Global Fragments offers an innovative analysis of globalization that aims to circumvent the sterile dichotomies that either praise or demonize globalization. Eduardo Mendieta applies an interdisciplinary approach to one of the most fundamental experiences of globalization: the mega-urbanization of humanity. The claim that globalization unsettles our epistemic maps of the world is tested against a study of Latin America. Mendieta also recontextualizes the work of three major theorists of globalization—Enrique Dussel, Cornel West, and Jürgen Habermas—to show how their thinking reflects engagement with central problems of globalization and, conversely, how globalization itself is exemplified through the reception of their work. Beyond the epistemic hubris of social theories that seek to accept or reject a globalized world, Mendieta calls for a dialogic cosmopolitanism that departs from the mutuality of teaching and learning in a world that is global but not totalized.

This 2002 volume offers translations of major works of classic and romantic German aesthetics.

This monograph is an interdisciplinary study of the concept of 'fragment' in literature and in critical and literary theory. It discusses the fragment's performativity and function within a historical perspective, stretching from Heraclitus, via the German Romantics and European writers of the Modernist period, to American postmodern manifestations of the fragment. This is the first history of the fragment to appear in English, and it is also the first attempt at producing a consistent taxonomy of literary and critical fragments. The fragments are categorised according to function, not author intention, and the study addresses a number of questions: What constitutes the fragment, when the fragment can only be defined a posteriori? Does the fragment begin on its own, or is it begun by others, writers and critics? Does it acquire a name of its own, or is it labelled by others? All these questions revolve around issues of agency, and they are best discussed in terms of performativity, which means seeing fragments as acts: acts of literature, acts of reading, acts of writing. The book demonstrates how a poetics of the fragment as a performative genre can be created, situating the fragment both as literature and as a phenomenon within postmodern criticism against the background of philosophy, art history, and theology.

This volume brings together thirty-two essays by William L. Petersen (1950-2006), offering an overview of his ground-breaking work on, among other things, Tatian’s Diatessaron and New Testament textual criticism.

An exploration of what lies at the heart of contemporary theatre. Written by the artistic director of Forced Entertainment, it investigates the process of devising performance, theatre's interdisciplinary role, and the city's influence.