Ruben Borg is Chair of the English Department at the Hebrew University of Jerusalem. He has published numerous articles on modernism and has contributed chapters to collaborative volumes on Deleuze and Literature, Deleuze and Beckett, and Posthumanism. Rubenis the author of The Measureless Time of Joyce, Deleuze and Derrida (2007), and of Fantasies of Self-Mourning: Modernism, the Posthuman and the Finite (2019). He has co-edited two books on Flann O'Brien: Flann O’Brien: Contesting Legacies (listed in The Irish Times top 10 non-fiction books of 2014), and Flann O'Brien: Problems with Authority (2017). His research interests include Irish Modernism (especially James Joyce), twentieth-century philosophy (especially the work of Gilles Deleuze), and the influence of Dante on modernist writers.
On October 4, 1923, the American composer George Antheil made his highly anticipated Paris debut at the Champs Elysées Theatre, in front of a rioting audience. A few minutes into the recital the crowd became unsettled; members of the audience started to protest the offensive nature of the music, others jumped to the musician’s defence, and before long the house was out of control. Unbeknownst to Antheil, the riot was in fact staged by his friends Marcel L’Herbier and Georgette Leblanc, who needed to film just such a scene for their upcoming movie, The Inhuman Woman. The ruse would only be revealed to him about a year after the incident.