Les Assyriens, au début du iie millénaire av. J.-C., organisent, depuis Aššur (site actuellement en Irak), des échanges commerciaux avec l’Asie Mineure où certains d’entre eux s’installent et contractent parfois un second mariage avec une autochtone. Femmes et filles de marchands restent seules pendant de longues périodes dans leur maison à Aššur, partent fonder un foyer à Kaniš (en Anatolie centrale), ou suivent leurs maris dans toutes leurs pérégrinations en Asie Mineure. Les nombreuses archives cunéiformes – correspondance privée et documents (...) juridiques – découvertes dans le quartier commerçant de Kaniš illustrent les différents voyages accomplis par les femmes avec ou sans leurs époux. (shrink)

"Voyager ou découvrir est une aspiration majeure de l'homme. Diderot est toutefois sceptique sur l'utilité des voyages et sur la crédibilité des récits de voyageurs déjà dans ses premières oeuvres de fiction et dans les articles des premiers tomes de l'Encyclopédie. Vivre en voyage perpétuel signifie vivre en marge. De plus, l'incitation au voyage est le résultat de passions souvent nuisibles. Cette réflexion s'amplifie au fil de l'oeuvre de Diderot et surtout dans ses contributions à l'Histoire des deux Indes. (...) Le désir de voyager apparaît comme un motif néfaste pour l'humanité qui déclenche dans une certaine mesure le colonialisme. Pourtant l'enthousiasme se mêle parfois à la critique : le voyage de Diderot en Hollande et à Saint-Pétersbourg marque sa pensée politique. Ce livre tente de faire la synthèse de cette problématique dans l'oeuvre de Diderot, allant de la fiction vers le discours philosophique et politique de la dernière décennie de sa vie."--Page 4 of cover. (shrink)

Autour de Nietzsche -- Mouvement de la pensée, cheminement de l'écriture -- L'approche du monde sensible, entre intellection et présence au concret -- Enjeux existentiels, politiques et poétiques de l'écriture du voyage -- Crise et nouveaux usages do voyage philosophique.

Travel provides countless opportunities for wonder. The breadth of human experience enabled by traversing new territory includes curiosity, excitement, and surprise. However, achieving this breadth may well be better left unfulfilled. Gulliver’s interactions with the King of Brobdingnag in Book II of Gulliver’s Travels (1726) raise interesting questions regarding travel and its effects on the traveller. This essay argues that Gulliver’s Travels draws upon Locke’s insights into travel as an endeavour with the potential to be didactic, ultimately presenting (...) a case against the universal benefit of embarking on a voyage. Swift’s text offers little hope for the existence of the type of traveller who would be improved rather than corrupted by the experience, which suggests that wonders of travel ought to be avoided. This generates a counter-Enlightenment riposte to liberal assumptions concerning the possibility and likelihood of individual edification through pursuing the wonders of travel. (shrink)

Travel provides countless opportunities for wonder. The breadth of human experience enabled by traversing new territory includes curiosity, excitement, and surprise. However, achieving this breadth may well be better left unfulfilled. Gulliver’s interactions with the King of Brobdingnag in Book II of Gulliver’s Travels (1726) raise interesting questions regarding travel and its effects on the traveller. This essay argues that Gulliver’s Travels draws upon Locke’s insights into travel as an endeavour with the potential to be didactic, ultimately presenting (...) a case against the universal benefit of embarking on a voyage. Swift’s text offers little hope for the existence of the type of traveller who would be improved rather than corrupted by the experience, which suggests that wonders of travel ought to be avoided. This generates a counter-Enlightenment riposte to liberal assumptions concerning the possibility and likelihood of individual edification through pursuing the wonders of travel. (shrink)

The English language has adopted the word Tardis for something that looks simple from the outside but is much more complicated when inspected from the inside. The word comes from a BBC science fiction series, in which the Tardis is a machine for traveling in time and space, that looks like a phone booth from the outside. This paper claims that simulation models are a Tardis in a way that calls into question their transferability. The argument is developed taking Molecular (...) Modeling and Simulation as an example. There, simulation models are force fields that describe the molecular interactions and that look like simple and highly modular mathematical expressions. To make them work, they contain parameters that are adjusted to match certain data. The role of these parameters and the way they are obtained is seriously under-appreciated. It is constitutive for the model and central for its applicability and performance. Hence, the model is more than it seems so that working with adjustable parameters deeply affects the ontology of simulation models. This is particularly crucial for the transferability of the models: the information on how a model was trained is like luggage the model must carry on its voyage. (shrink)

