In a collection that includes new essays written explicitly for this volume, one of our sharpest and most influential critics confronts the past, present, and future of literary culture.

In the early seventeenth century, a crippled, graying, almost toothless veteran of Spain's wars against the Ottoman Empire published a book. It was the story of a poor nobleman, his brain addled from reading too many books of chivalry, who deludes himself that he is a knight errant and sets off on hilarious adventures. That book, Don Quixote, went on to sell more copies than any other book beside the Bible, making its author, Miguel de Cervantes, the single most-read author in human history. Cervantes did more than just publish a bestseller, though. He invented a way of writing. This book is about how Cervantes came to create what we now call fiction, and how fiction changed the world.

Bertolt Brecht's reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around the world. David Barnett examines both Brecht the theorist and Brecht the practitioner to reveal the complementary relationship between the two.

Central Works of Philosophy 4: Twentieth Century: Moore to Popper

"Central Works of Philosophy" is a major multi-volume collection of essays on the core texts of the Western philosophical tradition. From Plato's "Republic" to the present day, the five volumes range over 2,500 years of philosophical writing covering the best, most representative, and most influential work of some of our greatest philosophers. Each essay has been specially commissioned and provides an overview of the work, clear and authoritative exposition of its central ideas, and an assessment of the work's importance.

The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance.