Christopher Watkin

From Plato to Postmodernism presents the cultural history of the West in one concise volume. Nearly four thousand years of Western history are woven together into an unfolding story in which we see how movements and individuals contributed to the philosophy, literature and art that have shaped today's world. The story begins with the West's Greco-Roman and Judeo-Christian origins, moving through the Middle Ages, Renaissance, Enlightenment and Romanticism to twenty-first century postmodernity. The author covers key figures such as Moses, Michelangelo, Mozart and Marx, setting them in context and highlighting their main contributions. Illustrations and a comprehensive glossary help explain important terms such as ‘gothic', ‘baroque', ‘stream of consciousness' and ‘the death of God', and clarify movements such as Neoplatonism, Renaissance humanism and existentialism. For students, this book bridges the gap between what is taught in schools and the cultural knowledge required at university, providing an indispensible grounding in the story of Western culture. For all readers, it offers an invitation to take an enjoyable tour through the fascinating history of Western thought, literature and art.

This chapter wagers that dance holds a singular, irreducible place in Nancy's work, that it cannot be reduced to thought about dance, and that it provides a way to understanding Nancy's approach to visual culture in general, to equality, and to the circulation of sense in terms of what he calls singular plural being. The chapter takes its starting point from Nancy's discussions of dance in the as yet untranslated Allitérations, a series of email exchanges from 2003 and 2004 followed by transcriptions of face-to-face exchanges between Nancy and choreographer Mathilde Monnier loosely addressing the question of the relation between philosophy and dance, and a conversation between Nancy, Monnier and film-maker Claire Denis. In the first half of the book Nancy raises two questions, each presenting a pair of seemingly irreconcilable demands: 1. How can we understand dance as something open to everyone while retaining the privilege of professional expertise? 2. How can we understand dance in a way that maintains its uniqueness, not reducing it to an example of thought or a vehicle for thought, and yet still allowing for a relation between dance and thought? Both questions invite us to think the privilege of dance together with its openness; its singularity together with its plurality. As Nancy and Monnier grapple with these seemingly contradictory demands in Allitérations, their conversation opens up onto a fresh way to think political equality, and a different way to understand – or ‘catch’, a much more suitable term that I shall introduce later in this chapter – the sense of the world. It is by taking a detour via ‘The Image: Mimesis and Methexis’ that we can also see how Nancy's approach to dance can open to a new way of engaging with visual culture in general. The point in this chapter is not simply to use dance as an example or illustration that helps us better to understand Nancy's approach to visual culture or the Nancean singular plural or his notion of ‘sense’, for in considering dance in terms of art, singular plurality and sense, we shall also be drawn to reassess sense, art and the singular plural in terms of dance.

Under the influence of Emmanuel Levinas and Jacques Derrida, the theme of absolute alterity still dominates the thinking of the ethical in Continental philosophy. This article examines an alternative ethical démarche, Jean-Luc Nancy's ‘singular plurality’, which refuses to start with the opposition of same and other, arguing instead for a primacy of relation, the ‘in-common’ and the ‘with’. The article first distinguishes Nancy's ‘singular plural’ from other recent attempts to disengage ethical thinking from the Levinasian framework, before showing how Nancy proceeds otherwise than in terms of sameness and alterity while still maintaining an ethical impetus. Foregrounding what is politically and philosophically at stake in the difference between Nancy and the Levinasian/Derridean model, the article concludes by considering how Nancy can be defended against critics who mistakenly argue that he discounts alterity.

Both Nancy and Badiou probe the contemporary power of the political, seeking to refashion communism as, respectively, an ontology that issues an imperative, and an as yet unrealized hypothesis to be seized in the present. In both accounts of politics, the limit of the human and the animal plays a crucial yet hidden role. Badiou's articulation of the ‘human animal’ and the ‘immortal’ poses troubling problems for the relation between the limits of the human and the limits of the political. In contrast, in the second volume of his Deconstruction of Christianity, Nancy reworks his notion of the human animal as a ‘being of sense’ in a way that poses awkward questions for his ontology of those who have nothing in common. For both Nancy and Badiou—but in opposite ways—the question of the limits and scope of the political is inextricably intertwined with the nature of the human/animal distinction.