Locke had a lifelong love of travel literature. He was also a proponent of the construction of natural histories. Many commentators have noted that there is a close link between these two interests. They suggest that data gleaned from travel literature was used in the construction of natural histories. This paper uses Locke’s reading of François Pyrard’s Voyage to argue that the relationship between the two genres was closer than has been realized. Specifically, it is argued that Pyrard’s discussion of (...) the coconut displays characteristic features of a natural history. It pays careful attention to first-hand experience. It emphasizes empirical observation and eschews theory and speculation. It focuses on the practical utility of the coconut. And it records a number of specific measurements. These features allowed Locke to read this portion of a piece of travel literature as a piece of natural history. This allows us to recognize that the genres of natural history and travel literature were not distinct for early modern thinkers. They overlapped in significant ways. (shrink)

Les princesses participaient pleinement à la mobilité qui caractérisait le mode de vie et l'habitus de la haute noblesse à l'époque moderne. La plupart du temps délaissés par les études sur le voyage ou considérés comme de simples “ affaires de famille ” dépourvues de toute importance sociale ou politique, les voyages de princesses revêtaient, au contraire, un caractère hautement politique. Dans la haute noblesse, les femmes qui visitaient des cours différentes, jouaient un rôle clé pour les relations extérieures (...) d'une maison au même titre que les voyageurs hommes. La fonction politique du voyage allait souvent de pair avec de nombreux transferts culturels, destinés à augmenter le prestige et le rang d'une cour. Les voyages de princesses laissaient ainsi des marques durables sur la vie de cour et, au-delà, sur la société de leur pays d'origine. (shrink)

Odysseus has lived through many transformations since Homer commemorated him in the Odyssey. None of them, however, has made Homer obsolete. Both the Iliad and the Odyssey have been translated many times. By common consent of those competent to judge such matters, Robert Fagles has done a superb job with the Odyssey. Even before I read it, I heard it read by Ian McKellan. That was an eye-opener, or should I say ear-opener. It sounded as though that was the natural (...) way to come at it. The spaciousness, the contrast of tones alternating between casual, even rambling digression and the tightness of dramatic moments, the sense of intimacy a voice establishes—all these drew me into the poem and made me aware of new meanings, or forgotten relationships, that I would like to share. The Odyssey is so large and various that we need reminding of its riches. The only way to do this properly, it seems to me, is to travel along with Homer, hitting the highlights and commenting as I go. (shrink)

SUMMARYAs the Enlightenment drew to a close, translation had gradually acquired an increasingly important role in the international circulation and transmission of scientific knowledge. Yet comparatively little attention has been paid to the translators responsible for making such accounts accessible in other languages, some of whom were women. In this article I explore how European women cast themselves as intellectually enquiring, knowledgeable and authoritative figures in their translations. Focusing specifically on the genre of scientific travel writing, I investigate the narrative (...) strategies deployed by women translators to mark their involvement in the process of scientific knowledge-making. These strategies ranged from rhetorical near-invisibility, driven by women's modest marginalization of their own public engagement in science, to the active advertisement of themselves as intellectually curious consumers of scientific knowledge. A detailed study of Elizabeth Helme's translation of the French ornithologist François le Vaillant's Voyage dans l'intérieur de l'Afrique [Voyage into the Interior of Africa] allows me to explore how her reworking of the original text for an Anglophone reading public enabled her to engage cautiously – or sometimes more openly – with questions regarding how scientific knowledge was constructed, for whom and with which aims in mind. (shrink)

Voyages et exils au cinéma, rencontres de l'altérité s'intéresse aux phénomènes d'hybridation entre cultures tels qu'ils se traduisent à l'écran, sans restriction géographique (cinémas américain, italien, africain, libanais, indien, taïwanais, japonais etc.). Si le voyage et l'exil des cinéastes sont sources de transferts culturels et esthétiques, le thème du voyage et de l'exil représenté au cinéma questionne la notion d'altérité en proposant une vision diversifiée de la rencontre entre autochtones et nouveaux arrivants. Dans un monde globalisé, mais qui continue (...) de s'interroger à la fois sur la mixité culturelle et le sens de la nation, le cinéma reflète ainsi les cultures plurielles dans leur richesse et leur vivacité, mais aussi les replis communautaires, les phénomènes d'imprégnation et bien entendu de domination culturelle. La caméra se désigne alors comme acteur, témoin et exégète de ces processus qui, s'ils ont une longue histoire et se développent tout au long du XXe siècle, culminent dans notre temps présent. (shrink)

In the winter of 1859, the Boston poet Julia Ward Howe sailed for Cuba; and in the winter of 1860, Ticknor and Fields published an account of her travel. A Trip to Cuba appeared only months after the same firm had published Richard Henry Dana's story of his ???vacation voyage,??? To Cuba and Back . These two narratives responded to a burgeoning American interest in the Caribbean island that promised recuperation to American invalids and adventure for military ???filibusters.??? Howe's narrative (...) demonstrated a self-conscious familiarity with antebellum travel writing more broadly, however, as she playfully resisted yet ultimately upheld various conventions of a genre that had become a staple of the American literary marketplace. ???I do not know why all celebrated people who write books of travel begin by describing their days of seasickness,??? she noted, before discussing her own shipboard illness. She followed similar cues as she blended elements of autobiography, the social sketch, nature writing, and political and social commentary. Across 250 ???sprightly??? pages, readers were offered a familiar melange of humorous portraits, detailed descriptions of ???foreign??? institutions, and extensive commentary on local customs and social mores. (shrink)

This chapter discusses several possible reasons why works by women philosophers have traveled significantly less than those written by men, although women’s contributions go back to the start of European history of philosophy. Differentiating between geographic, linguistic, historic and philosophical travels, Tove Pettersen claims that gender is particularly significant with regard to historical and philosophical traveling. As the case of women philosophers clearly demonstrate, gender hampers the circulation of certain texts and inhibit transhistorical exchange of knowledge and ideas. ****** (...) Che chapitre examine plusieurs raisons possibles pour expliquer pourquoi les œuvres de femmes philosophes ont “voyage” beaucoup moins que celle des hommes, bien que la contribution des femmes remonte au début de l´histoire européenne de la philosophie. Distinguant entre plusieurs façons de voyager – géographique, linguistique, historique et philosophique –, Tove Pettersen soutient que le “genre” est un facteur particulièrement significative par rapport au voyage historique et philosophique- Comme le démontre clairement le cas des femmes philosophes, leur genre nuit á la circulation de certains textes ainsi qu’à l’échange transnational du savoir et des idées. (shrink)

Théophile Gautier, French romanticist writer, visits Russia twice in 1858/61. His Voyage en Russie (1866) is not just a travelogue, but rather an intrinsically philosophical text about travelling, about the perception of the own and the other, suggesting “(self)alienation”, “bracketing” of the world and one’s own experience as a means of aesthetic pleasure and intellectual penetration; a reflection on the “gift of the visible”; on the mutual in- and superscriptions of reality, imagination and art – in one word: a “phenomenological” (...) experiment avant la lettre. This paper proposes a reading of Voyage en Russie through the prism of Merleau-Ponty’s phenomenology of perception, in particular of vision. (shrink)

As its title indicates, this book is a study of the trip Nietzsche made to Sorrento in 1876, after the Bayreuth festival and before the publication of Human, All Too Human. Paolo D’Iorio’s main thesis is that at Sorrento Nietzsche became a true philosopher, abandoning his metaphysics of art together with his commitment to the Wagnerian cause in order to develop his philosophy of the free spirit. D’Iorio collects all of the available documents about the Sorrento trip, from Nietzsche’s allusions (...) to his Italian experiences in his notebooks and subsequent works to letters to and from his traveling companions and memoirs of friends and acquaintances. The chief interest of the book lies in this philological work, which .. (shrink)

L'Angleterre est la première destination des Français au XVIIIe siècle, mais le voyage d'Angleterre reste peu étudié. Avec ce livre, Gábor Gelléri comble un vide historiographique, au moyen d'un corpus de plus de soixante-dix sources et d'une étude chronologique s'étendant sur cent-trente ans. Il dresse la liste des implications philosophiques, politiques, religieuses, sociales et littéraires que ce voyage comporte. Contestant l'idée que Voltaire aurait 'découvert' l'Angleterre, il remet au premier plan le rôle qu'a joué la Suisse protestante comme intermédiaire dans (...) la découverte de ce pays par les Français, en analysant notamment la polémique suscitée par le récit de Béat de Muralt, qui voyagea avant Voltaire. Le voyage outre-Manche, et les récits qui en sont faits, sont cruciaux dans les interactions entre la France et l'Angleterre. L'Angleterre est l'un des miroirs dans lesquels la France se regarde. Comparant les discours aux pratiques avérées, l'auteur réévalue certaines catégories majeures, notamment l'opposition souvent mal interprétée entre anglomanie et anglophobie. Il interroge les motivations des voyageurs, à une époque où la pratique du voyage commence à se démocratiser, ce qui conduira à la naissance du tourisme. Dépassant la simple étude des discours, il met en lumière les usages du voyage, en rappelant qu'avant de devenir l'objet d'un acte d'écriture le voyage constitue une pratique sociale. Qu'il soit philosophique, anti-philosophique, scientifique, pittoresque ou de plaisance, le voyage d'Angleterre est un champ d'exploration permettant aux voyageurs de mettre à l'épreuve toutes les idées importantes du siècle et cristallisant les polémiques du temps. Gábor Gelléri démontre que ce voyage est un phénomène majeur: un laboratoire d'idées et un portrait vivant de la complexité intellectuelle et idéologique du XVIIIe siècle européen. L'ouvrage a été publié avec le soutien du Department of Modern Languages de Aberystwyth University. (shrink)

