Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start. Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings. The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.

The Drama of Ideas: Platonic Provocations in Theater and Philosophy

PUCHNER, MARTIN

History

Oxford University Press

Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start. Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings.The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.

Culture: The Story of Us, From Cave Art to K-Pop

What good are the arts? Why should we care about the past? For millennia, humanity has sought to understand and transmit to future generations not just the "know-how" of life, but the "know-why"--the meaning and purpose of our existence, as expressed in art, architecture, religion, and philosophy. This crucial passing down of knowledge has required the radical integration of insights from the past and from other cultures. In Culture, acclaimed author, professor, and public intellectual Martin Puchner takes us on a breakneck tour through pivotal moments in world history, providing a global introduction to the arts and humanities in one engaging volume. From Nefertiti's lost city to the plays of Wole Soyinka; from the theaters of ancient Greece to Chinese travel journals to Arab and Aztec libraries; from a South Asian statuette found at Pompeii to a time capsule left behind on the Moon, Puchner tells the gripping story of human achievement through our collective losses and rediscoveries, power plays and heroic journeys, innovations, imitations, and appropriations. More than a work of history, Culture is an archive of humanity's most monumental junctures and a guidebook for the future of us humans as a creative species. Witty, erudite, and full of wonder, Puchner argues that the humanities are (and always have been) essential to the transmission of knowledge that drives the efforts of human civilization.

Americas

W.W.Norton&Company

Tracking an underground language and the outcasts who depended on it for their survival becomes "a deeply personal project, one that probes the meaning of language and family, inheritance and debt" (Corinna da Fonseca-Wollheim, New York Times Book Review). 
Centuries ago in middle Europe, a coded language appeared, scrawled in graffiti and spoken only by people who were "wiz" (in the know). This hybrid language, dubbed Rotwelsch, facilitated survival for people in flight―whether escaping persecution or just down on their luck. It was a language of the road associated with vagabonds, travelers, Jews, and thieves that blended words from Yiddish, Hebrew, German, Romani, Czech, and other European languages and was rich in expressions for police, jail, or experiencing trouble, such as "being in a pickle." This renegade language unsettled those in power, who responded by trying to stamp it out, none more vehemently than the Nazis. 
As a boy, Martin Puchner learned this secret language from his father and uncle. Only as an adult did he discover, through a poisonous 1930s tract on Jewish names buried in the archives of Harvard’s Widener Library, that his own grandfather had been a committed Nazi who despised this "language of thieves." Interweaving family memoir with an adventurous foray into the mysteries of language, Puchner crafts an entirely original narrative. In a language born of migration and survival, he discovers a witty and resourceful spirit of tolerance that remains essential in our volatile present. 28 illustrations

The Language of Thieves: My Family's Obsession with a Secret Code the Nazis Tried to Eliminate

Biographies & Memoirs

Historical

Modern Drama CC V1: Critical Concepts in Literary and Cultural Studies

Literature & Fiction

Dramas & Plays

Routledge

Y 0000000000000 0000000000 0000000000000

Modern Drama CC V2: Critical Concepts in Literary and Cultural Studies

History & Criticism

Modern Drama CC V3: Critical Concepts in Literary and Cultural Studies

Modern Drama CC V4: Critical Concepts in Literary and Cultural Studies

Poetry of the Revolution tells the story of political and artistic upheavals through the manifestos of the nineteenth and twentieth centuries. Ranging from the Communist Manifesto to the manifestos of the 1960s and beyond, it highlights the varied alliances and rivalries between socialism and repeated waves of avant-garde art. Martin Puchner argues that the manifesto--what Marx called the "poetry" of the revolution--was the genre through which modern culture articulated its revolutionary ambitions and desires. When it intruded into the sphere of art, the manifesto created an art in its own image: shrill and aggressive, political and polemical. The result was "manifesto art"--combinations of manifesto and art that fundamentally transformed the artistic landscape of the twentieth century.
 Central to modern politics and art, the manifesto also measures the geography of modernity. The translations, editions, and adaptations of such texts as the Communist Manifesto and the Futurist Manifesto registered and advanced the spread of revolutionary modernity and of avant-garde movements across Europe and to the Americas. The rapid diffusion of these manifestos was made "possible by networks--such as the successive socialist internationals and international avant-garde movements--that connected Santiago and Zurich, Moscow and New York, London and Mexico City. Poetry of the Revolution thus provides the point of departure for a truly global analysis of modernism and modernity.

Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (Translation/Transnation)

Princeton University Press

Arts & Photography

See the best price to sell, buy, or rent books by PUCHNER, MARTIN. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by PUCHNER, MARTIN

See the best price to sell, buy, or rent books by PUCHNER, MARTIN. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Drama of Ideas: Platonic Provocations in Theater and Philosophy

The Drama of Ideas: Platonic Provocations in Theater and Philosophy

Culture: The Story of Us, From Cave Art to K-Pop

The Language of Thieves: My Family's Obsession with a Secret Code the Nazis Tried to Eliminate

Modern Drama CC V1: Critical Concepts in Literary and Cultural Studies

Modern Drama CC V2: Critical Concepts in Literary and Cultural Studies

Modern Drama CC V3: Critical Concepts in Literary and Cultural Studies

Modern Drama CC V4: Critical Concepts in Literary and Cultural Studies

Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (Translation/Transnation)

Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes (Translation/Transnation)