindful of the institutions that surreptitiously inform our discourse and culture. The essays deal with the myriad of ways in which the church is named, spoken and, above all, written in the age of secularization. In this sense, the contributors are simply exploring the relationship between the church and modern writing.
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Within the work of both Jacques Derrida and Walter Benjamin there is a buried theatricality, a theatre to-come. And in the last fifteen years there has been a growing awareness of this theatricality. To date, though, there has not been a published stage play about either Derrida or Benjamin
Cue Derrida| Benjamin, a volume that brings together two tragi-comic plays which mirror each other in a host of ways – above all, in the way that the central philosophical figure is displaced, or not quite where or when we would expect to find them. In Derrida’s case, it is Oxford in 1968; in Benjamin’s case, it is somewhere (or nowhere) near London in 1948. These, then, are plays in which the philosopher is exiled, or elsewhere – not quite himself.
This a volume for anyone with an eye or ear for where theatre or performance meets philosophy – students, scholars, readers, actors.
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