Northwestern University Press – förlag

The thoroughly revised third edition of the bible of improvisational theater.Viola Spolin's improvisational techniques changed the very nature and practice of modern theater. The first two editions of Improvisation for the Theater sold more than 100,000 copies and inspired actors, directors, teachers, and writers in theater, television, film. These techniques have also influenced the fields of education, mental health, social work, and psychology.The revised edition features:30 new exercises, including introductions (Slow/Fast/Normal; Extended Sound; Mirror Speech; Unrelated Conversation)More than 200 updated classic exercisesnew section of traditional theater games for warm-up use "Paul Sills' Sayings of Viola Spolin" New glossary of side-coaching phrases, with definitions of their meaning and value Alphabetical list of all games and exercises

A classic of phenomenology and existentialism, The Phenomenon of Life sets forth a systematic and comprehensive philosophy--an existential interpretation of biological facts laid out in support of his claim that the mind is prefigured throughout organic existence. Hans Jonas shows how life-forms present themselves on an ascending scale of perception and freedom of action, a scale reaching its apex in a human being's capacity for thought and morally responsible behaviour.

The Visible and the Invisible contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died. The text is devoted to a critical examination of Kantian, Husserlian, Bergsonian, and Sartrean method, followed by the extraordinary "The Intertwining - The Chiasm", that reveals the central pattern of Merleau-Ponty's own thought. The working notes for the book provide the reader with a truly exciting insight into the mind of the philosopher at work as he refines and develops new pivotal concepts.

This collection brings together twenty-two essays by Paul Ricoeur under the topics of structuralism, psychoanalysis, hermeneutics, and religion. In dramatic conciseness, the essays illuminate the work of one of the leading philosophers of the day. Those interested in Ricoeur's development of the philosophy of language will find rich and suggestive reading. But the diversity of essays also speaks beyond the confines of philosophy to linguists, theologians, psychologists, and psychoanalysts.

Men’s fitness as a performance—from nineteenth-century theatrical exhibitions to health and wellness practices todayThis book recounts the story of fitness culture from its beginnings as spectacles of strongmen, weightlifters, acrobats, and wrestlers to its legitimization in the twentieth-century in the form of competitive sports and health and wellness practices. Broderick D. V. Chow shows how these modes of display contribute to the construction and deconstruction of definitions of masculinity.Attending to its theatrical origins, Chow argues for a more nuanced understanding of fitness culture, one informed by the legacies of self-described Strongest Man in the World Eugen Sandow and the history of fakery in strongman performance; the philosophy of weightlifter George Hackenschmidt and the performances of martial artist Bruce Lee; and the intersections of fatigue, resistance training, and whiteness. Muscle Works: Physical Culture and the Performance of Masculinity moves beyond the gym and across the archive, working out techniques, poses, and performances to consider how, as gendered subjects, we inhabit and make worlds through our bodies.

In Experience and Judgment, Husserl explores the problems of contemporary philosophy of language and the constitution of logical forms. He argues that, even at its most abstract, logic demands an underlying theory of experience. Husserl sketches out a genealogy of logic in three parts: Part I examines prepredicative experience, Part II the structure of predicative thought as such, and Part III the origin of general conceptual thought. This volume provides an articulate restatement of many of the themes of Husserlian phenomenology.

Elaborating the fundamental concept of Trieb, or drive, Freud outlines two basic types of conflict that at once disturb and organize mental life; the conflict between drives and reality; and the conflict between the drives themselves (as in amorous Eros against the aggressive death drive). In Time Driven, Adrian Johnston identifies a third distinct type of conflict overlooked by Freud; the conflict embedded within each and every drive. By bringing this critical type of conflict to light and explaining its sobering consequences for an understanding of the psyche, Johnston's book makes an essential theoretical contribution to Continental philosophy. is work offers a philosophical interpretation and reassessment of psychoanalysis that places it in relationship to the larger stream of ideas forming our world and, at the same time, clarifies its original contribution to our understanding of the human situation. Johnston draws on Jacques Lacan's oeuvre in conjunction with certain philosophical resources - elements from transcendental philosophy, structuralism, and phenomenology - to rectify the inconsistencies within the Freudian metapsychological model of drive. In doing so, he helps to answer a question haunting Freud at the end of his career: Why is humanity plagued by a perpetual margin of discontent, despite technological and cultural progress? In Time Driven, Johnston is able to make sense of Freud's metapsychology both as a whole and in its historical development of Lacan's reinterpretation of Freud, and of the place of both Freud and Lacan in modern philosophy.

