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3 books match the query 'Lotringer, Sylvère'

cover of I Was More American than the Americans: Sylvère Lotringer in Conversation with Donatien Grau

I Was More American than the Americans

Sylvère Lotringer in Conversation with Donatien Grau

Sylvère Lotringer and Donatien Grau

Diaphanes, 2021

A personal take on French Theory by one of the people who invented it.

In the mid-1970s, Sylvère Lotringer created Semiotext(e), a philosophical group that became a magazine and then a publishing house. Since its creation, Semio-text(e) has been a place of stimulating dialogue between artists and philosophers, and for the past fifty years, much of American artistic and intellectual life has depended on it. The model of the journal and the publishing house revolves around the notion of the collective, and Lotringer has rarely shared his personal journey: his existence as a hidden child during World War II; the liberating and then traumatic experience of the collective in the kibbutz; his Parisian activism in the 1960s; his time of wandering, that took him, by way of Istanbul, to the United States; and then, of course, his American years, the way he mingled his nightlife with the formal experimentation he invented with Semiotext(e) and with his classes. Since the early 2010s, Donatien Grau has developed the habit of visiting Lotringer during his trips to Los Angeles; some of their dialogs were published or held in public. This book is an entry into Lotringer's life, his friendships, his choices, and his admiration for some of the leading thinkers of our times. The conversations between Lotringer and Grau show bursts of life, traces of a journey, through texts and existence itself, with an unusual intensity.
 
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cover of J'étais plus américain que les Américains: Sylvère Lotringer en conversation avec Donatien Grau

J'étais plus américain que les Américains

Sylvère Lotringer en conversation avec Donatien Grau

Sylvère Lotringer and Donatien Grau

Diaphanes, 2021

Au milieu des années 1970, Sylvère Lotringer a créé Semiotext(e), un groupe philosophique devenu magazine puis maison d'édition. Depuis sa création, Semiotext(e) est le lieu de rencontres libres: John Cage lisant Nietzsche, à travers Deleuze; punk et philosophie; la possibilité de sexualités et de politiques alternatives; le dialogue immédiat entre artistes et philosophes. La vie artistique et intellectuelle américaine des cinquante dernières années en est largement tributaire. Le modèle de la revue et de la maison d'édition tourne essentiellement autour de la notion de collectif, et leur créateur Sylvère Lotringer s'est rarement livré à la continuité de son parcours personnel: son existence d'enfant caché pendant la Seconde Guerre mondiale; l'expérience libératrice puis traumatisante du collectif dans le kibboutz; son activisme parisien dans les années 1960; son temps d'errance, qui le mena, par Istanbul, aux États-Unis; et puis, bien sûr, ses années américaines, la façon dont il mêlait sa vie nocturne à l'expérimentation formelle qu'il a inventée avec Semiotext(e) et avec ses cours. Depuis le début des années 2010, Donatien Grau a pris l'habitude de rendre visite à Sylvère Lotringer lors de ses voyages à Los Angeles; certains de leurs dialogues ont été publiés ou tenus en public. Ceux-ci nous donnent accès à la vie de Sylvère Lotringer, ses amitiés, ses choix, son admiration pour certains des plus grands penseurs de notre temps. Les conversations montrent des éclats de vie, des traces d'un voyage, à travers les textes et l'existence elle-même, avec une intensité rare.
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cover of Mad Like Artaud

Mad Like Artaud

Sylvère Lotringer

University of Minnesota Press, 2015

Those who are mad like Antonin Artaud, are they just as mad as he was? Madness, like the plague, is contagious, and everyone, from his psychiatrists to his disciples, family, and critics, everyone who gets close to Artaud, seems to participate in his delirium. Sylvère Lotringer explores various embodiments of this shared delirium through what Artaud called “mental dramas”—a series of confrontations with his witnesses or “persecutors” where we uncover the raw delirium at work, even in Lotringer himself. Mad Like Artaud does not intend to add one more layer of commentary to the bitter controversies that have been surrounding the cursed poet’s work since his death in 1948, nor does it take sides among the different camps who are still haggling over his corpse. This book speaks of the site where “madness” itself is simmering.

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