MACMILLAN Heidegger and Future Presencing (The Black Pages)

This book applies Heidegger’s writings to experimental fictions and film genres in order to study a being-there that performs itself beyond liveness and a future that is already here. Theatrical mise-en-scène is analyzed as a way of modeling the Heideggerian ontological-existential, exchanging a deeper presencing for the fictional “now” of liveness. The book is organized around ostensible objects that are in fact things-as-such and performs its theme via time-traveling, interruptions, decompositions, incompleteness, failure, geometric patterning, and above all black pages first cited in Tristram Shandy. This is a nuanced, original work that combines unexpected sources with even more unexpected writing, imagery, and correspondences. It is part of Golub’s ongoing project of lyrically reimagining philosophy and the mise-en-scène of theatrical performance (a presence-room of consciousness) in light of one another. Review “Golub’s novel interpretative approach introduces philosophical thinking to the fields of literature, film, and the performative arts, and by that deepens and enriches the theoretical discussion taking place within these fields.” (Dror Pimentel, Senior Lecturer, Bezalel Academy of Art and Design Jerusalem, Israel) From the Back Cover “Golub’s novel interpretative approach introduces philosophical thinking to the fields of literature, film, and the performative arts, and by that deepens and enriches the theoretical discussion taking place within these fields.” –Dror Pimentel, Senior Lecturer, Bezalel Academy of Art and Design Jerusalem, Israel This book applies Heidegger’s writings to experimental fictions and film genres in order to study a being-there that performs itself beyond liveness and a future that is already here. Theatrical mise-en-scène is analyzed as a way of modeling the Heideggerian ontological-existential, exchanging a deeper presencing for the fictional “now” of liveness. The book is organized around ostensible objects that are in fact things-as-such and performs its theme via time-traveling, interruptions, decompositions, incompleteness, failure, geometric patterning, and above all black pages first cited in Tristram Shandy. This is a nuanced, original work that combines unexpected sources with even more unexpected writing, imagery, and correspondences. It is part of Golub’s ongoing project of lyrically reimagining philosophy and the mise-en-scène of theatrical performance (a presence-room of consciousness) in light of one another. About the Author Spencer Golub is Professor of Theatre Arts and Performance Studies, Comparative Literature, and Slavic Studies at Brown University, USA. He is the author of six previous books: A Philosophical Autofiction: Dolor’s Youth; The Baroque Night; Incapacity: Wittgenstein, Anxiety, and Performance Behavior; Infinity (Stage); The Recurrence of Fate: Theatre and Memory in Twentieth-Century Russia; and Evreinov: The Theatre of Paradox and Transformation.