A radical reinterpretation of the origin of religion through a psychoanalytic theorization of the unknown  Renowned psychoanalytic philosopher Richard Boothby puts forward a novel theory of religion inspired by Jacques Lacan’s theory of das Ding, the disquieting, inaccessible dimension of fellow human beings. This notion of an unfathomable excess, originally encountered in the figure of the mother, led Lacan to break with Freud’s formulation of the Oedipus complex and underlies Lacan’s distinctive conception of unconscious dynamics. Leaning on this account, Boothby shows how our sense of the sacred arises from our relation to what we do not know.  Embracing the Void lays out the range of Freud’s attempts at a psychoanalytic theory of religion and then sketches the rough contours of Lacan’s contrasting approach. From there, Boothby offers the theoretical tools for interpreting the religious impulse and analyzes key religious traditions, from ancient Greek polytheism to Judaism and Christianity, and from Hinduism and Buddhism to Islam, finally turning to modern capitalist culture and the seductive deity that dominates it—money. Lucid, accessible, and compelling, the book provides a cogent intervention in one of the psychoanalytic tradition’s most contentious topics and offers a new approach to our understanding of religion.

Articulates a philosophical mode of thinking modeled after our bodily construction points What if we were to reimagine bodies of all kinds - biological and ecosystemic, political and textual, cosmic and artistic - from the perspective of their joints? This is the wager of Michael Marder's philosophical treatise, which explores the extremes of totalization and fragmentation by following the model of the joints, the structures that both articulate and disarticulate complex living unities. Of Joints and Other Articulations: The Futures of Arthrosophy proposes that as embodied figures of relations, joints shed new light on the question of time and the meaning of art, the activity of language and the fluctuations of good and ill health, political violence and humility, conversions and perversions. Arthrosophy, the wisdom of joints, supplements and substantiates philosophy itself, teaching us how to think through and with our knees and elbows, hips and shoulders, sutures and pivot joints.

The renowned scholar Rüdiger Safranski’s Romanticism: A German Affair both offers an accessible overview of Romanticism and, more critically, traces its lasting influence, for better and for ill, on German culture. Safranski begins with the eighteenthcentury Sturm und Drang movement, which would sow the seeds for Romanticism in Germany. While Romanticism was a broad artistic, literary, and intellectual movement, German thinkers were especially concerned with its strong philosophical-metaphysical and religious dimension. Safranski follows this spirit in its afterlife in the work of Heinrich Heine, Richard Wagner, Friedrich Nietzsche, Thomas Mann, and through the later artistic upheavals of the twentieth century. He concludes by carefully considering Romanticism’s possible influence in the rise of National Socialism and the student revolt of 1968.Romanticism: A German Affair is essential reading for anyone interested in the power of art, culture, and ideas in the life of a nation.

Excavating the comedic crack in historical repetitions What happens when those who have been denied political subjectivity fully play out their negative role in a historical drama that damned them from the beginning? Hegel, Marx, and the Laughing Matter of Spirit locates the eruption of revolutionary laughter in historical cracks across nineteenth- and twentieth-century Europe, where exiled philosophers, partisan fighters, and artists framed their political resistance as a historical comedy. Hegelian comedy fuels the Young Hegelian critique of Prussian censorship, Walter Benjamin’s staging of the anti-fascist resistance, and the Yugoslavian partisan attempt to begin again in fascism’s aftermath. Revolution erupts from a historical stage that can no longer look on its own contradictions with a straight face. Drawing on the defiant spirit of comedy, this Hegelian feminist manifesto defies political despair, overturning the perception that history tragically repeats itself. Invoking the phrase “Nothing changes” as a mantra, R. A. Aumiller turns a concession of defeat into a battle cry for political resistance.

