Add to ORKGFollowing the inaugural symposium entitled Thinking Through Tragedy and Comedy - Performance Philosophy and the Future of Genre hosted by the Performance Philosophy Working Group “Genres of Dramatic Thought” which took place at the Institute for Cultural Inquiry ICI Berlin in December 2014, this contribution is a series of attempts to both recapture the debates of the symposium and stake out the field of inquiry for our Working Group’s engagement within Performance Philosophy. By tracing philosophy’s dramatic heritage within the history of genre theory and pointing to its current and future developments, this piece suggests how attention to genre can work to deepen and expand the emerging landscape of Performance Philosophy
Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other phil...
This chapter explores the rather striking manner in which at key moments in the history of philosoph...
Tragedy is superior to comedy. This is the received view in much philosophical aesthetics, literary ...
Following the inaugural symposium entitled Thinking Through Tragedy and Comedy - Performance Philoso...
How do performance and philosophy encounter one another? Where do thinking and performing overlap? T...
What is the relation between laughter and thought? How does suffering bring about understanding? Do ...
‘How Do Comedy and Tragedy Perform Philosophical Thought?’, roundtable presented at the conference T...
The history of genre studies is almost a textbook case of critical self-deconstruction. Beginning wi...
Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is di...
Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance...
What is Performance Philosophy? This paper will reflect on the idea that we are currently witnessing...
This article provides an introduction to a new field of research connected to, but also independent,...
Martin Puchner’s The Drama of Ideas (2010), Freddie Rokem’s Philosophers and Thespians (2010), and S...
Genre—the articulation of kind —is one of the oldest and most continuous subjects of theoretical an...
From the late 1960s through the 1980s a steadily-expanding group of international scholars joined fo...
Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other phil...
This chapter explores the rather striking manner in which at key moments in the history of philosoph...
Tragedy is superior to comedy. This is the received view in much philosophical aesthetics, literary ...
Following the inaugural symposium entitled Thinking Through Tragedy and Comedy - Performance Philoso...
How do performance and philosophy encounter one another? Where do thinking and performing overlap? T...
What is the relation between laughter and thought? How does suffering bring about understanding? Do ...
‘How Do Comedy and Tragedy Perform Philosophical Thought?’, roundtable presented at the conference T...
The history of genre studies is almost a textbook case of critical self-deconstruction. Beginning wi...
Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is di...
Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance...
What is Performance Philosophy? This paper will reflect on the idea that we are currently witnessing...
This article provides an introduction to a new field of research connected to, but also independent,...
Martin Puchner’s The Drama of Ideas (2010), Freddie Rokem’s Philosophers and Thespians (2010), and S...
Genre—the articulation of kind —is one of the oldest and most continuous subjects of theoretical an...
From the late 1960s through the 1980s a steadily-expanding group of international scholars joined fo...
Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other phil...
This chapter explores the rather striking manner in which at key moments in the history of philosoph...
Tragedy is superior to comedy. This is the received view in much philosophical aesthetics, literary ...