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The Incident at Antioch is a key play marking Alain Badiou's transition from classical Marxism to a "politics of subtraction" far removed from party and state. Written with striking eloquence and extraordinary poetic richness, and shifting from highly serious emotional and intellectual drama to surreal comic interlude, the work features statesmen, workers, and revolutionaries struggling to reconcile the nature and practice of politics. This bilingual edition presents L'Incident d'Antioche in its original French and, on facing pages, an expertly executed English translation. Badiou adds a special preface, and an introduction by the scholar Kenneth Reinhard connects the play to Paul Claudel's The City, Saint Paul and the early history of the Church, and the innovative mathematical thinking of Paul Cohen. The translation includes Susan Spitzer's extensive notes clarifying allusions and quotations and hinting at Badiou's intentions. An interview with Badiou encompasses the play's settings, themes, and events, as well as his ongoing literary and conceptual experimentation on stage and off.
English-speaking readers might be surprised to learn that Alain Badiou writes fiction and plays along with his philosophical works and that they are just as important to understanding his larger intellectual project. In Ahmed the Philosopher, Badiou's most entertaining and accessible play, translated into English here for the first time, readers are introduced to Badiou's philosophy through a theatrical tour de force that has met with much success in France. Ahmed the Philosopher presents its comic hero, the "treacherous servant" Ahmed, as a seductively trenchant philosopher even as it casts philosophy itself as a comic performance. The comedy unfolds as a series of lessons, with each "short play" or sketch illuminating a different Badiousian concept. Yet Ahmed does more than illustrate philosophical abstractions; he embodies and vivifies the theatrical and performative aspects of philosophy, mobilizing a comic energy that exposes the emptiness and pomp of the world. Through his example, the audience is moved to a living engagement with philosophy, discovering in it the power to break through the limits of everyday life.
This critical intervention in the study of the comic investigates how the comic act is also an expressive and performative act that precedes philosophical conceptualisation. The book puts Bergson, philosophy and the body at the centre of its investigation to explore different aspects of the field, from the history and philosophy of comedy to film and psychoanalysis. The volume develops a theoretical and practice-based framework that will be a valuable resource for students, scholars and practitioners alike in the fields of philosophy, literary studies, theatre and performance studies and comedy studies. List of Contributors: Caterina Angela Agus, Fred Dalmasso, Lisabeth During, Xavier Escribano, Giovanni Fusetti, Davide Giovanzana, Josephine Gray, María J. Ortega Máñez, Meg Mumford, Jean-Michel Rabaté, Carolyn Shapiro, Lisa Trahair
In post-Holocaust philosophy, anti-Semitism has come to be seen as a paradigmatic political and ideological evil. Jews Out of the Question examines the role that opposition to anti-Semitism has played in shaping contemporary political philosophy. Elad Lapidot argues that post-Holocaust philosophy identifies the fundamental, epistemological evil of anti-Semitic thought not in thinking against Jews, but in thinking of Jews. In other words, what philosophy denounces as anti-Semitic is the figure of "the Jew" in thought. Lapidot reveals how, paradoxically, opposition to anti-Semitism has generated a rejection of Jewish thought in post-Holocaust philosophy. Through critical readings of political philosophers such as Adorno, Horkheimer, Sartre, Arendt, Badiou, and Nancy, the book contends that by rejecting Jewish thought, the opposition to anti-Semitism comes dangerously close to anti-Semitism itself, and at work in this rejection, is a problematic understanding of the relations between politics and thought—a troubling political epistemology. Lapidot's critique of this political epistemology is the book's ultimate aim.
What counts as music for contemporary thinkers? Why is music of use to philosophers and how do they use it in their work? How do philosophers decide what music is and what assumptions are uncritically inherited in this move? And what is the philosophical relationship between music and gender? To answer these questions, Sarah Hickmott looks at the way music is used, characterised and understood in the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe and Alain Badiou. Despite the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontology, politics, ethics and aesthetics. Given a longer philosophical history, dating back at least to Plato, of aligning music with the feminine, she also focuses on the way gender is deployed, understood and constructed within the philosophy of music.
One of the remarkable developments in the contemporary study of Paul is the dramatic interest in his thought amongst European philosophers. This collection of leading scholars makes accessible a discussion often elusive to those not already conversant in the categories of European philosophy. Each scholar addresss systematically what major philosophers have made of Pauland why it matters.
From Antiphilosophy to Worlds and from Beckett to Wittgenstein, the 110 entries in this dictionary provide detailed explanations and engagements with Badious's key concepts and major interlocutors.
What is a modern philosopher to make of Paul, the apostle? What do non-Christian philosophers in Europe gain from reading ancient letters from Christianity's first great ideologue, and letters addressed to groups of people lost to time? To ask this question is to acknowledge that despite religious faith being regarded by many as a stage that our modern societies have left behind, contemporary philosophers are confronted with questions such as multiculturalism and religious fundamentalism in the wake of immigration and the increasing presence of religious minorities. The Letters of Paul have gained the interest of several philosophers, and the interpretations of the apostle have taken many forms. Looking closely at Paul's letters which have gained most interest from atheist philosophers, The First Letter to the Corinthians and the Letter to the Romans, this book offers an overview of the various ways they have been understood. It pays close attention also to the readings of Paul in the three thinkers, Friedrich Nietzsche and Sigmund Freud – canonized as two of the great pillars of the modern critique of religion – with Spinoza as one of their important predecessors. Confronting these readings with insights not only from the more recent philosophical readings of the apostle but also from historical-critical scholarship on the Bible, this book lifts the veil over a new picture of the apostle as a figure with potential value for non-Christians and atheists. An Apostle for Atheists leaves us with ideas that compel us to reconsider Paul's negative reputation for secular modernity and appreciate him as a figure of a radically new politics as well as a renewed psychoanalysis.
For Alain Badiou, theatre-unlike cinema-creates a space in which philosophy can be lived. It is, of all the arts, the most closely related to politics: both depend on a limited number of texts or statements, which are collectively enacted by a group of actors or militants who test the limits of the structure inn which they are confined, be it the medium of drama or the nation-state. For this reason, the history of theatre is inseparable from the history of state repression and censorship. This definitive collection of Badiou's work on the theatre includes not only the title essay "Rhapsody for the Theatre," originally published as a pamphlet in France, but also essay on Jean-Paul Sartre, on the political destiny of contemporary drama, and on Badiou's own work as a playwright.
Reinterpreting Badiou's philosophy in light of both his persistent, reverent invocations of the German-Jewish poet Paul Celan, and his long-term engagement with Samuel Beckett, Badiou, Poem and Subject fundamentally reassesses Badiou's radical departure from the legacy of Martin Heidegger, and his wholesale rejection of philosophies that would, in the wake of twentieth-century violence and beyond, proclaim their own end or completion. For Badiou, both writers, from the terminus of Literary Modernism, affirm novel conceptions of subjectivity capable of transcending the historical conditions of their presentation: Celan's collective and ephemeral subject of 'anabasis', and Beckett's disjunctive 'Two' of love. Blending close textual analyses with critical reflections on Heidegger, Lacoue-Labarthe and Adorno, among others, Tom Betteridge argues that Badiou's innovative readings of both Celan's poetry and the 'latent poem' in Beckett's late prose are crucial to understanding his significance in the history of twentieth-century French philosophy and its German heritage, offering a significant contribution to a growing field of interest in Badiou's philosophical encounter with poetry, and its political ramifications.