front cover of Mad Men, Death and the American Dream
Mad Men, Death and the American Dream
Elisabeth Bronfen
Diaphanes, 2016
Matthew Weiner’s Emmy-winning series Mad Men has earned wide critical acclaim in its seven seasons. What is it about these impeccably dressed men and women of midcentury Madison Avenue that fascinates us? Decades later, when Weiner’s iconic characters seem as much a thing of the past as the workday martini, why is it so easy for modern viewers to commiserate with the reserved but ambitious Peggy Olson, to jeer at Pete Campbell, and to cheer on Don Draper in his often indecorous struggles?

We are drawn to Mad Men’s dapper cast of characters, argues Elisabeth Bronfen, because, although the series has drawn praise for its depiction of the 1960s and ’70s, it speaks equally well to cultural concerns of the present. The prototypical con man, Don makes a precarious journey from poverty to fame and prosperity that maps the pursuit of moral perfectionism that features prominently throughout American cultural history. Yet a lingering sense of dissatisfaction hints that the lifestyle Don strives for may be a mere manifestation of the illusory American dream—cemented in the same collective desires Don draws on to advertise cigarettes and luxury cars by day.

"Mad Men," Death and the American Dream takes readers through the cultural fantasies that underlie characters’ motivations in this sophisticated and immensely popular television series, showing how—then as now—we turn to fantasy in the face of conflicts that cannot be resolved in political reality. Fascinating and full of accessible insights, the book will appeal to the show’s many fans, as well as anyone interested in American studies, media studies, or cultural history.
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front cover of Manifesto of Artistic Research
Manifesto of Artistic Research
Silvia Henke, Dieter Mersch, Nicolaj van der Meulen, Thomas Strässle, and Jörg Wiesel
Diaphanes, 2020
Since its beginnings in the 1990s, artistic research has become established as a new format in the areas of educational and institutional policy, aesthetics, and art theory. It has now diffused into almost all artistic fields, from installation to experimental formats to contemporary music, literature, dance, or performance art. But from its beginnings—under labels like “art and science” or “scienceart” or “artscience” that mention both disciplines in one breath—it has been in competition with academic research, without its own concept of research having been adequately clarified. This manifesto attempts to resolve the problem and to defend the term. Further, this manifesto defends the radical potential of artistic research against those who toy all too carefully with university formats, wishing to ally their work with scientific principles. Its aim is to emphasize the autonomy and particular intellectuality of artistic research, without seeking to justify its legitimacy or adopt alien standards.
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minor cosmopolitan
Thinking art, politics, and the universe together otherwise
Edited by Zairong Xiang
Diaphanes, 2020
In the wake of rapid globalization, many enthusiastically declared cosmopolitanism to be no longer just a philosophical ideal, but a real, existing fact. Across the world, they argued, people were increasingly considering themselves global citizens. Meanwhile, the global ecological crisis worsened, fascism returned, repression of disenfranchised groups on a global scale persisted, and the “refugee crisis” inundated the mediascape. What happened to the cosmopolitan promise, and who betrayed it? minor cosmopolitan challenges the underlying premises of major cosmopolitanism without letting go of the unfulfilled emancipatory potential of the concept at large. It rethinks cosmopolitanisms in the plural, and it traces multiple origins and trajectories of cosmopolitan thought across the globe. Assembling theoretical, artistic, and essayistic contributions in textual or visual formats, minor cosmopolitan seeks to discuss how to live at once with our difference and shared struggle and asks who sustains the world’s flourishing.
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front cover of Mister Descartes and His Evil Genius
Mister Descartes and His Evil Genius
Jean Paul Mongin
Diaphanes, 2016
At its most basic, philosophy is about learning how to think about the world around us. It should come as no surprise, then, that children make excellent philosophers! Plato & Co. introduces children—and curious grown-ups—to the lives and work of famous philosophers, from Socrates to Descartes, Einstein, Marx, and Wittgenstein. Each book in the series features an engaging—and often funny—story that presents basic tenets of philosophical thought alongside vibrant color illustrations.

On a peaceful winter night while the rest of the town sleeps, Mister Descartes stays up late reading the great books of the world. Suddenly, by the light of the moon, he sees a strange and fearsome shape in the shadow of his pet parrot, Baruch. Is it an illusion, or could it be that his faithful pet is but a figment of his imagination? Could the same be true of his room and all of sleepy Holland? Quite obviously, he cannot rely on his senses, so how can Mister Descartes arrive at any certainty about the world around him? How will he determine what is a clever trick and what is real?