The Romanian-born European writer Vintilă Horia - whose birth centenary is celebrated this year - was a genuine searcher of truth. His entire work pleads for transgressive-integrating knowledge, in opposition to binary logic and scientism; it is the privileged space of articulation between cognition, creation and gnosis, between the apophatism of science, mystic apofatism and artistic apofatism. Although much less known than the trilogy of exile - Dieu est né en exil, Le chevalier de la résignation and ¡Perseguid a Boecio! (...) - the small-sized novel Le voyage à San Marcos acts as an exemplary attestation to this pompous conjunction. The current article focuses especially on the text’s trans-temporal valence. (shrink)

One of the central methodological issues for contemporary practitioners of comparative ethics is how to conceptualize and relate to the "other" encountered in cross-cultural studies. A valuable resource for reflection on this problem is the work of the French historian and cultural theorist Michel de Certeau, whose diverse opus coheres around his notion of heterology--a "science of the other." In this article I explore perspectives on the cultural "other" emerging from Certeau's analyses of a series of "travel narratives" documenting the (...) European encounter with the peoples of the New World. Certeau's meditations on the metaphor of the voyage, the interplay of orality and literacy, the politics of ethnography, and the semiotics of the "return of the repressed" offer, I suggest, important insights for comparative ethicists. (shrink)

L’ouvrage de Vassiliki Lalagianni Voyages des femmes en Orient, paru en Grèce aux éditions Roes, opère l’endoscopie du tournant du xixe siècle, par l’étude transversale du voyage et du regard que portent sur l’Orient les femmes occidentales. Peu d’ouvrages ont été consacrés aux femmes voyageuses françaises et francophones. La majorité des études ne concerne que les Britanniques (Jane Robinson, Wayward Women: A Guide to Women Travelers,1990 ; M. Polk and M. Tiegreen, Women of Discovery: A Cel...

Ch. 1. Ėtnologii͡a puteshestviĭ -- ch. 2. Mifologii͡a puteshestviĭ -- ch. 3. Filosofii͡a puteshestviĭ -- ch. 4 Apostolʹstvo puteshestviĭ -- ch. 5. Velike geograficheskie otkrytii͡a -- ch. 6 Uslugi dli͡a puteshestvennikov -- ch. 7 Industrii͡a turizma -- ch. 8 Rekreat͡sii͡a.

Definition in the genre of travel writing has a special status: the discovery of otherness leads to a new relationship between language and the world. In this genre, written by lexicologists who are often amateurs, the definition of an absent reality evolves between analogy, approximation and invention.

Context: Josef Mitterer is, among other callings, a philosopher of "traveling concepts" As a leader of various travel groups, he has collected a rich range of material for the adventure of traveling -- and has drawn conclusions from that material for his non-dualistic cognitive theory. Findings: In Mitterer's view, despite all longings for the "other," the "strange," and despite all "self-forgotten expansion of horizons," in our encounter with the new we always remain systemically bound to our constructions of age and (...) ego. Every putatively authentic encounter is crammed with "constructivist" preconditions. Implications: Whereas in pre-modern times the voyage was understood as a "wandering between worlds," Mitterer's epistemology offers us an appropriate framework for the particularities of modern tourism -- and with them, for a modern self-understanding in face of the foreign and strange. (shrink)

À travers des exemples d’emprunts linguistiques arabo-français, ce texte met l’accent sur la perméabilité des frontières linguistiques. Ceux-ci ont toujours joué un rôle capital dans le rapprochement des peuples ; ce sont des voyageurs qui n’ont besoin ni de visa ni de passeport pour franchir la frontière. Ils ne sont pas un signe de contamination linguistique, comme pourraient le concevoir certains puristes de la langue, mais de vitalité et de dynamisme des langues. Aussi, ils constituent le vrai moteur du changement (...) linguistique et préservent les peuples des ghettos culturels.This article uses examples of linguistic borrowings from Arabic to French to bring out the permeability of linguistic frontiers. Linguistic borrowings have always played a crucial role in bringing people together; they are travellers who do not need visas or passports to cross borders. They are not a symptom of linguistic contamination, as some language purists may argue, but of the vitality and dynamism of languages. Borrowings are the real drivers of linguistic change, preserving us from cultural ghettoisation. (shrink)

