Recounts Kojève’s key role in the pivotal exchange of ideas between Eastern and Western European intellectuals in the early twentieth century This book shines critical new light on the story of Alexandre Kojève’s intellectual origins and his role in the emigration of Russian philosophy into the West in the early twentieth century. Trevor Wilson illustrates how Kojève, at once adversarial to the insular communities of émigré philosophy and yet dependent on their networks and ideas for professional success, navigated the specters of the Russian tradition in pursuit of an autonomous self-definition as a philosopher and intellectual. Alexandre Kojève and the Specters of Russian Philosophy analyzes the philosopher’s complicated relationship to the interwar diaspora and the complex role played by the Russian tradition in his intellectual formation. Wilson examines Kojève’s early writings in the émigré press on Russian religious philosophy, Soviet politics, and Eurasianism and argues for their enduring relevance for understanding Kojève in his mature period. Crucially, he contextualizes Kojève’s famed seminars on Hegel and examines how Kojève’s thought became embedded in the politics of the Cold War. Based on newly transcribed and translated archival material, he highlights a previously unacknowledged, transnational exchange of ideas between Eastern and Western European intellectuals and shows how it played a pivotal role in twentieth-century intellectual history—and its legacy in the twenty-first.

This book introduces a new conceptual category to philosophical and political discourse, namely Hecate-isms, which can be applied to post–postmodernist theory. This concept is defined here as resulting from the philosophical and political mechanisms of the rule of three, and as representing a tri-phase construction of homo triplex, including elements such as prosperity–security–freedom and distance–power–security. The book will appeal to the wider academic community, to PhD students, professors, and researchers with an interest in political philosophy, political science, postmodern philosophy, and cultural studies.

This book is a collection of specifically commissioned articles on the key continental European philosophical movements since 1914. It shows how each of these bodies of thought has been shaped by their responses to the horrors set in train by World War I, and considers whether we are yet ‘post-post-war’. The outbreak of World War I in August 1914,set in chain a series of crises and re-configurations, which have continued to shape the world for a century: industrialized slaughter, the end of colonialism and European empires, the rise of the USA, economic crises, fascism, Soviet Marxism, the gulags and the Shoah. Nearly all of the major movements in European thinking (phenomenology, psychoanalysis, Hegelianism, Marxism, political theology, critical theory and neoliberalism) were forged in, or shaped by, attempts to come to terms with the global trauma of the World Wars. This is the first book to describe the development of these movements after World War I, and as such promises to be of interest to philosophers and historians of philosophy around the world.

Between Eternities reflects on the possibility of political philosophy as an ongoing, architectonic activity that is necessarily linked to both the past and future. Almost all contemporary work in political philosophy either studies the subject with an eye to past tradition—choosing a winner from that tradition and then deducing what follows from the posited premises in a thoroughly modern, constructivist fashion—or else limits itself to drawing out what follows from already accepted premises and principles. There is almost no effort to reflect upon the prerequisites for the tradition being an ongoing undertaking that can have a unique future. Between Eternities attempts to set loose that thinking toward the future.

'Breathtakingly entertaining, endlessly instructive, irresistibly enjoyable' THE TIMES 'A tour de force ... breathtaking' SPECTATOR 'A magnificent achievement' LITERARY REVIEW TERRIBLE BEAUTY presents a unique narrative of the twentieth century. Unlike more conventional histories, where the focus is on political events and personalities, on wars, treaties and elections, this book concentrates on the ideas that made the century so rich, rewarding and provocative. Beginning with four seminal ideas which were introduced in 1900 - the unconscious, the gene, the quantum and Picasso's first paintings in Paris - the book brings together the main areas of thought and juxtaposes the most original and influential ideas of our time in an immensely readable narrative. From the creation of plastic to Norman Mailer, from the discovery of the 'Big Bang' to the Counterculture, from Relativity to Susan Sontag, from Proust to Salman Rushdie, and Henri Bergson to Saul Bellow, the book's range is encyclopaedic. We meet in these pages the other twentieth century, the writers, the artists, the scientists and philosophers who were not cowed by the political and military disasters raging around them, and produced some of the most amazing and rewarding ideas by which we live. Terrible Beauty, endlessly stimulating and provocative, affirms that there was much more to the twentieth century than war and genocide.

Ukrainian dancer and choreographer Serge Lifar (1905-86) is recognized both as the modernizer of French ballet in the twentieth century and as the keeper of the flame of the classical tradition upon which the glory of French ballet was founded. Having migrated to France from Russia in 1923 to join Diaghilev's Ballets Russes, Lifar was appointed star dancer and ballet director at the Paris Opéra in 1930. Despite being rather unpopular with the French press at the start of his appointment, Lifar came to dominate the Parisian dance scene-through his publications as well as his dancing and choreography-until the end of the Second World War, reaching the height of his fame under the German occupation of Paris (1940-44). Rumors of his collaborationism having remained inconclusive throughout the postwar era, Lifar retired in 1958. This book not only reassesses Lifar's career, both aesthetically and politically, but also provides a broader reevaluation of the situation of dance-specifically balletic neoclassicism-in the first half of the twentieth century. The Fascist Turn in the Dance of Serge Lifar is the first book not only to discuss the resistance to Lifar in the French press at the start of his much-mythologized career, but also the first to present substantial evidence of Lifar's collaborationism and relate it to his artistic profile during the preceding decade. In examining the political significance of the critical discussion of Lifar's body and technique, author Mark Franko provides the ground upon which to understand the narcissistic and heroic images of Lifar in the 1930s as prefiguring the role he would play in the occupation. Through extensive archival research into unpublished documents of the era, police reports, the transcript of his postwar trial and rarely cited newspaper columns Lifar wrote, Franko reconstructs the dancer's political activities, political convictions, and political ambitions during the Occupation.