Plato & Co.’s clear approach and charming illustrations make this series the perfect addition to any little library.
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front cover of Modern Philosophies of the Will
Modern Philosophies of the Will
Reiner Schürmann
Diaphanes, 2020
Through the lenses of Kant, Nietzsche, and Heidegger, this edited volume traces the development of the relation between the will and the law as self-given. Modern Philosophies of the Will explores a variety of topics including: the ontological turn in philosophy of the will; the will’s playful character and the problem of teleology; the will as principle of morality as discussed by Kant, of life­forms as discussed by Nietzsche, and of technology as discussed by Heidegger; the formal identity of legislation; and transgression of the law. This volume traces three strategies in the development of the philosophy of will from Kant to Heidegger, through rationality and irrationality of the will, the ontological turn, and law.
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front cover of The Moses Complex
The Moses Complex
Freud, Schoenberg, Straub/Huillet
Ute Holl
Diaphanes, 2016
Moses has long been a source of modern fascination. For Sigmund Freud and psychoanalysis, Moses was a particularly fruitful subject for the study of memory and historiography. He also held great interest for the visual and performing arts. In the 1920s and ’30s, the composer Arnold Schoenberg wrote the three-act opera Moses and Aron. First performed just a few years before his exile to the United States, it required that its audiences distinguish voices from forceful background noise, just as Moses had to confront the burning bush before he could hear the voice of God. In 1974, filmmakers Jean-Marie Straub and Danièle Huillet created an avant-garde cinematic adaptation of Schoenberg’s opera that continued the composer’s examination of the established hierarchies of seeing and hearing.

In The Moses Complex, Ute Holl analyzes these major works in detail and deep historical context, synthesizing the complex models of resistance to explore the relationships among media, migration, and politics. Since Moses descended from Sinai with the tablets inscribed with the Ten Commandments, new media and new laws have often emerged simultaneously. Liberation, in particular, has been negotiated through many different cultural media, with psychoanalysis, music, and cinema all describing exodus and exile as a process of force. Offering a dynamic and comprehensive political and cultural theory of migration and violence, The Moses Complex speaks equally well to psychoanalytic, musical, and cinematic thinking as it does to our tendency toward violence in the treatment of migrants today.
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front cover of Movements of Air
Movements of Air
The Photographs from Étienne-Jules Marey’s Wind Tunnels
Georges Didi-Huberman and Laurent Mannoni
Diaphanes, 2022
Two important essays on Étienne-Jules Marey published for the first time in English alongside his breathtaking images of moving air and smoke.

Featuring more than one hundred and fifty photographs and images, Movements of Air reprints the breathtaking pictures of Étienne-Jules Marey—images captured between 1899 and 1901 during his scientific experiments with moving air and smoke—and complements them with essays by Georges Didi-Huberman and Laurent Mannoni.
 
Mannoni begins by reflecting on Marey’s experimental approach. As the founder of the “graphic method,” Marey was also the developer of an aerodynamic wind tunnel. His experiments’ photographs of fluid motion introduced a whole world of movements and turbulences, and fluids, and influenced generations of scientists and artists alike. Didi-Huberman expands on the philosophical debates surrounding these aesthetically and technically instructive images. Even though Marey’s main interest was graphic information, Didi-Huberman shows us how the flow of all things drew this ingenious experimenter to a photographic practice that creates drags, streaks, expansions, and visual dances. Marey’s wind tunnel photographs were also themselves causes of turbulence in the history of images. The artists Dombois and Oeschger explore these “graphical” vortices of the last 120 years, providing at the end of the book a collage from historical and contemporary material interlaced with their own image-making in Dombois’s wind tunnel at the Zurich University of the Arts.
 
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front cover of Multiples in Pre-Modern Art
Multiples in Pre-Modern Art
Edited by Walter Cupperi
Diaphanes, 2014
In the art world, replicas are typically thought to be of low value. However skillfully created, they remain in the eyes of many mere copies, pointing toward an original of greater significance. In recent years, however, replicas and multiples have come to occupy a more central position in discussions about ancient, medieval, and early modern art.
           
Multiples in Pre-Modern Art looks at the production and reception of replicas and multiples before the nineteenth century. A wide variety of media are considered, including metal, marble, terra cotta, textiles, plaster, porcelain, canvas, wood, and wax. Through a series of questions—What happens if a copy purposely points not to an original but to another copy? What does it matter that some serially made multiples are not identical?—many of the works are reappraised as significant art forms in their own right.
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