Charles S. Peirce traveled to Europe on five different occasions.1 The five trips took place between 1870 and 1883, all of them in the service of the Coast and Geodetic Survey, at the time the chief scientific agency of the United States. Those trips—which covered a total of thirty-eight months—were a rich mixture of scientific research and tourism, of communication with other scientists and of enjoyment of the artistic treasures of Europe. The impact of this extensive travelling was so important (...) in Peirce's life and thought that it makes perfect sense to identify this period of time as his "cosmopolitan period"—to use Max Fisch's expression.Peirce's experiences of his European voyages are vividly... (shrink)

James Hutton is known to have regarded exploration as an important source of geological knowledge, and to have studied the accounts of travellers with close attention. Unpublished letters in the Fitzwilliam Museum, Cambridge, however, show that he was more actively involved in exploration than had been previously supposed. During the preparation for Cook's second voyage, he gave advice about both geological and marine research. He advised Banks against making a major voyage to Arctic regions, on the grounds that it would (...) be unprofitable geologically. He encouraged Banks and other friends to measure sea and air temperatures on their voyages, and there are indications that he himself took part in marine experiments. His interest in oceanography, which has not been discussed before, is found to complement his work in meteorology. (shrink)

Transpersonal psychology: Dean, S. R. The ultraconscious mind. Arasteh, A. R. Final integration in the adult personality.--The nature of madness: First, E. Visions, voyages, and new interpretations of madness. Van Dusen, W. Hallucinations as the world of spirits.--Biofeedback: White, J. The yogi in the lab. Kiefer, D. EEG alpha feedback and subjective states of consciousness.--Meditation research: Griffith, F. F. Meditation research: its personal and social implications. Kiefer, D. Intermeditation notes: reports from inner space.--Psychic research: Honorton, C. Tracing ESP through (...) altered states of consciousness. Johnson, C. W. Unexplored areas of parapsychology.--Paraphysics: White, J. Plants, polygraphs, and paraphysics. Reiser, O. L. Messages to and from the galaxy.--Biotechnology: Beal, J. B. The new biotechnology. Tiller, W. A. Energy fields and the human body.--The neurosciences: Conway, H. Life, death, and antimatter. Floyd, K. Of time and mind: from paradox to paradigm.--Ecological consciousness: Smith, R. A. Our passport to evolutionary awareness. Esser, A. H. Synergy and social pollution in the communal imagery of mankind.--Space travel and extraterrestrial life: Mitchell, E. D. Global consciousness and the view from space. White, J. Exobiology--where science fiction meets science fact.--Death as an altered state of consciousness: Tietze, T. R. Some perspectives on survival. Noyes, R. Dying and mystical consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Coleridge’s Intellectual Intuition, the Vision of God, and the Walled Garden of “Kubla Khan”Douglas HedleyIn his seminal work of 1917 Das Heilige Rudolph Otto quotes a number of passages as instances of the “Numinose.” Alongside those quotations from more conventional mystics, Plotinus, and Augustine, Otto refers to Coleridge’s “savage place” in Kubla Khan. 1 It is also pertinent that, when trying to define Romanticism, C. S. Lewis appeals to (...) the longing for the “unnameable something” fired by “morning cobwebs in late summer” or the “opening lines of Kubla Khan.” 2 Perhaps it is a mere coincidence that two of the most penetrating and influential scholars of religion in the twentieth century should appeal to Coleridge and his poem “Kubla Khan.” I wish to suggest reasons why the link between the imagery of “Kubla Khan” and a mystical experience of transcendence is not merely fortuitous. Indeed the connection between Coleridge’s mature writing and the imagery of the poem shows that we have good reason for seeing him as consciously writing, both as a poet and as a philosopher, within a visionary mystical tradition. I propose that it is no accident that Coleridge’s most visionary poem draws upon the central Christian image of paradise: the walled garden.This is an attempt not to interpret “Kubla Khan” but rather to suggest Coleridge’s place in the history of ideas as a Christian poet and philosopher. He is best described as an essentially speculative and mystical philosopher-theologian. 3 [End Page 115] By “speculative” I mean a theology inspired by those Church Fathers who emphasize the “vision” of God as an intellectual contemplation (speculari) of the transcendent Absolute, the prius of all being. The scholastics, the medieval German mystics, the Cambridge Platonists, and some of the German Idealists have all been influenced by such a speculative impulse. 4 Hegel uses the term “speculative” for his Dialectic. 5A philosophical or “speculative” approach to theology has invoked hostility from Tertullian onwards. Coleridge’s philosophy of religion often excited the fear of the new pantheistic German theology. John Henry Newman castigated Coleridge’s speculation as more heathen than Christian. Yet the speculative movement in theology spawned both a radical and a conservative wing, and we have to judge Coleridge’s thought in the light of the more conservative branch of nineteenth-century Idealism. D. F. Strauss jettisoned the transcendent “yonder” of traditional theology in favor of his philosophical or “scientific” approach to Christianity. Coleridge, however, could not adhere to theology of immanence; he wished to present a theology of an adamantly transcendent character.The walled garden is an eminently appropriate image of transcendence and was used as such by the fifteenth-century Christian Platonist Nicholas of Cusa, who is one of the links between Patristic theology and German Idealism. I shall draw upon his book The Vision of God as a paradigm of the sort of speculative mysticism which informs Coleridge’s metaphysics and much of his poetry. 6 Reflection upon an exotic poetic image may help us to clarify one of Coleridge’s philosophical tenets; the walled garden can be seen to symbolize that transcendent numinous reality, which the soul inchoately and barely consciously seeks and strives for.Coleridge’s “Mysticism” and the Imagery of “Kubla Khan”Richard Holmes claims that the “Kubla Khan” provides evidence of a transition in Coleridge’s interests and presents this switch from “classical and religious mythology” to the “drama of self-knowledge... the growth of consciousness and civilisation” as a key to Coleridge’s poetry. Holmes writes: [End Page 116][H]is instinct that the modern Epic subject must now centre on “the mind of man,” through “travels, voyages and histories,” shows a shift of poetic focus characteristic of the new Romantic age. The Epic could no longer draw on classical or religious mythology for the framework of its action. It must become contemporary with the world of scientific, anthropological, and psychological exploration: it must centre in some way on the drama of self-knowledge, on the growth of consciousness and civilisation. 7Coleridge would not have seen a conflict between the drama of self-consciousness and classical and religious mythology. In “Kubla... (shrink)

