Martin Puchner - Böcker

Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start.Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings.The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.

Most philosophy makes little mention of the theater except to denounce it as a place of illusion and moral decay. The theater has tended to respond in kind by steering away from philosophy, driven by the notion that theater consists of actions, not ideas. The Drama of Ideas argues that despite this mutual evasion, the histories of philosophy and theater have in fact been crucially intertwined. Appointing Plato as a hinge figure, Puchner traces this alternative tradition as well as recounting the long-standing philosophical register in drama and philosophy's more recent theatrical shift.Moving from a consideration of Plato as a dramatist to those Renaissance playwrights who drew on Plato's chief character, Socrates, Puchner articulates an alternative history of the theater which places philosophy front and center. He believes that modern drama should be understood as Platonic, rather than anti-Aristotelian, as it is often labeled. When Oscar Wilde, George Bernard Shaw, August Strindberg, Luigi Pirandello, Georg Kaiser and Bertolt Brecht are contextualized in light of this alternative perspective, they emerge as major contributors to a drama of ideas. Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus. More recently, Kenneth Burke and Gilles Deleuze have used a theatrical models perspective through which to write the history of philosophy, while contemporary descendants of Plato's dramatic imagination include Iris Murdoch, Martha Nussbaum and Alain Badiou.

Centuries ago in middle Europe, a coded language appeared, scrawled in graffiti and spoken only by people who were "wiz" (in the know). This hybrid language, dubbed Rotwelsch, facilitated survival for people in flight—whether escaping persecution or just down on their luck. It was a language of the road associated with vagabonds, travelers, Jews, and thieves that blended words from Yiddish, Hebrew, German, Romani, Czech, and other European languages and was rich in expressions for police, jail, or experiencing trouble, such as "being in a pickle." This renegade language unsettled those in power, who responded by trying to stamp it out, none more vehemently than the Nazis.As a boy, Martin Puchner learned this secret language from his father and uncle. Only as an adult did he discover, through a poisonous 1930s tract on Jewish names buried in the archives of Harvard’s Widener Library, that his own grandfather had been a committed Nazi who despised this "language of thieves." Interweaving family memoir with an adventurous foray into the mysteries of language, Puchner crafts an entirely original narrative. In a language born of migration and survival, he discovers a witty and resourceful spirit of tolerance that remains essential in our volatile present.

What is generally referred to as modern drama was an international development or movement centred in Europe and North America, a movement directed against many of the conventions and institutions of nineteenth-century drama and theatre. Between 1880 and 1960, a number of foundational figures broke with inherited dramatic conventions, instituted new forms of drama, and created different venues for performance. George Bernard Shaw and William Archer in England, Henrik Ibsen in Norway, August Strindberg in Sweden, Maurice Maeterlinck and Alfred Jarry in France, Gerhard Hauptmann in Germany, Luigi Pirandello in Italy, Federico Garcia Lorca in Spain, Eugene O’Neill and Gertrude Stein in the United States, and Anton Chekhov in Russia share, despite their considerable differences, a project of rupturing with the old and a belief in the new. Even though each national drama tradition can boast such a foundational figure, modern drama was at the same time an international movement. New plays quickly circulated through translation and new production techniques through touring companies and extended visits, establishing an international standard for modernism in drama.The four volumes that make up this new Routledge Major Work span the historical emergence and the continuing impact of modern drama on critical thought. By focusing on the origins of modern drama as well as on the narrative of its development, the collection is uniquely positioned to relate this historical period to current critical traditions. In terms of organization, the Major Work takes stock of the various critical traditions that have developed since the 1960s and that have fundamentally transformed our understanding of modernist drama and theatre even as these traditions have continued to draw on the original impulses of modern dramatists. It is an essential reference work destined to be valued as a vital research resource by all scholars and students of the subject.

Poetry of the Revolution tells the story of political and artistic upheavals through the manifestos of the nineteenth and twentieth centuries. Ranging from the Communist Manifesto to the manifestos of the 1960s and beyond, it highlights the varied alliances and rivalries between socialism and repeated waves of avant-garde art. Martin Puchner argues that the manifesto--what Marx called the "poetry" of the revolution--was the genre through which modern culture articulated its revolutionary ambitions and desires. When it intruded into the sphere of art, the manifesto created an art in its own image: shrill and aggressive, political and polemical. The result was "manifesto art"--combinations of manifesto and art that fundamentally transformed the artistic landscape of the twentieth century. Central to modern politics and art, the manifesto also measures the geography of modernity. The translations, editions, and adaptations of such texts as the Communist Manifesto and the Futurist Manifesto registered and advanced the spread of revolutionary modernity and of avant-garde movements across Europe and to the Americas.The rapid diffusion of these manifestos was made "possible by networks--such as the successive socialist internationals and international avant-garde movements--that connected Santiago and Zurich, Moscow and New York, London and Mexico City. Poetry of the Revolution thus provides the point of departure for a truly global analysis of modernism and modernity.

Why we must learn to tell new stories about our relationship with the earth if we are to avoid climate catastropheReading literature in a time of climate emergency can sometimes feel a bit like fiddling while Rome burns. Yet, at this turning point for the planet, scientists, policymakers, and activists have woken up to the power of stories in the fight against global warming. In Literature for a Changing Planet, Martin Puchner ranges across four thousand years of world literature to draw vital lessons about how we put ourselves on the path of climate change—and how we might change paths before it’s too late.From the Epic of Gilgamesh and the West African Epic of Sunjata to the Communist Manifesto, Puchner reveals world literature in a new light—as an archive of environmental exploitation and a product of a way of life responsible for climate change. Literature depends on millennia of intensive agriculture, urbanization, and resource extraction, from the clay of ancient tablets to the silicon of e-readers. Yet literature also offers powerful ways to change attitudes toward the environment. Puchner uncovers the ecological thinking behind the idea of world literature since the early nineteenth century, proposes a new way of reading in a warming world, shows how literature can help us recognize our shared humanity, and discusses the possible futures of storytelling.If we are to avoid environmental disaster, we must learn to tell the story of humans as a species responsible for global warming. Filled with important insights about the fundamental relationship between storytelling and the environment, Literature for a Changing Planet is a clarion call for readers and writers who care about the fate of life on the planet.

