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An intriguing psycho-sexual thriller of betrayal and revenge , Foreplay took audiences into the lives of some of the greatest intellectuals of the 20th century to expose the chasm between the public and private, what is erotic and what is pornographic, and the uneasy relationship between genius and hypocrisy in us all. Foreplay ran for five weeks at the Kings Head Theatre in April The acting from the experienced cast is superb, bringing life to an absorbing, intimate story Overall, a highly intelligent, funny and educational play.

I could have easily been watching something at the National In this play he satirises some of the distinguished academics he has encountered and studied during his ninety years of life. Remote Goat. Djerassi writes conversation fluidly, and with references and puns that clearly delighted the audience.

Carl Djerassi, Playwright and Professor of Chemistry, Stanford University

Read an interview with Carl Djerassi in the Independent on Sunday here. Carl Djerassi talks about why he started writing plays:.

Foreplay : Hannah Arendt, the two Adornos, and Walter Benjamin, Carl Djerassi

Andy Jordan and Carl Djerassi. Andy Jordan Productions was founded in summer , evolving from an earlier and much renowned theatre company, Bristol Express also established by Andy Jordan.

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The company is led by Andy Jordan, a highly experienced director and producer in theatre, television and radio drama. The company is a non-funded organisation, operating in a commercial context, but committed to producing largely new work — new plays, musicals and comedy, often written by new writers, in all forms and styles of theatre. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film.

UW Press - : Foreplay: Hannah Arendt, the Two Adornos, and Walter Benjamin, A play by Carl Djerassi

In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory. He reflects on literary figures from Kafka to Karl Kraus, and expounds his personal attitudes toward such subjects as Marxism and French national character. Foreplay brims with intrigue and the friction created when strong personalities clash. More Than Life: Georg Simmel and Walter Benjamin on Art is the first book to trace the philosophical relation between Georg Simmel and his one-time student Walter Benjamin, two of the most influential German thinkers of the twentieth century.

The two thinkers diverge in that Simmel emphasizes the presence of a continuous movement of life, whereas Benjamin highlights the priority of discontinuous, interruptive moments.

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Through an insightful examination of both the conceptual affinities and the philosophical differences between Simmel and Benjamin , Symons reconstructs a crucial episode in twentieth-century debates on art and aesthetics. Hart in order to revisit common contemporary assumptions about law.

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  6. He reveals how, when treated in constellation with these authors, Benjamin offers a way for human beings to become responsible for their own law, thereby avoiding the false appearance of a secular legal practice that remains bound by occult theologies and fetishisms. Martel applies the literary, theological, and philosophical insights of Walter Benjamin to the question of politics and the predicament of the contemporary left. Drawing upon a wealth of journal writings and personal correspondence, Esther Leslie presents a uniquely intimate portrait of one of the intellectual giants of the twentieth century, Walter Benjamin.

    Foreplay 4

    Closing with his death at the Spanish-French border in a desperate flight from the Nazis and Stalin, Walter Benjamin is a concise and concentrated account of a capacious intellect trapped by hostile circumstances. The Correspondence of Walter Benjamin, More Than Life.

    The One and Only Law.

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    However, he also suggests that we must have law—we are held under a divine sanction that does not allow us to escape our responsibilities. James R. Martel argues that this paradox is resolved by considering that, for Benjamin, there is only one law that we must obey absolutely—the Second Commandment against idolatry. What remains of law when its false bases of authority are undermined would be a form of legal and political anarchism, quite unlike the current system of law based on consistency and precedent.

    Textual Conspiracies. Walter Benjamin, Idolatry, and Political Theory.