Traditionally aesthetics has been associated with phenomenal experience, human apprehension and an appreciation of beauty—the domains in which human cognition is rendered finite. What is an aesthetics that might occur ‘after finitude’?
Politics, Ethics and Performance: Hélène Cixous and the Théâtre du Soleil is a collection of essays by French feminist poet, playwright and philosopher Hélène Cixous. Cixous’ performative and poetic mode of writing explores the relationship between theatrical performance and contemporary politics.
Reflections on Presence are philosophical aphorisms that investigate the interconnected nature of the material and the mental worlds. They addresses concerns of contemporary thinking, like language, ethics, faith and individuality and construct a program for the re-invention of the dominant contemporary philosophical paradigm which is reluctant to articulate positive statements bout reality. From the perspective of Marcus Aurelius, Ignatius Loyola and Nikos Kazantzakis they address the concerns raised by Blaise Pascal, Friedrich Nietzsche and Martin Heidegger.
Knowledge and Freedom is a collection of essays on the philosophy of German idealism. The central issue is the real status of human knowledge, or put in Kantian terms, the limits of human cognition and their implications for our understanding and practice of freedom (theoretical, moral, and political). The connection between knowledge and freedom is then investigated in the post-Kantian philosophy of Fichte, Schelling and Hegel.
Stretchmarks of Sun is informed by the crossing of borders—geographical, historical, formal and subjective. It explores autobiographical fragments drawing on the protagonist’s experience of dislocation and reconnection. It is poetry that draws together strands plucked from different disciplines, ways of knowing and art forms to reveal how home is made out of love and language.
Reading the Country explores the meaning and politics of place (Roebuck Plains) through Aboriginal narratives, songs, conversations, photographs and paintings, together with European historical, geographic and geological knowledge; linked by a series of explanatory, exploratory and analytical essays on history, anthropology, critical theory and painting; interview with Peter Yu, NAC representative.
The articles collected in this volume, authored by some of the most renowned emerging authors working at the intersection between philosophy and psychoanalysis, rethink through Lacan, with as little jargon as possible, traditional concepts of Western thought such as realism, god, history, genesis and structure, writing, logic, freedom, the master and slave dialectic, the act, and the subject.
This work develops a new image of philosophy by mapping its field in terms of three conditions necessary for its actual existence: embodiment, signification, and ideality. This establishes an autonomous place for philosophy among religion, science, and art; moves beyond the impasses of postmodernisms; and provides a constructive basis for addressing new philosophical issues of the 21st century.
Without exception, everyone is called upon today to construct his/her patriotic identity as a response to the supreme imperative of our shared whiteness: ‘act as if the land were initially without owners’. For white Australia, this imperative is more primordial than the usual formulation of the call to patriotism: ‘be prepared to sacrifice yourself for your country’, since patriotic sacrifice presupposes that one already has a country to which one is devoted. The imperative of whiteness touches the depth of our ontology since it is from this that the white collective springs as the creator of the white Australian nation-state. White Australians perpetually enter the world in so far as we faithfully obey the imperative to act as if the land were initially without owners and it is through this imperative that we cover over the question, ‘where do you come from?’, posed to us by the defiant resistance of Indigenous sovereign being. White Australia is therefore unavoidably implicated in the perpetuation of the nation that must act ‘as if …’ or what we call the ‘hypothetical nation.
There is today a cross-disciplinary and cross-cultural recognition of the need to reconceptualize the complexities of the global reality. In this study the authors present the view that a rethinking of Hegel’s concept of Civil Society has the potential to meet this need.
At one and the same time the poet in me sinks and the rebel in me flies. The rebel encounters himself in the poet in whom the vision is drowned. The poet encounters himself in the rebel and becomes philosopher, the bearer of the vision of vision. Being this tension the ego falls in love with both. Fragments are the forgotten whispers of such falling.
Umbr(a) was one of the most important US theory journals of the 1990s and early 2000s, publishing work by some of the greatest philosophers, psychoanalysts and theorists of our era. In every regard, it was ahead of the curve – in content, design, and style – often introducing thinkers who have subsequently become globally influential. This anthology presents a selection of the very best of Umbr(a), including contributions from Joan Copjec, Sam Gillespie, Juliet Flower MacCannell, Charles Shepherdson, Russell Grigg, Alenka Zupancic, Slavoj Žižek,Mladen Dolar, Catherine Malabou, Tim Dean, Steven Miller, Dominiek Hoens, Petar Ramadanovic, Sigi Jöttkandt, Colette Soler, Jelica Sumic and A. Kiarina Kordela.
This book foregrounds the centrality of political conflicts in the radical philosophy of Alain Badiou. It is divided into two halves. The first undertakes a reading of Badiou’s wider oeuvre (beyond Being and Event) and demonstrates that his political theory derives from analyses of key revolutionary sequences such as the Paris Commune, October ‘17, May ‘68 and the Chinese Cultural Revolution. In the second half, the book applies this schema to a concrete ‘situation’: colonial and post-colonial Jamaica.
This book develops a toolkit for acute reading of our modern pace, not through withdrawal but rather through active engagement with a broad range of disciplines. The main characters in this drama comprise a cast of master readers: Hannah Arendt, Jean Starobinski, Harold Bloom, Angus Fletcher, Hans Blumenberg and John Ashbery, with secondary figures drawn from the readers and critics whom this central group suggests. We must develop a vocabulary of pacing, reflecting our modern distance from classical sources and the concomitant acceleration of the modern condition.
The History of My Body is a meditation on childhood, adolescence and young adulthood by an emerging Australian female writer. This is a history of the merciless, well-worn path of encounters and accomplices: of family and friends, of education and confusion, of solids, liquids and gas. History traditionally pertains to fact, but the story of the body of Larissa Bird descries no such truth.