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In The Perils of the One, Stathis Gourgouris offers a philosophical anthropology that confronts the legacy of “monarchical thinking”: the desire to subjugate oneself to unitary principles and structures, whether political, moral, theological, or secular. In wide-ranging essays that are at once poetic and polemical, intellectual and passionate, Gourgouris reads across politics and theology, literary and art criticism, psychoanalysis and feminism in a critique of both political theology and the metaphysics of secularism. He engages with a range of figures from the Apostle Paul and Trinitarian theologians, to La Boétie, Schmitt, and Freud, to contemporary thinkers such as Clastres, Said, Castoriadis, Žižek, Butler, and Irigaray. At once a broad perspective on human history and a detailed examination of our present moment, The Perils of the One offers glimpses of what a counterpolitics of autonomy would look like from anarchic subjectivities that refuse external ideals, resist the allure of command and obedience, and embrace otherness.

Humans and microbes have always co-habited, and their relationship has had a profound influence on human history—especially in cities, the crossroads of the movements of people, goods, and germs. Dr. Rebecca Hayes Jacobs will discuss her work as co-curator of Germ City: Microbes and the Metropolis, a 2018 exhibition at the City Museum of New York that explored the complex story of the city's long battle against infectious disease—a fight involving government, urban planners, medical professionals, businesses, and activists.  Planned to mark the centennial of the Spanish Flu pandemic, the show was organized in collaboration with The New York Academy of Medicine and Wellcome as part of the latter's international project Contagious Cities, a multi-city research and public humanities porject that explored the interplay of people and pathogens in urban contexts.

The new science of paternity, with methods such as blood typing, fingerprinting, and facial analysis, would bring clarity to the conundrum of fatherhood—or so it appeared. Suddenly, it would be possible to establish family relationships, expose adulterous affairs, locate errant fathers, unravel baby mix-ups, and discover one’s true race and ethnicity. Tracing the scientific quest for the father up to the present, with the advent of seemingly foolproof DNA analysis, Nara B. Milanich shows that the effort to establish biological truth has not ended the quest for the father. Rather, scientific certainty has revealed the fundamentally social, cultural, and political nature of paternity. As Paternity shows, in the age of modern genetics the answer to the question “Who’s your father?” remains as complicated as ever.

Karen Van Dyck, Xiaolu Guo, Kaiama L. Glover, and Zaid Jabri, all former fellows of Columbia’s Institute for Ideas and Imagination, will discuss their diverse practices of translation and transliteration, and the artistic and political consequences of living, working, and moving between languages. The conversation began in spring 2019 at the Institute in Paris around Karen Van Dyck’s research on translingual writing of the Greek Diaspora which addresses the multilingual lives of migrants as a resource for literature, translation and social policy. Various types of movement among places - diasporic, immigrant, exilic, cosmopolitan - imagine different forms of translation that emphasize diverse ways of moving among languages: diglossia, intralingualism, transliteration, homophony. Might such translingual collaborations offer alternative translation practices and solutions to the impasses of ethnocentrism? 

What is death? And what comes after? The end of life. The end of this life. Heaven. Nothingness. Ghosts, real and imagined. Such questions, and answers, have often been understood as quintessentially religious and quintessentially philosophical. They are also social, cultural, and political. Academic and affective. In this year-long series, IRCPL will feature a range of events and speakers, including leading scholars in history and anthropology, as well as film makers, artists, journalists, and social activists. The purpose of the series is to explore a range of topics and issues, from the history of burial and mourning practices to contemporary debates over cryogenics, the political dimensions of urban violence, and the role that music can play in the process of grieving. We will stage lectures, screen films, and feature artists in conversation and in performance. The series will conclude with a “death café” in late April, and showcasing of the year’s events in the on-line review, Public Books.

"To teach correct Latin and to explain the poets" were the two standard duties of Roman teachers. Not only was a command of literary Latin a prerequisite for political and social advancement, but a sense of Latin's history and importance contributed to the Romans' understanding of their own cultural identity. Put plainly, philology-the study of language and texts-was important at Rome. Critics, Compilers, and Commentators is the first comprehensive introduction to the history, forms, and texts of Roman philology. James Zetzel traces the changing role and status of Latin as revealed in the ways it was explained and taught by the Romans themselves. In addition, he provides a descriptive bibliography of hundreds of scholarly texts from antiquity, listing editions, translations, and secondary literature. Recovering a neglected but crucial area of Roman intellectual life, this book will be an essential resource for students of Roman literature and intellectual history, medievalists, and historians of education and language science.

Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political?

An anonymous book appeared in Venice in 1547 titled L'Alcorano di Macometto, and, according to the title page, it contained "the doctrine, life, customs, and laws [of Mohammed] . . . newly translated from Arabic into the Italian language." Were this true, L'Alcorano di Macometto would have been the first printed direct translation of the Qur'an in a European vernacular language. The truth, however, was otherwise. As soon became clear, the Qur'anic sections of the book—about half the volume—were in fact translations of a twelfth-century Latin translation that had appeared in print in Basel in 1543. The other half included commentary that balanced anti-Islamic rhetoric with new interpretations of Muhammad's life and political role in pre-Islamic Arabia. Despite having been discredited almost immediately, the Alcorano was affordable, accessible, and widely distributed. In The Venetian Qur'an, Pier Mattia Tommasino uncovers the volume's mysterious origins, its previously unidentified author, and its broad, lasting influence.