Written in 1932, just before the fall of the Weimar Republic and on the eve of the Nazi accession to power, Ernst Jünger’s The Worker: Dominion and Form articulates a trenchant critique of bourgeois liberalism and seeks to identify the form characteristic of the modern age. Jünger’s analyses, written in critical dialogue with Marx, are inspired by a profound intuition of the movement of history and an insightful interpretation of Nietzsche’s philosophy.Martin Heidegger considered Jünger “the only genuine follower of Nietzsche,” singularly providing “an interpretation which took shape in the domain of that metaphysics which already determines our epoch, even against our knowledge; this metaphysics is Nietzsche's doctrine of the ‘will to power.’” In The Worker, Jünger examines some of the defining questions of that epoch: the nature of individuality, society, and the state; morality, justice, and law; and the relationships between freedom and power and between technology and nature.This work, appearing in its entirety in English translation for the first time, is an important contribution to debates on work, technology, and politics by one of the most controversial German intellectuals of the twentieth century. Not merely of historical interest, The Worker carries a vital message for contemporary debates about world economy, political stability, and equality in our own age, one marked by unsettling parallels to the 1930s.

Will works of the imagination ever regain the power they once had to challenge and mould society and the individual? This was the question posed by Edgar Wind's influential Reith Lectures delivered in 1960 and later expanded into his book Art and Anarchy. The book examines the various forces that have fashioned the modern view of the art, from mechanization and fear of intellect to connoisseurship and--perhaps the fundamental weakness of our age--the dispassionate acceptance of art. In the course of his discussion, Wind surveyed a wide range of topics in the history of painting, literature, music, and the plastic arts from the Renaissance to modern times.

Rodolphe Gasché’s commentary on Deleuze and Guattari’s last book, What Is Philosophy?, homes in on what the two thinkers define as philosophy in distinction from the sciences and the arts and what it is that they understand themselves to have done while doing philosophy.Gasché is concerned with the authors’ claim not only that philosophy is a Greek invention but also that it is, for fundamental reasons, geophilosophical in nature. Gasché also intimates that, rather than a marginal issue of their conception of philosophy, geocentrism is a central dimension of their thinking. Indeed, Gasché argues, if all the principal traits that constitute philosophy according to What is Philosophy?—autochthony, philia, and doxa—imply in an essential manner a concern with Earth, it follows that what Deleuze and Guattari have been doing while engaging in philosophy has been marked by this concern from the start.

Engaging scholars from across humanistic fields grappling with the role and value of theory in our times, Theory's Autoimmunity argues for reclaiming theory's skepticism as a value. To cultivate theory's skeptical impulses is to embrace what Jacques Derrida has termed autoimmunity: a condition of openness to the outside-openness of the self, the community, democracy, or other ideals-that allows for change.Openness to change comes with risks, and the self-protective temptation to immunize oneself or one's community against these risks is strong. Yet without such risks, without openness to otherness, no encounter with the new, with difference, can ever take place. Without autoimmunity, theory becomes stagnant and programmatic, unable to receive and respond to the other or the event, to address, revise, and produce new meanings. Taking up the challenge of thinking theory as skepticism, with and against philosophy, this study turns to literature as an interlocutor, investigating the ways theory, like the literary works of Montaigne, Baudelaire, Stendhal, Morrison, or Duras, declines to put on the interpretive brakes, to stop reading at a point of understanding. Undoing and remaking itself, theory—those critical interpretive practices that revel in the creation and proliferation of meaning—becomes autoimmune.

Upon Scheler's death in 1928, Martin Heidegger remarked that he was the most important force in philosophy at the time. Jose Ortegay Gasset called Scheler 'the first man of the philosophical paradise.' ""The Human Place in the Cosmos"", the last of his works Scheler completed, is a pivotal piece in the development of his writing as a whole, marking a peculiar shift in his approach and thought. He had been asked to provide an initial sketch of his much larger works on philosophical anthropology and metaphysics - works he was not able to complete because of his early demise.Frings' new translation of this key work allows us to read and understand Scheler's thought within current philosophical debates and interests. The book addresses two main questions: What is the human being? And what is the place of the human being in the universe? Scheler responds to these questions within contexts of his projected larger works but not without reference to scientific research. He covers various levels of being: inorganic reality, organic reality (including plant life and psychological life), all the way up to practical intelligence and the spiritual dimension of human beings, and touching upon the holy.Negotiating two intertwined levels of being, life-energy ('impulsion') and 'spirit', this work marks not only a critical moment in the development of his own philosophy but also a significant contribution to the current discussions of continental and analytic philosophers on the nature of the person.