Centuries ago in middle Europe, a coded language appeared, scrawled in graffiti and spoken only by people who were "wiz" (in the know). This hybrid language, dubbed Rotwelsch, facilitated survival for people in flight—whether escaping persecution or just down on their luck. It was a language of the road associated with vagabonds, travelers, Jews, and thieves that blended words from Yiddish, Hebrew, German, Romani, Czech, and other European languages and was rich in expressions for police, jail, or experiencing trouble, such as "being in a pickle." This renegade language unsettled those in power, who responded by trying to stamp it out, none more vehemently than the Nazis.As a boy, Martin Puchner learned this secret language from his father and uncle. Only as an adult did he discover, through a poisonous 1930s tract on Jewish names buried in the archives of Harvard’s Widener Library, that his own grandfather had been a committed Nazi who despised this "language of thieves." Interweaving family memoir with an adventurous foray into the mysteries of language, Puchner crafts an entirely original narrative. In a language born of migration and survival, he discovers a witty and resourceful spirit of tolerance that remains essential in our volatile present.

What good are the arts? Why should we care about the past? For millennia, humanity has sought to understand and transmit to future generations not just the “know-how” of life, but the “know-why”—the meaning and purpose of our existence, as expressed in art, architecture, religion, and philosophy. This crucial passing down of knowledge has required the radical integration of insights from the past and from other cultures. In Culture, acclaimed author, professor, and public intellectual Martin Puchner takes us on a breakneck tour through pivotal moments in world history, providing a global introduction to the arts and humanities in one engaging volume.From Nefertiti’s lost city to the plays of Wole Soyinka; from the theaters of ancient Greece to Chinese travel journals to Arab and Aztec libraries; from a South Asian statuette found at Pompeii to a time capsule left behind on the Moon, Puchner tells the gripping story of human achievement through our collective losses and rediscoveries, power plays and heroic journeys, innovations, imitations, and appropriations. More than a work of history, Culture is an archive of humanity’s most monumental junctures and a guidebook for the future of us humans as a creative species. Witty, erudite, and full of wonder, Puchner argues that the humanities are (and always have been) essential to the transmission of knowledge that drives the efforts of human civilization.

Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama-a theatrical piece intended to be read rather than staged-whose long-overlooked significance Puchner traces from the theatrical texts of Mallarme and Stein to the dramatic "Circe" chapter of Joyce's Ulysses.At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Noh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scene. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.

From clay tablets to the printing press.From the pencil to the internet.From the Epic of Gilgamesh to Harry Potter.This is the true story of literature -- of how great texts and technologies have shaped cultures and civilizations and altered human history.The inventions of paper, the printing press and the world wide web are usually considered the major influences on the way we share stories. Less well known is the influence of Greek generals, Japanese court ladies, Spanish adventurers, Malian singers and American astronauts, and yet all of them played a crucial role in shaping and spreading literature as we know it today.The Written World tells the captivating story of the development of literature, where stories intersect with writing technologies like clay, stone, parchment, paper, printing presses and computers. Central to the development of religions, political movements and even nations, texts spread useful truths and frightening disinformation, and have the power to change lives. Through vivid storytelling and across a huge sweep of time, The Written World offers a new and enticing perspective on human history.

You might have heard the saying 'you're in a pickle' meaning you're in a difficult situation. This is just one example of Rotwelsch, an ancient language of the road influenced by Yiddish and written in rudimentary signs, and spoken by vagrants and refugees, merchants and thieves since the European Middle Ages.Martin Puchner grew up knowing that Rotwelsch was of unusual interest to his family. When he inherited a family achive, it led him on a journey not only into the history of this extraordinary language but also into his family's connections to the Nazi Party, for whom Rotwelsch held a particular significance. The Language of Thieves is a compelling story of the mindset and milieu of Central Europe and of the way language can be used to evade oppression. It is also a deeply moving reckoning with a family's buried past.

'A writer of genius' - William DalrympleCan anyone really own a culture? This magnificent account argues that the story of global civilisations is one of mixing, sharing, and borrowing.It shows how art forms have crisscrossed continents over centuries to produce masterpieces. From Nefertiti's lost city and the Islamic Golden Age to twentieth century Nigerian theatre and Modernist poetry, Martin Puchner explores how contact between different peoples has driven artistic innovation in every era - whilst cultural policing and purism have more often undermined the very societies they tried to protect.Travelling through Classical Greece, Ashoka's India, Tang dynasty China, and many other epochs, this triumphal new history reveals the crossing points which have not only inspired the humanities, but which have made us human.

'A writer of genius' - William Dalrymple'Remarkable' - Kwame Anthony Appiah'Utterly captivating' - Anthony DoerrCan anyone really own a culture? This magnificent account argues that the story of global civilisations is one of mixing, sharing, and borrowing.It shows how art forms have crisscrossed continents over centuries to produce masterpieces. From Nefertiti's lost city and the Islamic Golden Age to twentieth century Nigerian theatre and Modernist poetry, Martin Puchner explores how contact between different peoples has driven artistic innovation in every era - whilst cultural policing and purism have more often undermined the very societies they tried to protect.Travelling through Classical Greece, Ashoka's India, Tang dynasty China, and many other epochs, this triumphal new history reveals the crossing points which have not only inspired the humanities, but which have made us human.