Some recent version of mysticism -- Empty epiphanies in modernist and postmodernist theory -- The gender of human togetherness -- Histories of modern selfhood -- Meister Eckhart's anthropology -- Becoming God in fourteenth-century Europe -- The makings of the modern self -- Taking leave of Sigmund Freud -- Everyday acknowledgments.

Histories of the Self The self is a historical phenomenon. As Nietzsche pointed out, the forms of self now taken for granted are the product of an arduous and often violent development whose beginnings, in Nietzsche's accounts at least, predate Cesare Borgia.1 Nietzsche is not the only figure to have attempted to write the history of the self. Max Weber and Norbert Elias immediately come to mind.2 More recently, Charles Taylor has historicized modern Western identity (calling it “a function of (...) a historically limited mode of self-interpretation … which had a beginning in time and space and may have an…. (shrink)

Do we have to conceive of ourselves as isolated individuals, inevitably distanced from other people and from whatever we might mean when we use the word God? On Becoming God offers an innovative approach to the history of the modern Western self by looking at human identity as something people do together rather than on their own. Ben Morgan argues that the shared practices of human identity can be understood as ways of managing and keeping at bay the impulses and (...) experiences associated with the word God. The "self" is a way of doing things, or of not doing things, with "God." The book draws on phenomenology, gender studies and contemporary neuroscience to present a new approach to the history of modern identity. It surveys existing approaches to modern selfhood and proposes an alternative account by investigating late medieval mysticism, in particular texts written in Germany by Meister Eckhart and others in the same milieu. Reactions to the condemnation of Meister Eckhart's teaching for heresy in 1329 offer a microcosm of the circumstances in which something like the modern self arises as people change their behavior toward others, toward themselves, and toward what they call "God." The book makes Meister Eckhart and his contemporaries appear as our contemporaries by changing the assumptions with which we approach our own identity. To make this change requires a revision of current vocabularies for approaching ourselves, and in particular the vocabulary and habits inherited from psychoanalysis. The book finishes by exploring the parallel between late medieval confessors and their spiritual charges, and late-nineteenth-century psychoanalysts and their patients. The result is a renewed vision of the Freud's project of finding a vocabulary for acknowledging and nurturing our everyday commitments to others and to our spiritual longings. (shrink)

Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as (...) William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined. (shrink)