... and insanity is a false one. The proper outcome of psychoanalysis is the abolition of the boundary, the healing of the split, the integration of the human race. Norman O. Brown, Love’s Body The presence-absence of the trace, which one should not even call its ambiguity but rather its play...

...Alan Bass Copyright © 2009 Qui Parle 2009 Play’s the Thing Jugs Are Us Alan Bass Two babies are feeding at the breast. One is feeding on the self, since the breast and the baby have not yet become . . . separate phenomena. The other is feeding from an other-than-me...

... and manipulating atmospheres in retail and commercial settings has become a feature of contemporary capitalism, the essay discusses the political potential of “organizing a climate” via the case of the recent indignados movement in Spain. The essay suggests that atmospheres can play an important role in opening up...

...Jan Mieszkowski Abstract Tracing a trajectory of literary and philosophical texts from the ancient atomists to the late twentieth century, this essay explores the surprisingly consistent role that dust has played in the conceptualization of language. In Lucretius, Sophocles, and the New Testament...

... two plays by Heinrich von Kleist—the comedy Amphitryon (1807) and the tragedy Penthesilea (1808)—the article argues that Amphitryon’s servant, Sosias, multiplies by way of stolons and that the Amazons in Penthesilea are grafted creatures with an ongoing desire to form new grafts. The analysis draws...

... to totality but (via Bataille’s dialogue with Alexandre Kojève) his action-centered framing of the movement of history and the character of actuality. Against the dialectical mastery of history, Bataille seeks to articulate an unpolitical image of sovereignty and play that is ultimately poetic or literary...

.... Fink, Play as a Symbol of the World , 125–87 . 36. For a survey of the importance of games and play to art collectives, see Getsy, From Diversion to Subversion . See also Laxton, Surrealism at Play ; Pearce, “Games as Art” ; and McDonald, “Playfulness, 1947–2017.” 37...

... my beaten-child story opened is located both within the cultural fi eld, as something proper to the textual speci- fi city of certain material objects, events, plays, poems and novels, for instance; and outside of it, taking as its object the larger text formed by that fi eld...

... Translations and Transformations: Play to Opera to Plays2 The opera is based on a fourteenth- or fi fteenth-century Japanese Noh play,3 to which Bertolt Brecht did not have direct access when writing the libretto. He worked with a text twice removed from the Japanese source...

... place. This was the shadow play Transgressions, aft er which the third chapter of the show was named.15 Four Mylar cylinders measur- ing 1.63 meters in height turn slowly, at four revolutions a minute, while three videos are projected on them, all three “hitting” two cyl- inders...

...- ductive agents for social and environmental change. Many of the benefi ts of the natural experiences Louv describes could be found in computer and video games: free, unstructured play without adult supervision; a chance to learn about natural processes and life cycles, or how...

...: feeling sense supposes that knowledge [ savoir ] is set into play. (What do we know? Does our knowledge know sense? What sense is that of our knowledge? etc.) Therefore we need a situation that by principle defines two poles: that of knowledge and that of the lack and/or expectation of knowledge...

... enigma and mask in Pressure Point?What role does his "race" play in the film's consideration of his image, his representability? For what, and how, is his portrayal necessarily limited to something seen and simultaneously barred in his image? And again: why does he...

... of the past, where partners can be found at all times for all types of play, whether on-screen or off. Suspicious of these utopian claims— and rightly so, as Lisa Nakamura’s work on online racial performance has long since taught us3— McGlotten began nearly a decade ago to explore for himself...

...). Since consciousness in this case is no longer 50 MIKKEL BORCH-JACOBSEN playing its role of inhibition, any idea introduced into the brain will immediately be acted out. But what if the subject is awake, lucid, in full possession of his faculties of inhibition? How...

... or the musician faces the predicament of being listened to not as an agent of what s/he does as a practitioner of music but as a member of a society who listens — or doesn't. Listening certainly does not involve some natural talent. One might not say this about composing or playing an instrument...

... Madama Butterfly is routinely analyzed in Asian American studies, Chambers-Letson’s analysis of Giacomo Puccini’s opera (1903) is unique in its pairing with two predecessors: John Luther Long’s 1898 novella and the play Long and David Belasco later adapted for Broadway. Throughout his reading...

... not conscious. This is equivalent to saying that these forces are not for something: they cannot be measured in terms of “success.” Forces operate as or in play, the play of a permanent generation and transformation of what they have generated, without being oriented to a general...

... logic of the bridge. The narrator states: I've illuminated the blackness of my invisibility — and vice versa. And so I play the invisible music of my isola- tion. The last statement doesn't seem just right, does it? But it is; you hear this music simply because music...

... them into vic- tims, and reasserts its victory in their death. Consider, for example, the tragic plays by Federico García Lorca (written and first pro- duced in the 1930s in Spain). The characters appear controlled by an inexorable force. In Blood Wedding the Mother fears that her son...