For years now, academics worldwide have been pushing for more interdisciplinarity and transdisciplinarity. Yet for all that, the very concept of transdisciplinarity has proved remarkably tough to define, let alone to enact. This book brings together prominent voices from the debate on transdisciplinarity in a manner that is itself transdisciplinary: scholars present papers from their own discipline, and those are followed by critical replies from different disciplines. The result is a vivid debate, new insights, and a growing confidence that there is something to be gained by approaching a topic from the outside and bringing new approaches to bear. 
 

Nearly the whole history of political thought is spanned between two poles: one of founding, establishing, and justifying a stable and just order on one side and of justified transformation and necessary break with that same order on the other side. Between institution and emancipation, reform and revolution, the question of possibility is always arising for politics. Are there possibilities to change the order of society? Are there possibilities for a different justice? Where to find them and how to define them? Are they already present in the situation, or do they have to be actively created? Or does one have to rethink collective emancipation in a way that it does not rely upon given possibilities?

The question of possibility is raised in philosophy itself in different terms: as a question of potentiality and potentials but also as a question of the impossibilities of changing political order. In recent political discussions this question is more present than ever and is newly posed in fundamental ways by thinkers such as Agamben, Badiou, and Deleuze, or Lacan and Žižek. The present volume assembles articles that investigate this question and the new guise it took from different perspectives and highlight its relevance for contemporary political thought.

Breaking Bad is known for its grim and gritty outbursts of anger and violence. In the chaotic story of a meth-dealing high school chemistry teacher, time seems to collapse, and we feel as though the lives of the characters are moving inevitably closer to their ends. This warped perspective wends its way through virtually every aspect of the story, intensifying the meaning we attach to the characters’ precarious lives.
           
Hoping to cultivate a deeper understanding of the series, Breaking Bad, Breaking Out, Breaking Even offers a new way of approaching the program though its complex treatment of time. With its grotesque portrayal of life on the brink of death, argues Gertrud Koch, we can best view Breaking Bad as a black comedy between Chaplin’s Monsieur Verdoux and film noir. Koch takes readers through the ways in which this is accomplished through the show’s various visual elements and masterful temporal and narrative structuring. Full of fascinating insights, the book will appeal to the show’s many fans, as well as anyone interested in film studies, media studies, or popular culture.