Longtemps réfractaire à l’action apostolique des femmes, l’Église catholique s’est réformée à l’époque moderne grâce aux efforts de femmes d’exception qui ont multiplié les fondations d’ordres et de monastères nouveaux ou (ré) introduit la stricte observance de la Règle dans les communautés anciennes. Ces religieuses n’ont pu le faire qu’au prix d’incessants voyages qui ont mené certaines jusqu’aux confins du royaume et en Nouvelle-France dans des conditions rendues difficiles par leur statut de femmes encloses. En voyage, les religieuses doivent (...) rester, envers et contre tout, des “ épouses de Christ ” vouées à une vie intérieure et souffrante que détaille une littérature hagiographique ou autobiographique abondante. (shrink)

Eighteenth-century naval ships were impressive infrastructures, but subjected to extraordinary strain. To assist with their “voyage repairs,” the Royal Navy gradually established numerous overseas bases, displaying the power, reach, and ruthless logistical efficiency of the British state. This article, however, is concerned with what happened where no such bases (yet) existed, in parts of the world falling in between areas of direct British administration, control, or influence. The specific restrictions imposed by technology and infrastructures have been studied by historians interested (...) in naval strategy, but they can also help to reframe national narratives of power or observe the transnational interactions surrounding access to knowledge and resources. This paper discusses the material, cultural, and diplomatic constraints that could appear when vessels, and especially “discovery ships,” sailed in strange waters or sought technical assistance in allied ports. I argue that the “mortification” of some commanders at their vessels’ unfitness for service was an important – and often neglected – element on the palette of emotions undergone by voyagers, capturing their strong sense of ultimate material powerlessness. Such frustration even became embedded in imperial cartography, as shown by the case study of Matthew Flinders. This perspective highlights the limits of naval technology, complicating imperialistic “success stories” and better reintegrating the navy into the history of maritime travel and transportation, from which it is often singled out. (shrink)

Early medieval Irish literature presents several types of voyages into the afterworld: echtrai (various adventures into Mag Mell), immrama (sea travels to the enchanted islands of the Ocean), fisi (ecstatic revelations of Christian eschatology), journeys into Saint Patrick’s Purgatory. In this paper, we seek to contrast the fisi and the descents into the cave of Saint Patrick. From a morphological point of view, both have a great deal of topoï in common, which describe the structure of the Christian (...) other world: the waste land of pains, the infernal pit, the ordeal bridge, the land of the blessed, the celestial Kingdom of God, etc. However, between the two genres appear some major differences, such as the order in which these places are visited. The main distinction lies in the fact that the fisi are mainly ecstatic voyages (i.e. psychanodias ), implying a “ raptus animae ”, while the voyages into Saint Patrick’s Purgatory are physical expeditions (i.e. somanodias ), during the actual life of the adventurers. Although many of the common themes of the two genres derive from the medieval Christian tradition (especially the apocryphal apocalypses and visiones ), we argue that the differences may be due to the input of local Irish Celtic heritage. (shrink)