How did psychoanalysis become so accepted by the public? This provocative book reconstructs the system of ideas upon which the theory and practice of psychoanalysis rests, describing a modern culture that has created a psychic or a spiritual void that psychoanalysis seems custom-made to fill. Gellner approaches the question as a sociologist and attains a broad perspective on the ideas of the psychoanalytic movement as a system of cultural beliefs.

Ari Linden's Karl Kraus and the Discourse of Modernity reconsiders the literary works of the Viennese satirist, journalist, and playwright Karl Kraus (1874-1936). Linden reads Kraus's work both on its own terms and alongside philosophy and critical theory, yielding a portrait of Kraus as an irrepressible figure in the modernist tradition. In doing so, Linden draws a more robust image of German modernism itself.  Combining close readings with intellectual history, Linden shows how Kraus's two major literary achievements (The Last Days of Mankind and The Third Walpurgis Night) and a lesser-known play (Cloudcuckooland) address the political catastrophes of the first third of Europe's twentieth century-from World War I to the rise of fascism. Kraus's central insight, Linden argues, is that the medial representations of such events have produced less an informed audience than one increasingly unmoved by mass violence. In the second part of the book, Linden explores this insight as he sees it inflected in SØren Kierkegaard, Walter Benjamin, and Theodor Adorno. This hidden dialogue, Linden argues, offers us a richer understanding of the often neglected relationship between satire and critical theory writ large.

Ari Linden's Karl Kraus and the Discourse of Modernity reconsiders the literary works of the Viennese satirist, journalist, and playwright Karl Kraus (1874-1936). Linden reads Kraus's work both on its own terms and alongside philosophy and critical theory, yielding a portrait of Kraus as an irrepressible figure in the modernist tradition. In doing so, Linden draws a more robust image of German modernism itself.  Combining close readings with intellectual history, Linden shows how Kraus's two major literary achievements (The Last Days of Mankind and The Third Walpurgis Night) and a lesser-known play (Cloudcuckooland) address the political catastrophes of the first third of Europe's twentieth century-from World War I to the rise of fascism. Kraus's central insight, Linden argues, is that the medial representations of such events have produced less an informed audience than one increasingly unmoved by mass violence. In the second part of the book, Linden explores this insight as he sees it inflected in SØren Kierkegaard, Walter Benjamin, and Theodor Adorno. This hidden dialogue, Linden argues, offers us a richer understanding of the often neglected relationship between satire and critical theory writ large.

Winner of the 1993 Baltic Assembly PrizeAn immediate sensation upon its 1993 publication in Europe, already translated into more than a dozen languages, Border State is a brilliantly realized account of a man in the grip of Western excess, emotionally crippled by a world that is subsuming his own and inhabiting a West in which "all countries have become imaginary deserts of ruins where crowds of nomads roam from one attraction to the other." His tale, in which disillusion and murder become inextricably linked, is a compelling exploration of scarcity, longing, and madness.

Gabeba Baderoon’s The History of Intimacy is a tender, tangled account of the heady days in South Africa following Nelson Mandela’s release from prison. This award-winning poetry collection portrays the innovative forms of music, kinship, and even self in “the new, intricate country / we understood was impossible.” Gazing at black-and-white photos from back home, a woman who has moved to the United States realizes, “Memory doesn’t come to me straight.” Conversations overheard in line at the DMV reveal the complex nature of identity. When asked to name the color of her skin, a girl confides, “It was the first time I admitted / I loved the skin of white boys.” The poems are also light-hearted. In “Ghost Technologies,” about romance in the early days of the internet, the speaker recalls “when we loved each other on dial-up.” The collection begins and ends with poems on writing, paying tribute to poets such as Keorapetse Kgositsile and Archie Markham who taught her that “a border / is a place of yielding or refusing to yield / for after refusal might lie a new country.”  Born on the coastal shores of Port Elizabeth, Baderoon is one of South Africa’s most acclaimed literary voices. In The History of Intimacy—originally published by Kwela Books—she crafts resonant poems about a writer’s beginnings, love across boundaries, and “how not to be alone.”

In this classic of Russian humor and social commentary, a fired cable fitter goes on a binge and hopes a train to Petushki (where his "most beloved of trollops" awaits). On the way he bestows upon angels, fellow passengers, and the world at large a magnificent monologue on alcohol, politics, society, alcohol, philosophy, the pains of love, and, of course, alcohol.

