The Poverty of Philosophy: Readings in Non and Other Philosophies and Arts of Imminence kicks off with an 8,000 word overture, “Poverty of Philosophy” introducing non-philosophy and its progenitor, François Laruelle, his inspirations by, rapports and connections with other ‘philosophers of immanence’ (Nietzsche, Henry, Deleuze, Derrida...) as well as exploring, and also drawing some conclusions as to the possibilities of its present, and/or feasible impact on culture, politics and the arts, there follows the Anthology of NON, and other Philosophies and Arts of Immanence, comprised of some 300 excerpts from some 140 published sources, many signed by Laruelle, and many of the others by French, Anglophone, as well as Eastern European writers, artists, philosophers, scholars, critics and thinkers who extend his insights in the various domains of human endeavor. Very often translated from the French, and frequently commented, these excerpts are arranged alphabetically under 88 topics, from Actor to World, the complete list of them following my introduction, in a table of contents keyed to page #’s for each of them. Following are close readings in Beitchman’s five review essays, two of works of Laruelle, and of three by scholars here very much in his wake: “The Machinery of Control (Sophie Lesueur, “Pensée machine et ordre politique”)”; “Universe, World, Philo-Fiction and Non-Action in Non-philosophy (François Laruelle, Tétralogos:)”; “Ecology, Sacred and Profane (François Laruelle, En dernière humanité: la nouvelle science écologique)”; “The Philo-Fictions of Katerina Kolozova (Cut of the Real and 5 other works)”; “A Leap through Language: Non-Philosophy, Science and the Arts (Sergueï Khoruzhiy, “La non-philosophie de François Laruelle entre le Charybde de la transraison et le Scylla du scientisme”).” These essays provide a synoptic overview of non-philosophy from its inception to its latest non-standard philosophy avatar. Generally Beitchman’s focus is on language and vocabulary, and their associated arts, principally literary and performing—and on the way terms like World, Universe, Superposition and Philo-fiction are deployed, defined, re-defined or refused definition; also how modern science, once fractals, now more Quantum and Wave theory, in concert with these imponderables, expands the horizon of the thinkable, conceivable and above all the feasible.
The impact of naturalism, a literary approach invented by Zola and especially significant in the field of the novel through his American «disciples» Crane, Norris, and Dreiser, is well acknowledged and recognized. Not so well recognized, but equally important, is naturalistic theatre; this was a style that also originated with Zola, but its progeny was more international and its significance more radical and insurrectionary than in the less «spectacular» genre of fiction. The Theatre of Naturalism: Disappearing Act establishes the incipiently revolutionary context (between the Paris Communist Commune, crushed in 1871, and the successful Bolshevik insurrection of October 1917) - more or less foregrounded or in the background of works by Zola, Strindberg, Ibsen, Hauptmann, Synge, Shaw, and Tolstoy, focused especially on issues of class struggle and class war, as well as the prospects and possibilities of challenging the hegemony of the ruling orders. Especially in regard to later theatre, for instance the «hypernaturalism» of The Brig (Living Theatre) of Kenneth Brown, and of plays by Arnold Wesker and David Storey - Philip Beitchman frequently invokes themes culled from recent French theory, particularly Derrida's deconstruction and Baudrillard's ideas about simulation. The Theatre of Naturalism will open up new perspectives for anyone interested in theory or theatre, whether scholars or the wider theatre-loving or performing public.
The Poverty of Philosophy: Readings in Non and Other Philosophies and Arts of Imminence kicks off with an 8,000 word overture, “Poverty of Philosophy” introducing non-philosophy and its progenitor, François Laruelle, his inspirations by, rapports and connections with other ‘philosophers of immanence’ (Nietzsche, Henry, Deleuze, Derrida...) as well as exploring, and also drawing some conclusions as to the possibilities of its present, and/or feasible impact on culture, politics and the arts, there follows the Anthology of NON, and other Philosophies and Arts of Immanence, comprised of some 300 excerpts from some 140 published sources, many signed by Laruelle, and many of the others by French, Anglophone, as well as Eastern European writers, artists, philosophers, scholars, critics and thinkers who extend his insights in the various domains of human endeavor. Very often translated from the French, and frequently commented, these excerpts are arranged alphabetically under 88 topics, from Actor to World, the complete list of them following my introduction, in a table of contents keyed to page #’s for each of them. Following are close readings in Beitchman’s five review essays, two of works of Laruelle, and of three by scholars here very much in his wake: “The Machinery of Control (Sophie Lesueur, “Pensée machine et ordre politique”)”; “Universe, World, Philo-Fiction and Non-Action in Non-philosophy (François Laruelle, Tétralogos:)”; “Ecology, Sacred and Profane (François Laruelle, En dernière humanité: la nouvelle science écologique)”; “The Philo-Fictions of Katerina Kolozova (Cut of the Real and 5 other works)”; “A Leap through Language: Non-Philosophy, Science and the Arts (Sergueï Khoruzhiy, “La non-philosophie de François Laruelle entre le Charybde de la transraison et le Scylla du scientisme”).” These essays provide a synoptic overview of non-philosophy from its inception to its latest non-standard philosophy avatar. Generally Beitchman’s focus is on language and vocabulary, and their associated arts, principally literary and performing—and on the way terms like World, Universe, Superposition and Philo-fiction are deployed, defined, re-defined or refused definition; also how modern science, once fractals, now more Quantum and Wave theory, in concert with these imponderables, expands the horizon of the thinkable, conceivable and above all the feasible.
The impact of naturalism, a literary approach invented by Zola and especially significant in the field of the novel through his American «disciples» Crane, Norris, and Dreiser, is well acknowledged and recognized. Not so well recognized, but equally important, is naturalistic theatre; this was a style that also originated with Zola, but its progeny was more international and its significance more radical and insurrectionary than in the less «spectacular» genre of fiction. The Theatre of Naturalism: Disappearing Act establishes the incipiently revolutionary context (between the Paris Communist Commune, crushed in 1871, and the successful Bolshevik insurrection of October 1917) - more or less foregrounded or in the background of works by Zola, Strindberg, Ibsen, Hauptmann, Synge, Shaw, and Tolstoy, focused especially on issues of class struggle and class war, as well as the prospects and possibilities of challenging the hegemony of the ruling orders. Especially in regard to later theatre, for instance the «hypernaturalism» of The Brig (Living Theatre) of Kenneth Brown, and of plays by Arnold Wesker and David Storey - Philip Beitchman frequently invokes themes culled from recent French theory, particularly Derrida's deconstruction and Baudrillard's ideas about simulation. The Theatre of Naturalism will open up new perspectives for anyone interested in theory or theatre, whether scholars or the wider theatre-loving or performing public.
The fables of witchcraft have taken so fast hold and deepe root in the heart of man, that few or none can indure with patience the hand and correction of God.' Reginald Scot, whose words these are, published his remarkable book The Discoverie of Witchcraft in 1584. England's first major work of demonology, witchcraft and the occult, the book was unashamedly sceptical. It is said that so outraged was King James VI of Scotland by the disbelieving nature of Scot's work that, on James' accession to the English throne in 1603, he ordered every copy to be destroyed. Yet for all the anger directed at Scot, and his scorn for Stuart orthodoxy about wiches, the paradox was that his detailed account of sorcery helped strengthen the hold of European demonologies in England while also inspiring the distinctively English tradition of secular magic and conjuring. Scot's influence was considerable. Shakespeare drew on The Discoverie of Witchcraft for his depiction of the witches in Macbeth. So too did fellow-playwright Thomas Middleton in his tragi-comedy The Witch. Recognising Scot's central importance in the history of ideas, Philip Almond places his subject in the febrile context of his age, examines the chief themes of his work and shows why his writings became a sourcebook for aspiring magicians and conjurors for several hundred years. England's First Demonologist makes a notable contribution to a fascinating but unjustly neglected topic in the study of Early Modern England and European intellectual history. 'This is the first full-length study of what to most people is the most famous and influential book about witchcraft to emerge from early modern England; and it significantly advances our knowledge of both text and author.' - Ronald Hutton, Professor of History, University of Bristol
Sir Philip Sidney was born on 30th November 1554 at Penshurst Place, Kent. He was educated at Shrewsbury School and Christ Church, Oxford. In 1572, at the age of 18, he was elected to Parliament as a Member for Shrewsbury. Despite his domestic commitments Sidney spent the next several years travelling through Germany, Italy, Poland, the Kingdom of Hungary and Austria. Returning to England in 1575, Sidney met Penelope Devereux who became the inspiration for his beautiful sonnet sequence 'Astrophel and Stella'. Life now became rather more complicated with his quarrel with Edward de Vere, 17th Earl of Oxford. The result was that Sidney challenged de Vere to a duel, which Elizabeth then forbade. Sidney wrote a long letter to the Queen explaining the foolishness of her proposed French marriage. Elizabeth bristled at his presumption, and Sidney, realising his error, retired from court. His artistic pursuits were more peaceful and more significant for his lasting fame. During the years of absence from court, Sidney wrote the first draft of 'The Arcadia' and 'The Defence of Poesy'. Sidney was promoted to General of Horse in 1583, his enthusiasm for the Protestant struggle was now given a free rein when he was appointed governor of Flushing in the Netherlands in 1585. Later that year, he joined Sir John Norris in the Battle of Zutphen, fighting for the Protestant cause against the Spanish. During the battle, he was shot in the thigh. Sir Philip Sidney died of gangrene 26 days later, on 17th October 1586 at Arnhem. He was a mere 31 years of age.
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