“Adam was hurled into Hindustan. In this land there is a mountain called Serandib, and it is reported that there is no higher mountain in all the universe. Adam landed on this mountain.” The subject of Serendib plays an important role in both the geographical and travel literature of the Arabs. Serendib, or Sarandib, is the transcription of the Singhalese name Sinhaladîpa, which means “island of the descendants of lions” (singha, “lions,” in Singhaly). Already, in the Middle Ages, in the (...) year 949, Arab merchants, who were well acquainted with the island of Ceylon, set up a branch in Colombo. The natural beauty and wealth of the island so touched the imagination of Arab voyagers that it appeared in the sixth voyage of Sinbad the Sailor, and it was also believed that Adam lived on the island after having been driven from Paradise: “The island of Serendib is located directly under the equinoctial line…. Men fish for pearls along its banks and at the mouths of its rivers, and some of its valleys are rich in diamonds. As an act of faith I myself took a trip to the mountain, to the very spot where Adam was banished after being exiled from Paradise. I even climbed to its summit.”This excerpt, from The Thousand and One Nights, well summarizes the feelings of those Arab merchants whose accounts of their travels, in large measure, contributed to the spread of myths and legends about Ceylon. (shrink)

Sefer ha-Roḳeaḥ -- Sefer Eldad ha-Dani -- Sibuv Rabi Petaḥyah -- Sefer Har Adonai.

During the long eighteenth century, boundaries between theology and natural philosophy, between imaginary and factual travel narratives, between fiction and social commentary, were far more fluid than they are today. To explore these relationships, this paper links Mary Shelley’s Frankenstein—a book often hailed as the first science fiction novel—to two earlier works which are now less well known: Edmond Halley’s article about terrestrial magnetism, in which he suggested that God had created inhabited illuminated cavities inside the earth; and a satirical (...) fantasy voyage written by the Danish author Ludvig Holberg, but published anonymously as Niels Klim’s journey to the underground and immediately translated into many languages. Attention is focussed on how the ambiguous presentation of these and other texts blurs any straightforward classification of genres. The aim of examining these writers together is not to search for direct mappings from one project to another, but instead to introduce Holberg’s unfamiliar yet important book and also to cast new light on Frankenstein, one of England’s most famous works of literature.Keywords: Edmond halley; Ludvig holberg; Frankenstein; Plurality of worlds; Science fiction; Magnetism. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Education and Feminist AestheticsGauguin and the ExoticJane Duran (bio)IntroductionMuch has been made of the way in which Gauguin came to characterize the differences that he saw between the French and Tahitian populations once he had embarked on the series of voyages for which he is now celebrated.1 Although there is evidence to support a number of interpretations with respect to his portrayals of women, one theme has been (...) paramount in a great deal of the commentary: Gauguin came to see the women of Tahiti as not only emblematic of the island itself, and the island's culture, but as the embodiments of a certain sort of feminine grace. The contrasts that Gauguin himself invoked between the "naturalness" of the Polynesian women and what he took to be the falsity of women of his own class in Europe, especially France, has been the subject of much writing. In our attempts to educate undergraduates with respect to categories of oppression, we can appeal to the work of Gauguin as a valuable source of understanding concerning these issues.Given the Eurocentrism of the time, and given that it is roughly this same time period that Said will later go on to associate with the rise of Orientalism, it is probably not possible that Tahiti, its women, and its various flora and fauna could have been seen as anything other than vestiges of the natural in a world already too tamed. Words such as "savage" are used frequently in the criticism of the day to explain Gauguin's subjects, and some of the themes of his work seem to have been chosen specifically because they lent themselves to such an interpretation, at least in European eyes.2 But Gauguin goes a bit further than this crude caricature indicates, at least insofar as his portraits of female figures are concerned. It is clear that, for the [End Page 88] artist, they represent all that is to him unknown about Tahiti, and that at the same time they are coded as the natural, the innocent, and even the holy. An examination of some of his works will bear out the extent to which this is the case.IRegarding Gauguin's attitudes toward Tahiti and its women, Britt Salvesen has noted in recent commentary thatGauguin infused his art with mystery, often by depicting enigmatic female figures, traditional symbols of nature and its secrets. In Tahiti he expected to encounter exotic and sensual women. Given Gauguin's complicated position as both observer and participant in Tahitian society, his ambition to represent the "country's female type" bears close examination. He owned illustrated travel books in which, as he noted scornfully, "all the [natives] … look like Minerva or Pallas Athena." He aimed to disrupt this conventional projection of European ideals and fantasies onto Tahitian women.3As Salvesen indicates, Gauguin expected to find, and did find—by his lights—"exotic" and "sensual" women. Feminist analysis has provided us with an overwhelming amount of material about the extent to which such projections onto women as a group become a near universal human cultural trope, but few individuals allow us to make such strong comparisons with respect to projections on differing female figures as Gauguin does. That he is able to discern the ridiculousness of Academy art with its emphasis on "Pallas Athena" is obvious; what he chooses to do himself is something else again.Inaugurating a variety of personal relationships with women and girls as young as thirteen years of age,4 Gauguin developed a view of the Tahitian woman as emblematic simultaneously of the culture, of a certain sort of innocence, and of a virtually transcendental sacredness. That these images might be thought, naively, to have little to do with sensuality reflects the degree to which we fail to understand that for Gauguin, as for others after him, the sensual itself was sacred. Salvesen notes that one of the early relationships was with the "thirteen-year-old Tehamana. … [o]f Polynesian origin, [in]experienced, and of a seemingly 'impenetrable' character, Tehamana offered Gauguin the mysterious experience he sought in life and art."5If Tehamana represents one take on woman-as-elementally... (shrink)

