Type de contenuProfesseur invité

Mitchell Cohen

Mitchell Cohen

Mitchell Cohen is professor of political science at Bernard Baruch College and the Graduate Center of the City University of New York. He is Co-Editor Emeritus of Dissent Magazine, which he co-directed 1991-2009. His articles have appeared in numerous journals, both scholarly and more general, including The New York Times Book Review, the London Times Literary Supplement, and Esprit.  His book The Politics of Opera: Monteverdi to Mozart (Princeton, 2017) received the Prose Award for Music of the American Association of Publisher and the Presidential Achievement Award for Scholarship of Baruch College CUNY. It was named one of the best books of 2017 in the London Evening Standard and was shortlisted for the Shannon Prize in European Studies.  His other books include The Wager of Lucien Goldmann (Princeton, 1994) and Zion and State (Blackwell and Columbia University Press, 1987/92 and in French, La Decouverte, 1990). Among his visiting positions: National Endowment for the Humanities Fellow at the Institute for Advanced Studies, Princeton (1993-94), Visiting Professor, Stanford (2002-03), and Levy-CUNY Writing Fellow (2010-11). Born in New York, he received his doctorate from Columbia University. 

Mitchell Cohen participe au Programme Professeurs invités de l'EHESS, sur invitation de Philippe Askenazy, Centre Maurice Halbwachs - CMH et d’Esteban Buch, Centre de recherche sur les arts et le langage  -  CRAL, en mai et juin 2022.



Richard Wagner in the 1849 Revolution

Dans le cadre du séminaire Musique et politique : les pouvoirs du son, coordonné par Esteban Buch

  • Vendredi 27 mai 2022, de 16h30 à 18h30 – EHESS, Campus Condorcet - Centre de colloques, (Salle polyvalente 50), Cours des humanités, 93300 Aubervilliers.

This seminar will look at Wagner’s role in the Dresden Revolution of 1849 against the backdrop of Saxon and German politics. Wagner’s career was devoted to the dramatic power of music and in 1848-49 he participated in an actual struggle for political power as a member of the radical wing of the Vaterlandsverein (the Patriotic Circle), perhaps the first real German political party. Not long before the Dresden Uprising he finished the score to Lohengrin, which was refused for production even though he was a Kapellmeister; not long afterwards he was working on the Nibelung myth and “Siegfrieds Tod” (an early version of what became Gotterdämmerung); and sometime later he drafted a “Jesus of Nazareth” in which Jesus is (more or less) a revolutionary. In these years he also wrote incendiary articles and helped to edit Volksblätter, a revolutionary journal. After the Uprising failed, he was a wanted man, fled to Zurich (his escape was assisted by Franz Liszt) and exile. These questions will be asked: How did Wagner’s ideas fit into the politics of Dresden and, more proudly, Saxony? What does the historical backdrop tell us about his politics? How were his never steady political ideas shaped by his political activities, reading of Feuerbach and Proudhon, and by his brief friendship with Bakunin?  

The Politics of Opera

Dans le cadre des Mardis de Jourdan

  • Mardi 31 Mai 2022, de 13h-15h, Campus Jourdan (Salle Madeleine Rébérioux), 48 Bd Jourdan, 75014 Paris
Perpetual Conflict: Identity, Politics and Religion in Israel

Dans le cadre du séminaire Approches politiques du religieux, coordonné par Patrick Michel

  • Mardi 7 juin 2022, de 14h30 à 16h30 - EHESS, Campus Condorcet - Centre de colloques (Salle 3.08), Cours des humanités, 93300 Aubervilliers.
Changing America: From Trump to Biden

Dans le cadre du séminaire interne du Centre Maurice Halbwachs - CMH  (En attente de confirmation)

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