A French philosopher dies during a savage summer heat wave. Boxes carrying his unpublished miscellany mysteriously appear in Simon Critchley's office. Rooting through piles of papers, Critchley discovers a brilliant text on the ancient art of memory and a cache of astrological charts predicting the deaths of various philosophers. Among them is a chart for Critchley himself, laying out in great detail the course of his life and eventual demise. Becoming obsessed with the details of his fate, Critchley receives the missing, final box, which contains a maquette of Giulio Camillo's sixteenth-century Venetian memory theatre, a space supposed to contain the sum of all knowledge. That's when the hallucinations begin...

Levinas's idea of ethics as a relation of responsibility to the other person has become a highly influential and recognizable position across a wide range of academic and non-academic fields. Simon Critchley's aim in this book is to provide a less familiar, more troubling, and (hopefully) truer account of Levinas's work. A new dramatic method for reading Levinas is proposed, where the fundamental problem of his work is seen as the attempt to escape from the tragedy of Heidegger's philosophy and the way in which that philosophy shaped political events in the last century. Extensive and careful attention is paid to Levinas' fascinating but often overlooked work from the 1930s, where the proximity to Heidegger becomes clearer. Levinas's problem is very simple: how to escape from the tragic fatality of being as described by Heidegger. Levinas's later work is a series of attempts to answer that problem through claims about ethical selfhood and a series of phenomenological experiences, especially erotic relations and the relation to the child. These claims are analyzed in the book through close textual readings. Critchley reveals the problem with Levinas's answer to his own philosophical question and suggests a number of criticisms, particular concerning the question of gender. In the final, speculative part of the book, another answer to Levinas's problem is explored through a reading of the Song of Songs and the lens of mystical love.

Intended for students of philosophy and critical theory, this book presents 13 essays by commentators on the work of Levinas and features two previously untranslated essays by Levinas and Derrida.>

Humor is een fascinerend, prachtig geschreven en komisch boek over wat homor ons kan vertellen over onze menselijke natuur.
Van de oudheid tot aan de moderne tijd en puttend uit het werk van een breed scala aan auteurs, in het bijzonder Swift, Sterne, Shaftesbury, Bergson, Beckett en Freud, keert Humor het komische binnenstebuiten en onthult ons een smakelijk inzicht in wat we grappig vinden. Humor beantwoordt vragen zoals: "Waarom lijden komieken aan depressies," "Waarom lachen we zo vaak om dieren" en "Wat gebeurt er in racistische en seksistische humor."
Humor zal niet alleen de lezers uit een reeks van disciplines zoals filosofie, theologie, literatuurwetenschap, psycholanalyse, geschiedenis en antropologie aanspreken, maar ook zeer tot de verbeelding spreken van een ieder met een gevoel voor humor - ieder van ons dus, hopelijk.

We might think we are through with the past, but the past isn't through with us. Tragedy permits us to come face to face with the things we don't want to know about ourselves, but which still make us who we are. It articulates the conflicts and contradictions that we need to address in order to better understand the world we live in. A work honed from a decade's teaching at the New School, where 'Critchley on Tragedy' is one of the most popular courses, Tragedy, the Greeks and Us is a compelling examination of the history of tragedy. Simon Critchley demolishes our common misconceptions about the poets, dramatists and philosophers of Ancient Greece - then presents these writers to us in an unfamiliar and original light.

When The Stone Reader (ISBN 978 1 63149 071 2)-a landmark collection of 133 essays from The New York Times' award-winning philosophy series-first published, the world urgently needed insight and wisdom, and for many, the book served as a bulwark of reason against a rising tide of factless rhetoric, deepfakes and deception. Now, as we enter our third year of the pandemic and misinformation continues to run rampant, editors Peter Catapano and Simon Critchley contend that philosophy in the public sphere is more important than ever. Featuring essays by philosophers as well as artists, actors and activists-from Ai Weiwei to Cate Blanchett and Elena Ferrante-Question Everything tackles the sweeping questions that have sprung from our moment, including: Is democracy possible? What is it like to be a woman? Should speech be free? Altogether, the essays collected here tell a story of truth-seeking in a time of doubt, shifting reality and change, taking us through the seeming end of the world-and beyond.