The broad outlines of Joyce's narrative are of course strongly Homeric: the three parts, with Telemachus' adventures at first separate from those of Ulysses, their eventual meeting, their homeward journey and return. Equally Homeric is the account of a heroic traveler picking his way among archetypal perils. That the Odyssey was an allegory of the wanderings of the soul had occurred to Joyce as to many before him, and he had long since designated the second part of a book of (...) his poems as "the journey of the soul" . He had also construed Stephen's progress in A Portrait as a voyage from Scyllan promiscuity in chapter 4. Although in Ulysses he diverged sharply from Homer in the order of events, Joyce clearly adapted the Homeric settings and what he chose to consider the prevailing themes. He found the Odyssey beautifully all-embracing in its vision of human concerns. His own task must be to work out the implications of each incident like a Homer who had long ago outlived his time and had learned from all subsequent ages. Joyce once asked his friend Jacques Mercanton if God had not created the world in much the same ways as writers compose their works; but he then bethought himself and murmured, "Perhaps, in fact, he does give less thought to it than we do." Neither God nor Homer could compete with Joyce in self-consciousness. Richard Ellmann, Goldsmiths' Professor of English Literature at Oxford University, received the 1960 National Book Award for his definitive James Joyce: A Biography. He has written extensively on Joyce and other modern writers, edited work by and about them, and examined the theoretical implications of biography in Golden Codgers. "Joyce and Homer" is a selection from his book, The Consciousness of Joyce, published by the Oxford University Press. (shrink)

The article focuses on past epidemics and previous confinements, looking for the art of journeying through immobility. It rekindles the plague that ravaged the city of Turin in the 1630s, as well as Xavier de Maistre who, confined in the military citadel in 1790, wrote the Voyage autour de ma chambre, perhaps the first example of modern ‘anodeporics’, a neologism to designate immobility travelogues. The essay then explores other pandemics and subsequent attempts at imitating De Maistre. First, it concentrates on (...) Wilkie Collins, the author of the 1852 short story “A Terribly Strange Bed”, who remained stranded with his father William, the painter, at the frontier of the Kingdom of Piedmont because of the cholera that broke out there in 1836. Second, it bears on Almeida Garrett, who resisted the siege of typhus-struck Oporto in 1832-3 and, ten years later, penned another classic of ‘anodeporics’, Viagens na minha terra, also inspired by De Maistre. After consideration, from the perspective of semiotics, of what is needed to “journeying throughout immobility”, the essay ends with a study of the most famous anodeporic tale in world literature, also containing ironic quotes by De Maistre: Jorge Luis Borges’ El Aleph, named after a fictional device for mystical travel confined in a basement of 1940s Buenos Aires. The conclusion of this semiotic exploration through pandemics, lockdowns, and immobility travelogues is simple: in case of forced immobility, the practice of exploring space through time can be replaced by the alternative practice of exploring time through space. (shrink)

The cinema of Theo Angelopoulos is celebrated as challenging the status quo. From the political films of the 1970s through to the more existential works of his later career, Vrasidis Karalis argues for a coherent and nuanced philosophy underpinning Angelopoulos' work. The political force of his films, including the classic The Travelling Players, gave way to more essayistic works exploring identity, love, loss, memory and, ultimately, mortality. This development of sensibilities is charted along with the key cultural moments informing Angelopoulos' (...) shifting thinking. From Voyage to Cythera until his last film, The Dust of Time, Angelopoulos' problematic heroes in search of meaning and purpose engaged with the thinking of Plato, Mark, Heidegger, Arendt and Luckacs, both implicitly and explicitly. Theo Angelopoulos also explores the rich visual language and 'ocular poetics' of Angelopopulos' oeuvre and his mastery of communicating profundity through the everyday. Karalis argues for a reading of his work that embraces contradiction and celebrates the unsettling questions at the heart of his work. (shrink)