In 1933 the philosopher Martin Heidegger declared his allegiance to Hitler. Ever since, scholars have asked to what extent his work is implicated in Nazism. To address this question properly involves neither conflating Nazism and the continuing philosophical project that is Heidegger's legacy, nor absolving Heidegger and, in the process, turning a deaf ear to what he himself called the philosophical motivations for his political engagement. It is important to establish the terms on which Heidegger aligned himself with National Socialism. On the basis of an untimely but by no means unprecedented understanding of the mission of the German people, the philosopher first joined but then also criticized the movement. An exposition of Heidegger's conception of Volk hence can and must treat its merits and deficiencies as a response to the enduring impasse in contemporary political philosophy of the dilemma between liberalism and authoritarianism.

In 1933 the philosopher Martin Heidegger declared his allegiance to Hitler. Ever since, scholars have asked to what extent his work is implicated in Nazism. To address this question properly involves neither conflating Nazism and the continuing philosophical project that is Heidegger's legacy, nor absolving Heidegger and, in the process, turning a deaf ear to what he himself called the philosophical motivations for his political engagement. It is important to establish the terms on which Heidegger aligned himself with National Socialism. On the basis of an untimely but by no means unprecedented understanding of the mission of the German people, the philosopher first joined but then also criticized the movement. An exposition of Heidegger's conception of Volk hence can and must treat its merits and deficiencies as a response to the enduring impasse in contemporary political philosophy of the dilemma between liberalism and authoritarianism.

This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky's working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer in-depth accounts of Kosky's unusually wide-ranging engagements with the performing arts - as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia's first Jewish theatre company, to document this formative period in Kosky's career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany's theatre landscape. An appendix contains a timeline and guide to Kosky's productions to date.

Each essay in "Cinematic Thinking" is organized around an interpretation of a postwar filmmaker and the philosophical issues his or her work raises. The filmmakers covered are Alfred Hitchcock, Luchino Visconti, Michelangelo Antonioni, Robert Altman, Carlos Saura, Glauber Rocha, Margarethe von Trotta, Rainer Werner Fassbinder, Wim Wenders, and Claire Denis. As the authors collected here are philosophers, rather than film critics, the volume approaches its subjects with a different set of interests and commitments from the bulk of works in film theory. Memory, judgment, subjectivity, terrorism, feminism, desire, race relations, experience, the work of mourning, and utopia are among the questions discussed in relation to some of the most significant films of the last fifty years. This collection analyzes the theoretical and political contexts in which the films were made and examines their reception down to the present day.

This volume contains the proceedings of the Fifth International Confer ence on Phonon Scattering in Condensed Matter held June 2-6, 1986 at the University of Illinois at Urbana-Champaign. The preceding confer ences were held at St. Maxime and Paris in 1972, at the University of Nottingham in 1975, at Brown University in 1979, and at the University of Stuttgart in 1983. The Illinois conference dealt with both traditional and newly developing topics in the area of phonon scattering. Papers were presented on phonon scattering in glassy and crystalline dielectrics, semi conductors, metals (both normal and superconducting), and in the areas of phonon imaging, large wave vector phonons, optical techniques and new experimental methods. The 12 invited papers and 100 contributed papers were presented by the 125 scientists from 14 countries. A citation was presented to Professor Paul Klemens of the University of Connecticut for his pioneering contributions to the physics of phonon scattering in solids. Paul Gustav Klemens Born - Vienna (1925) B. Sc. - Sydney (1946) D. Phil. - Oxford (1950) National Standards Lab. , Sydney (1950-1959) Westinghouse Research Labs. , Pittsburgh (1964-1969) Univ. of Connecticut (1967- ) Fellow: American Physical Society British Institute of Physics & Physical Society A long career dedicated to the understanding of thermal transport. Few papers are published on phonon thermal transport that do not reference his work.

In 2013, the American Psychiatric Association published the 5thedition of its"Diagnostic and Statistical Manual of Mental Disorders"(DSM-5). Often referred to as the "bible" of psychiatry, the manual only classifies mental disorders and does not explain them or guide their treatment. While science should be the basis of any diagnostic system, to date, there is no knowledge on whether most conditions listed in the manual are true diseases. Moreover, in DSM-5 the overall definition of mental disorder is weak, failing to distinguish psychopathology from normality. In spite of all the progress that has been made in neuroscience over the last few decades, the psychiatric community is no closer to understanding the etiology and pathogenesis of mental disorders than it was fifty years ago.

In"Making the DSM-5," prominent experts delve into the debate about psychiatric nosology and examine the conceptual and pragmatic issues underlying the new manual. While retracing the historic controversy over DSM, considering the political context and economic impact of the manual, and focusing on what was revised or left unchanged in the new edition, this timely volume addresses the main concerns of the future of psychiatry and questions whether the DSM legacy can truly improve the specialty and advance its goals.

"

Each essay in "Cinematic Thinking" is organized around an interpretation of a postwar filmmaker and the philosophical issues his or her work raises. The filmmakers covered are Alfred Hitchcock, Luchino Visconti, Michelangelo Antonioni, Robert Altman, Carlos Saura, Glauber Rocha, Margarethe von Trotta, Rainer Werner Fassbinder, Wim Wenders, and Claire Denis. As the authors collected here are philosophers, rather than film critics, the volume approaches its subjects with a different set of interests and commitments from the bulk of works in film theory. Memory, judgment, subjectivity, terrorism, feminism, desire, race relations, experience, the work of mourning, and utopia are among the questions discussed in relation to some of the most significant films of the last fifty years. This collection analyzes the theoretical and political contexts in which the films were made and examines their reception down to the present day.

"Tragic Play" explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age "after" tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner M?ller, and Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In "Hamlet," "Endgame," "Philoktet," and "Ithaka," Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence.

"The Equivocation of Reason: Kleist Reading Kant" asks how the literary works of the German writer Heinrich von Kleist might be considered a critique and elaboration of Kantian philosophy. In 1801, the twenty-three-year-old Kleist, attributing his loss of confidence in our knowledge of the world to his reading of Kant, turned from science to literature. Kleist ignored Kant's apology of the sciences to focus on the philosopher's doctrine of the unknowability of things in themselves. From that point on, Kleist's writings relate confrontations with points of hermeneutic resistance. Truth is no longer that which the sciences establish; only the disappointment of every interpretation attests to the continued sway of truth. Though he adheres to Kant's definition of Reason as the faculty that addresses things in themselves, Kleist sees no need for its critique and discipline in the name of the reasonableness (prudence and common sense) of the experience of the natural sciences. Setting transcendental Reason at odds with empirical reasonableness, Kleist releases Kant's ethics and doctrine of the sublime from the moderating pull of their examples.

As he approached his 100th birthday in 2021, the Reverend J. Phillips Noble reflected on his journey from segregated rural Mississippi to being a white progressive pastor in Anniston, Alabama, at the height of the 20th century civil rights movement. In Anniston, where white supremacists famously burned the Freedom Riders' bus in 1961, and committed other violence and intimidation, Noble became a voice of reconciliation and justice. He worked with local leaders, black and white, to move the community past the divisions of Jim Crow segregation. Noble served on the local interracial commission established by the city, and he formed enduring friendships with black ministers. His short reflection on this history and the role he and his family played in it is an affirming declaration of faith and fellowship.