Heidegger and Future Presencing (The Black Pages)
Autor Spencer Goluben Limba Engleză Paperback – 6 noi 2020
This book applies Heidegger’s writings to experimental fictions and film genres in order to study a being-there that performs itself beyond liveness and a future that is already here. Theatrical mise-en-scène is analyzed as a way of modeling the Heideggerian ontological-existential, exchanging a deeper presencing for the fictional “now” of liveness. The book is organized around ostensible objects that are in fact things-as-such and performs its theme via time-traveling, interruptions, decompositions, incompleteness, failure, geometric patterning, and above all black pages first cited in Tristram Shandy. This is a nuanced, original work that combines unexpected sources with even more unexpected writing, imagery, and correspondences. It is part of Golub’s ongoing project of lyrically reimagining philosophy and the mise-en-scène of theatrical performance (a presence-room of consciousness) in light of one another.
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Specificații
ISBN-13: 9783030318918
ISBN-10: 3030318915
Pagini: 258
Ilustrații: VII, 258 p. 1 illus.
Dimensiuni: 148 x 210 x 18 mm
Greutate: 0.35 kg
Ediția:1st ed. 2019
Editura: Springer International Publishing
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
ISBN-10: 3030318915
Pagini: 258
Ilustrații: VII, 258 p. 1 illus.
Dimensiuni: 148 x 210 x 18 mm
Greutate: 0.35 kg
Ediția:1st ed. 2019
Editura: Springer International Publishing
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
Cuprins
1.Page (Rectangle).- 2.Book (Decomposition).- 3. Clock (Time’s Pre-Sequels).- 4. Horse (Why Is There Something Else Rather Than Something?).- 5. Human (Being).
Notă biografică
Spencer Golub is Professor of Theatre Arts and Performance Studies, Comparative Literature, and Slavic Studies at Brown University, USA. He is the author of six previous books: A Philosophical Autofiction: Dolor’s Youth; The Baroque Night; Incapacity: Wittgenstein, Anxiety, and Performance Behavior; Infinity (Stage); The Recurrence of Fate: Theatre and Memory in Twentieth-Century Russia; and Evreinov: The Theatre of Paradox and Transformation.
Textul de pe ultima copertă
“Golub’s novel interpretative approach introduces philosophical thinking to the fields of literature, film, and the performative arts, and by that deepens and enriches the theoretical discussion taking place within these fields.”
–Dror Pimentel, Senior Lecturer, Bezalel Academy of Art and Design Jerusalem, Israel
This book applies Heidegger’s writings to experimental fictions and film genres in order to study a being-there that performs itself beyond liveness and a future that is already here. Theatrical mise-en-scène is analyzed as a way of modeling the Heideggerian ontological-existential, exchanging a deeper presencing for the fictional “now” of liveness. The book is organized around ostensible objects that are in fact things-as-such and performs its theme via time-traveling, interruptions, decompositions, incompleteness, failure, geometric patterning, and above all black pages first cited in Tristram Shandy. This is a nuanced, original work that combines unexpected sources with even more unexpected writing, imagery, and correspondences. It is part of Golub’s ongoing project of lyrically reimagining philosophy and the mise-en-scène of theatrical performance (a presence-room of consciousness) in light of one another.
–Dror Pimentel, Senior Lecturer, Bezalel Academy of Art and Design Jerusalem, Israel
This book applies Heidegger’s writings to experimental fictions and film genres in order to study a being-there that performs itself beyond liveness and a future that is already here. Theatrical mise-en-scène is analyzed as a way of modeling the Heideggerian ontological-existential, exchanging a deeper presencing for the fictional “now” of liveness. The book is organized around ostensible objects that are in fact things-as-such and performs its theme via time-traveling, interruptions, decompositions, incompleteness, failure, geometric patterning, and above all black pages first cited in Tristram Shandy. This is a nuanced, original work that combines unexpected sources with even more unexpected writing, imagery, and correspondences. It is part of Golub’s ongoing project of lyrically reimagining philosophy and the mise-en-scène of theatrical performance (a presence-room of consciousness) in light of one another.
Caracteristici
Uses the lens of Martin Heidegger's thought to interpret literature, theatre, and film pieces Studies the idea of being-there that performs itself beyond liveness and a future that is already here Reimagines the idea of the book-as-such and what thinking is