By Bertolt Brecht, Antony Tatlow, Tom Kuhn
Bertolt Brecht's Me-ti, which remained unpublished in his personal lifetime, now looks for the 1st time in English. Me-ti counselled opposed to 'constructing too entire photos of the world'. For this paintings of fragments and episodes, Brecht amassed anecdotes, poems, own tales and checks of latest politics. Given its debatable nature, he sought a hide, utilizing the identify of a chinese language modern of Socrates, recognized this day as Mozi. encouraged via his funny aphoristic sort and social concentration, in addition to an engrained chinese language know-how of the circulation of items, Brecht built a pragmatic, philosophical, anti-systematic ethics, discussing Marxist dialectics, Lenin, Hitler, Stalin, the Moscow trials, and the theories at the back of present occasions, whereas caution how ideology makes humans the 'servants of priests'.
Me-ti is crucial to an realizing of Brecht's severe reflections on Marxist dialectics and his dedication to alter and the non-eternal, the philosophy which informs a lot of his writing and his most famed performs, reminiscent of The strong individual of Szechwan. Readers will locate themselves either interested and beguiled via the reflections and knowledge it offers.
First released in German in 1965 and now translated and edited via Antony Tatlow, Brecht's Me-ti: e-book of Interventions within the move of Things offers readers with a much-anticipated obtainable variation of this significant paintings. It incorporates a colossal creation to the troubles of the paintings, its genesis and context - either inside of Brecht's personal writing and in the wider social and political heritage, and offers an unique choice and corporation of texts. wide notes remove darkness from the paintings and supply observation on comparable works from Brecht's oeuvre.
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Bertolt Brecht's Me-ti, which remained unpublished in his personal lifetime, now looks for the 1st time in English. Me-ti counselled opposed to 'constructing too entire photos of the world'. For this paintings of fragments and episodes, Brecht accrued anecdotes, poems, own tales and tests of latest politics.
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Additional info for Bertolt Brecht’s Me-ti: Book of Interventions in the Flow of Things
This particular passage alludes to Korsch (Ko) and also mentions Trotsky (To-tsi). Mittenzwei naturally, and correctly, argues that Brecht took Stalin’s side Introduction 27 against Trotsky, but his position was not as straightforward, as we can see by carefully reading the Me-ti texts. Mittenzwei cites the following passage as proof that Brecht supported Stalin: Me-ti for Ni-en Me-ti stayed on Ni-en’s side. On the question whether creating Order in one country was possible, he took the view that its creation had to begin in one country and then be perfected in other countries.
Brecht wrote this as a foreword or afterword to his Me-ti text in order to cover his tracks, referring to never written chapters as ‘genuine’ Mo Di, or simply for the fun of pretending, in a parody of learning, that there was a more authentic relationship with the writings of Mo Di. He certainly persuaded a few critics that this text constituted a modern reading or reinterpretation of an ancient Chinese philosopher’s exemplary teaching, which had a profound impact on his work. That he may have seriously had concealment in mind, given the critical nature of much that it contains for the unpredictable 1930s, and the following decades, is implied by a note (BBA 1334/145) that states: ‘Exiled in a half Fascist country Bertolt Brecht wrote a Book of Experiences in which the following story can be found.
While placing the Lai-tu texts at the end of the sequence, I have also taken the ‘Chinese’ passages toward the beginning, though not bundled together, but in the context of various unfolding themes. The purpose is not to overemphasize them or the extent to which Brecht was beholden to Mo Di, as some critics have done, because that tends to mystify and to detract from the impact of the whole collection, but rather to show from the start what is happening, why there are suggestive analogies, and where they have their place, but also their limits.