'This is a very brave book ...it makes philosophical conversation possible again after two decades of pragmatist intolerance.' - Roger Poole, Parallax '(T)his is an often beautifully written philosophical act of mourning ...It also commands respect because it obliges one to examine the fictions one employs to avoid really doing philosophy. Critchley's steadfastly post-Kantian rejection of theological answers to the questions he asks is very welcome.' - Andrew Bowie, Radical Philosophy 'Very Little ...Almost Nothing manages with some aplomb, to pull off the extraordinarily difficult task of saying something new and interesting about Beckett and Blanchot.' - Martin McQuillan, New Formations ' Critchley keeps his writings for the most part powerful and elegant, wide-ranging but well-focussed. The book is at all times sibylline, moving, insightful, explorative.' - Colin Davis, French Studies Very Little ...Almost Nothing puts the question of the meaning of life back at the centre of intellectual debate. Its central concern is how we can find a meaning to human finitude without recourse to anything that transcends that finitude. idea of nihilism through Blanchot, Levinas, Jena Romanticism and Cavell, culminating in a reading of Beckett, in many ways the hero of the book. For this Second Edition, Simon Critchley has added a revealing and extended new preface, and a new chapter on Wallace Stevens which reflects on the idea of poetry as philosophy. 'Simon Critchley's readings of Schlegel, Blanchot and Beckett are remarkably nuanced and perceptive. Much more than an excellent companion to the study of the intertwinings of philosophy and literature, it is an admirable meditation on the ubiquity of finitude and its ungraspability.' - Jacques Taminiaux, Boston College 'Altogether beautifully written, with rich and deep insights. It is the most original and enlightening book I know about the so-called nihilism of present times and its genealogy and a key book for the understanding of the contemporary condition of man.' - Michel Haar, Universite de Paris 'A wonderfully lucid and readable account of the issues that, despite the modesty of Simon Critchley's title, are of infinite concern and urgency to thought today. interest in philosophy, but by everyone ...whether their involvement is in literary criticism, literary theory, or simply in reading itself ...who has a care for the possibilities and the demands of tomorrow.' - Leslie Hill, University of Warwick

On Heidegger's Being and Time is an outstanding exploration of Heidegger's most important work by two major philosophers. Simon Critchley argues that we must see Being and Time as a radicalization of Husserl's phenomenology, particularly his theories of intentionality, categorial intuition, and the phenomenological concept of the a priori. This leads to a reappraisal and defense of Heidegger's conception of phenomenology. In contrast, Reiner Schurmann urges us to read Heidegger 'backward', arguing that his later work is the key to unravelling Being and Time. Through a close reading of Being and Time Schurmann demonstrates that this work is ultimately aporetic because the notion of Being elaborated in his later work is already at play within it. This is the first time that Schurmann's renowned lectures on Heidegger have been published. The book concludes with Critchley's reinterpretation of the importance of authenticity in Being and Time. Arguing for what he calls an 'originary inauthenticity', Critchley proposes a relational understanding of the key concepts of the second part of Being and Time: death, conscience and temporality.

On Heidegger's Being and Time is an outstanding exploration of Heidegger's most important work by two major philosophers. Simon Critchley argues that we must see Being and Time as a radicalization of Husserl's phenomenology, particularly his theories of intentionality, categorial intuition, and the phenomenological concept of the a priori. This leads to a reappraisal and defense of Heidegger's conception of phenomenology. In contrast, Reiner Schurmann urges us to read Heidegger 'backward', arguing that his later work is the key to unravelling Being and Time. Through a close reading of Being and Time Schurmann demonstrates that this work is ultimately aporetic because the notion of Being elaborated in his later work is already at play within it. This is the first time that Schurmann's renowned lectures on Heidegger have been published. The book concludes with Critchley's reinterpretation of the importance of authenticity in Being and Time. Arguing for what he calls an 'originary inauthenticity', Critchley proposes a relational understanding of the key concepts of the second part of Being and Time: death, conscience and temporality.

The potential to clone, augment, and repair human beings is pushing the very concept of the human to its limit. Fantasies and metaphors of a supposedly monstrous and inhuman future increasingly dominate films, art and popular culture. On the Human Condition is an invigorating and fascinating exploration of where the idea of the human stands today. Given the damage human beings have inflicted on each other and their environment throughout history, should we embrace humanism or try and overcome it? Dominique Janicaud explores these urgent questions and more. He argues that whilst we need to avoid apocalyptic talk of a post human condition, as embodied in technology such as cloning, we should neither fall back on a conservative humanism nor become technophobic. Drawing on illuminating examples such as genetic engineering, the novel Frankenstein, the legendary debate between Sartre and Heidegger over humanism, and the work of Primo Levi, Domnique Janicaud also explores the role of fantasy in understanding the human condition and asks where the line lies between the human, inhuman and the superhuman.

This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a 'poetic epistemology' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away. Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the 'mereness' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book.

Over the last thirty years, the work of the political theorist Ernesto Laclau has reinvigorated radical political and social theory. Taking concepts previously ignored or unused within mainstream political theory, such as the political, hegemony, discourse, identity, and representation, he has made them fundamental to thinking about politics and social theory. Resisting the dead end of postmodern politics, his work has drawn in stimulating ways on Gramscian, poststructuralist and psychoanalytic theory.
"Laclau: A Critical Reader "is the first full-length critical appraisal of Laclau's work and includes contributions from several leading philosophers and theorists. The first section examines Laclau's theory that the contest between universalism and particularism provides much of the philosophical background to political and social struggle, taking up the important place accorded to, amongst others, Hegel and Lacan in Laclau's work. The second section of the book considers what Laclau's "radical democracy" might look like and reflects on its ethical implications, particularly in relation to Laclau's post-Marxism and thinkers such as Jurgen Habermas. The final section investigates the place of hegemony in Laclau's work, the idea for which he is perhaps best-known.
This stimulating collection also includes replies to his critics by Laclau and the important exchange between Laclau and Judith Butler on equality, making it an excellent companion to Laclau's work and essential reading for students of political and social theory.

Over the last thirty years, the work of the political theorist Ernesto Laclau has reinvigorated radical political and social theory. Taking concepts previously ignored or unused within mainstream political theory, such as the political, hegemony, discourse, identity, and representation, he has made them fundamental to thinking about politics and social theory. Resisting the dead end of postmodern politics, his work has drawn in stimulating ways on Gramscian, poststructuralist and psychoanalytic theory.
"Laclau: A Critical Reader "is the first full-length critical appraisal of Laclau's work and includes contributions from several leading philosophers and theorists. The first section examines Laclau's theory that the contest between universalism and particularism provides much of the philosophical background to political and social struggle, taking up the important place accorded to, amongst others, Hegel and Lacan in Laclau's work. The second section of the book considers what Laclau's "radical democracy" might look like and reflects on its ethical implications, particularly in relation to Laclau's post-Marxism and thinkers such as Jurgen Habermas. The final section investigates the place of hegemony in Laclau's work, the idea for which he is perhaps best-known.
This stimulating collection also includes replies to his critics by Laclau and the important exchange between Laclau and Judith Butler on equality, making it an excellent companion to Laclau's work and essential reading for students of political and social theory.

Very Little ... Almost Nothing puts the question of the meaning of life back at the centre of intellectual debate. Its central concern is how we can find a meaning to human finitude without recourse to anything that transcends that finitude. A profound but secular meditation on the theme of death, Critchley traces the idea of nihilism through Blanchot, Levinas, Jena Romanticism and Cavell, culminating in a reading of Beckett, in many ways the hero of the book.
In this second edition, Simon Critchley has added a revealing and extended new preface, and a new chapter on Wallace Stevens which reflects on the idea of poetry as philosophy.

