French Theory is no theory. It is a well-known fact that “Theory,” as in “French Theory,” is neither a theoretical endeavor nor a theoretical manifestation of thought. “Theory” as in “French Theory” has evidently little to do with Plato’s apex of human evolution: contemplation of the ideal form as such. In the Platonic sense, theory is the ultimate abstraction.
The series of performances titled A&E was the first half of a European program that brought McCarthy and Lilith Stangenberg first to the SchauSpielHaus in Hamburg for five nights in a row and then to the Volkstheater in Vienna for four nights.
In his conversations with Emile Bernard, Paul Cézanne had very violent words about his fellow paintersomeone who had actually been his friend for a while: Paul Gauguin.
I Always Knew: A Memoir (Princeton University Press, 2022) is the intimate, profound introduction to a life constantly driven by intelligence, creativity, restless at times, always thoughtful.
History as we know it is an inquiry into establishing facts in order to create a common space. Décolonisations, Pierre Singaravélous recent French television project, offers an attempt to bridge the gap between contradicting views.