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Theatre and the English Public from Reformation to Revolution
The first study to systematically trace the impact of theatre on the emerging public of the early modern period.
The Experience of Tragic Judgment
Adjudication between conflicting normative universes that do not share the same vocabulary, standards of rationality, and moral commitments cannot be resolved by recourse to traditional principles. Such cases are always in a sense tragic. And what is called for, in our pluralistic and conflictual world is not to be found, as many would suppose, in an impersonal set of procedures with which all participants could be treated as having rationally agreed. The very idea of such a neutral system is an illusion. Rather, what is needed, Julen Etxabe argues in this book, is a heightened awareness of the difficulty of judgment. The Experience of Tragic Judgments draws upon Sophocles’ play Antigone in order to consider this difficulty and the virtues that attend its acknowledgment. Based on the transformative experience that the audience undergoes in engaging with this play what is proposed is a reconceptualization of judgment: not as it is generally thought to occur in a single isolated moment, like the falling of an axe, but rather as an experience that develops in and through space and time.
Theatre Closure and the Paradoxical Rise of English Renaissance Drama in the Civil Wars
Heidi Craig demonstrates how dramatic and theatrical activity paradoxically thrived during the English theatre closures, 1642-1660.
The Normativity of Rationality
Sometimes our intentions and beliefs exhibit a structure that proves us to be irrational. The Normativity of Rationality is concerned with the question of whether we ought to avoid such irrationality. Benjamin Kiesewetter defends the normativity of rationality by presenting a new solution to the problems that arise from the common assumption that we ought to be rational. The argument touches upon many other topics in the theory of normativity, such as the form and the content of rational requirements, the preconditions of criticism, and the function of reasons in deliberation and advice. Drawing on an extensive and careful assessment of the problems discussed in the literature, Kiesewetter provides a detailed defence of a reason-response conception of rationality, a novel, evidence-relative account of reasons, and an explanation of structural irrationality in terms of these accounts.
Living Worth
In Living Worth Stefan Ecks draws on ethnographic research on depression and antidepressant usage in India to develop a new theory of value. Framing depressive disorder as a problem of value, Ecks traces the myriad ways antidepressants come to have value, from their ability to help make one’s life worth living to the wealth they generate in the multibillion-dollar global pharmaceutical market. Through case studies that include analyses of the different valuation of generic and brand-name drugs, the origins of rising worldwide depression rates, and the marketing, prescription, and circulation of antidepressants, Ecks theorizes value as a process of biocommensuration. Biocommensurations—transactions that aim or claim to make life better—are those forms of social, medical, and corporate actions that allow value to be measured, exchanged, substituted, and redistributed. Ecks’s theory expands value beyond both a Marxist labor theory of value and a free market subjective theory, thereby offering new insights into how the value of lives and things become entangled under neoliberal capitalism.
Das System
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Libels and Theater in Shakespeare's England
The first comprehensive history of the Elizabethan libel, this interdisciplinary account traces a viral and often virulent media ecosystem.
Das Vorspiel
Was ist das mit der Musik ? Warum ergreift sie uns so unmittelbar, so intensiv ? In fünfzehn Begegnungen mit Menschen, die sich ihr ganz verschrieben haben, spürt Carolin Pirich dem Wesen der Musik nach und versucht, ihren Zauber greifbar zu machen. Denn: Musik ist mit den Menschen verbunden, so einfach ist es. Sie erzählt vom Leben, Menschen teilen sich über sie mit, andere hören ihnen zu. Carolin Pirich fragt und hört genau zu, wenn eine Dirigentin wie Joana Mallwitz, Musiker wie Christian Tetzlaff oder Igor Levit, aber auch Nachwuchstalente, Mozarts Geige, der Platzanweiser in der Oper oder die Musik selbst in Worten, Tönen und Pausen erzählen – und so entsteht wie nebenbei ein lebhaftes Bild des modernen Musikbetriebs: vom Vorspiel bis zum Medienstar. »Mit dem ersten Einsatz, bei dem die Musik wirklich erklingt – von da an wird alles gut.« Joana Mallwitz