Winner, 2012 Northern California Book Award for Fiction in Translation.More faithful to the original text and its deeply resonant humor, this new translation of The Twelve Chairs brings Ilf and Petrov’s Russian classic fully to life. The novel’s iconic hero, Ostap Bender, an unemployed con artist living by his wits, joins forces with Ippolit Matveyevich Vorobyaninov, a former nobleman who has returned to his hometown to look for a cache of missing jewels hidden in chairs that have been appropriated by the Soviet authorities. The search for the chairs takes them from the provinces of Moscow to the wilds of the Transcaucasus mountains. On their quest they encounter a variety of characters, from opportunistic Soviet bureaucrats to aging survivors of the old propertied classes, each one more selfish, venal, and bungling than the last. A brilliant satire of the early years of the Soviet Union, as well as the inspiration for a Mel Brooks film, The Twelve Chairs retains its universal appeal.

Dividing his youth between the United States and the bilingual Alsace-Lorraine, Eugene Jolas (1894-1952) flourished in three languages. As an editor and poet, he came to know the major writers and artists of his time and enjoyed a pivotal position between the Anglo-American and Continental avant-garde. His editorship of transition, the leading avant-garde journal of Paris in the twenties and early thirties, provided a major impetus to writers from James Joyce (whose ""Finnegans Wake"" was serialized in transition) to Gertrude Stein, and Samuel Beckett, with first translations of Andre Breton, and Franz Kafka, among others. Jolas' critical work, collected in this volume, includes introductions to anthologies, manifestoes like the famous Vertical, essays, some published here for the first time, on writers as various as Novalis, Trakl, the major Surrealists, Heidegger, and other philosophers. An acute observer of the literary scene as well as of the roiling politics of the time, Jolas emerges here in his role at the very center of avant-garde activity between the wars. Accordingly, this book is of signal importance to anyone with an interest in modernism, avant-garde, multilingualism, and the culture of Western Europe in the first half of the twentieth century.

The life and times of one of our most enchanting artists; a twentieth-century fairy tale, lovingly remembered and luminously told.Fourteen years ago, the artist Dorothea Tanning published Birthday, a collection of reminiscences. Now she has expanded it into a memoir of her journey through the last century as confidant, collaborator, and muse to some of its most inspired minds and personalities: a diverse assemblage that ranges from the fathers of dada and surrealism to Virgil Thompson, George Balanchine, Alberto Giacometti, Dylan Thomas, Truman Capote, Joan Miró, James Merrill, and many more. At its center is the relationship, tenderly rendered, between Tanning and her famed husband, the enigmatic surrealist Max Ernst.Whether recalling the poignant presence of her friend Joseph Cornell or simply marveling at the facades along a Venice canal, "their filmy reflections fluttering in the dirty canal like fragile altar cloths hung out to dry," Tanning's writing is beguiling, wry, and shot through with the same eye for pregnant detail and immanent magic that marks her art.

The Fortress is one of the most significant and fascinating novels to come out of the former Yugoslavia. Ahmet Shabo returns home to eighteenth-century Sarajevo from the war in Russia, numbed by the death in battle or suicide of nearly his entire military unit. In time he overcomes the anguish of war, only to find that he has emerged a reflective and contemplative man in a society that does not value, and will not tolerate, the subversive implications of these qualities.

Proposing a radical reconceptualization of deconstruction and nothingness The first of two volumes exploring Jacques Derrida's prefiguration of speculative realism, The Nothing and Nothingness examines the transcendental naturalism of Ray Brassier and Iain Hamilton Grant and the speculative materialism of Quentin Meillassoux. Philippe Lynes proposes nothing less than a radical reconceptualization of deconstruction as a call to bear witness to nothingness: let the earth be the earth, let nature be nature, and leave them to their reality, secrecy, and withdrawal without us. Dearth: Deconstruction After Speculative Realism argues that Derrida's seminars on Martin Heidegger and Maurice Blanchot, La Chose (The Thing), anticipated many of the philosophical, literary, and aesthetic questions animating speculative realism today: an anti-anthropocentric critique of Kantian correlationism an overcoming of the apocalyptic nihilism of extinction through a deeper, affirmative habituation to nothingness and poignant reflections on the literary and poetic aspects of living and dying in impossible worlds. His is an anti-correlationist plea that resounds now more urgently than ever.