"Dread: The Dizziness of Freedom" reflects on possible re-articulations of the concept of dread in our times. Associated with the "dizziness of freedom" by Soren Kierkegaard, and with "the ecstasy of nihilism" by China Mieville, the experience of dread is a defining characteristic of the contemporary human condition, and--according to the contributors to this volume--an essential and potentially productive emotion. However dark and fatalistic its connotations, through its dialectical coupling of caution and transgression, of paralysis and overdrive, dread allows us to imagine the world differently. Through conversations with and essays by some of today's foremost cultural commentators, this book explores the creative agency of dread--an agency that is created by the very forces wishing to suppress or even destroy it--as well as its politics and related conceptions of fear and anxiety.

Deconstruction and pragmatism constitute two of the major intellectual influences on the contemporary theoretical scene; influences personified in the work of Jacques Derrida and Richard Rorty. Both Rortian pragmatism, which draws the consequences of post-war developments in Anglo-American philosophy, and Derridian deconstruction, which extends and troubles the phenomenological and Heideggerian influence on the Continental tradition, have hitherto generally been viewed as mutually exclusive philosophical language games.
The purpose of this volume is to bring deconstruction and pragmatism into critical confrontation with one another through staging a debate between Derrida and Rorty, itself based on discussions that took place at the College International de Philosophie in Paris in 1993. The ground for this debate is layed out in introductory papers by Simon Critchley and Ernesto Laclau, and the remainder of the volume records Derrida's and Rorty's responses to each other's work. Chantal Mouffe gives an overview of the stakes of this debate in a helpful preface.

eBook available with sample pages: 0203431480

Humor is een fascinerend, prachtig geschreven en komisch boek over wat homor ons kan vertellen over onze menselijke natuur. Van de oudheid tot aan de moderne tijd en puttend uit het werk van een breed scala aan auteurs, in het bijzonder Swift, Sterne, Shaftesbury, Bergson, Beckett en Freud, keert Humor het komische binnenstebuiten en onthult ons een smakelijk inzicht in wat we grappig vinden. Humor beantwoordt vragen zoals: "Waarom lijden komieken aan depressies", "Waarom lachen we zo vaak om dieren" en "Wat gebeurt er in racistische en seksistische humor". Humor zal niet alleen de lezers uit een reeks van disciplines zoals filosofie, theologie, literatuurwetenschap, psycholanalyse, geschiedenis en antropologie aanspreken, maar ook zeer tot de verbeelding spreken van een ieder met een gevoel voor humor - ieder van ons dus, hopelijk.

What made Bowie special? What made him the cultural icon he is today? And what made millions of people around the world tune into his peculiar wavelength and find exactly what they'd been looking for all along? These are the questions asked by Simon Critchley in this keen-eyed, moving and textured tribute to Bowie. Each of the two dozen deceptively short chapters looks at Bowie from a new angle, slowly unfolding the enigma that was his artistic life into a celebration of what made him unique. From the author's earliest childhood exposure to the bizarre musical and sexual contours of Ziggy Stardust right through to the supernova glow of Blackstar, and covering everything in between, Critchley traces the development of Bowie's music and lyrics to tell the story of how he tapped into zeitgeist - and into our hearts. Growing up in working-class suburban England, the young Critchley was instantly drawn to this creature from another planet, 'so sexual, so knowing, so strange'. Now a celebrated philosopher who Jonathan Lethem has called 'a figure of quite startling brilliance', Critchley draws on a plethora of cultural and philosophical touchpoints, as well as his own intensely personal response to the music, to paint an essential portrait of Bowie as songwriter, poet, performer and icon.

On Humour is a fascinating, beautifully written and funny book on what humour can tell us about being human. Simon Critchley skilfully probes some of the most perennial but least understood aspects of humour.
Throughout, On Humour uses arresting examples from antiquity to modernity and from laughing at our bodies to the darker side of humour in racism and sexism. Critchley also draws on writers who have used humour, including Swift, Sterne, Bergson, Beckett and Freud, turning the comical inside out to reveal some delectable insights about what we find funny. Above all, he reveals that the humanity of humour is in being able to laugh at oneself.

The potential to clone, augment, and repair human beings is pushing the very concept of the human to its limit. Fantasies and metaphors of a supposedly monstrous and inhuman future increasingly dominate films, art and popular culture. On the Human Condition is an invigorating and fascinating exploration of where the idea of the human stands today. Given the damage human beings have inflicted on each other and their environment throughout history, should we embrace humanism or try and overcome it? Dominique Janicaud explores these urgent questions and more. He argues that whilst we need to avoid apocalyptic talk of a post human condition, as embodied in technology such as cloning, we should neither fall back on a conservative humanism nor become technophobic. Drawing on illuminating examples such as genetic engineering, the novel Frankenstein, the legendary debate between Sartre and Heidegger over humanism, and the work of Primo Levi, Domnique Janicaud also explores the role of fantasy in understanding the human condition and asks where the line lies between the human, inhuman and the superhuman.

This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a 'poetic epistemology' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away. Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the 'mereness' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book.

What do we think about when we think about football? Football is about so many things: memory, history, place, social class, gender (especially masculinity, but increasingly femininity too), family identity, tribal identity, national identity, the nature of groups. It is essentially collaborative, even socialist, yet it exists in a sump of greed, corruption, capitalism and autocracy.

Philosopher Simon Critchley attempts to make sense of it all, and to establish a system of aesthetics - even poetics - to show what is beautiful in the beautiful game. He explores, too, how the experience of watching football opens a particular dimension in time; how its magic wards off oblivion; how its dramas play out national identity and non-identity; how we spectators, watching football with tragic pensiveness, participate in the play. And of course, as a football fan, he writes about his heroes and villains: about Zidane and Cruyff, Clough and Revie, Shankly and Klopp.

Deconstruction and pragmatism constitute two of the major intellectual influences on the contemporary theoretical scene; influences personified in the work of Jacques Derrida and Richard Rorty. Both Rortian pragmatism, which draws the consequences of post-war developments in Anglo-American philosophy, and Derridian deconstruction, which extends and troubles the phonomenological and Heideggerian influence on the Continental tradition, have hitherto generally been viewed as mutually exclusive philosophical language games.
The purpose of this volume is to bring deconstruction and pragmatism into critical confrontation with one another through staging a debate between Derrida and Rorty, itself based on discussions that took place at the College International de Philosophie in Paris in 1993. The ground for this debate is layed out in introductory papers by Simon Critchley and Ernesto Laclau, and the remainder of the volume records Derrida's and Rorty's responses to each other's work. Chantal Mouffe gives an overview of the stakes of this debate in a helpful preface.

'To thine own self be true.' From Polonius's words in Hamlet right up to Oprah, we are constantly urged to look within. Why is being authentic the ultimate aim in life for so many people, and why does it mean looking inside rather than out? Is it about finding the 'real' me, or something greater than me, even God? And should we welcome what we find?
Thought-provoking and with an astonishing range of references, On Being Authentic is a gripping journey into the self that begins with Socrates and Augustine. Charles Guignon asks why being authentic ceased to mean being part of some bigger, cosmic picture and with Rousseau, Wordsworth and the Romantic movement, took the strong inward turn alive in today's self-help culture.
He also plumbs the darker depths of authenticity, with the help of Freud, Joseph Conrad and Alice Miller and reflects on the future of being authentic in a postmodern, global age. He argues ultimately that if we are to rescue the ideal of being authentic, we have to see ourselves as fundamentally social creatures, embedded in relationships and communities, and that being authentic is not about what is owed to me but how I depend on others.