(2013). NORMAL MONSTERS AND MONSTROUS MONSTROSITIES: a response to cary wolfe. Angelaki: Vol. 18, No. 2, pp. 191-196.

While the presence of monsters in popular culture is ever-increasing, their use as an explicit or implicit category to frame, stigmatise, and demonise the other is seemingly on the rise. At the same time, academic interest for monsters is ever-growing. Usually, monstrosity is understood as a category that emerges to signal a transgression to a given order; this approach has led to the demystification of the insidious characterisations of the (racial, sexual, physical) other as monstrous. While this effort has (...) been necessary, its collateral effects have reduced the monstrous to a mere (socio-cultural) construction of the other: a dialectical framing that de facto deprives monstrosity from any reality. 'Monstrous Ontologies: Politics, Ethics, Materiality' proffers the necessity of challenging these monstrous otherings and their perverse socio-political effects, whilst also asserting that the monstrous is not simply an epistemological construct, but that it has an ontological reality. There is a profound difference between monsters and monstrosity. While the former is an often sterile political and social simplification, the end-product of rhetorical and biopolitical apparatuses; the latter may be understood as a dimension that nurtures the un-definable, that is, that shows the limits of these apparatuses by embodying their material excess: not a 'cultural frame', but the limit to the very mechanism of 'framing'. The monstrous expresses the combining, hybridising, becoming, and creative potential of socio-natural life, albeit colouring this powerful vitalism with the dark hue of a fearful, disgusting, and ultimately indigestible reality that cannot simply be embraced with multicultural naivety. As such, it forces us towards radically changing not the categories, but the very mechanisms of categorisation through which reality is framed and acted upon. Here lies the profound ethical dimension that monstrosity forces us to acknowledge; here lies its profoundly political potential, one that cannot be unfolded by merely deconstructing monstrosity, and rather requires to engage with its uncomfortable, appalling, and revealing materiality. This book will appeal to postgraduate students, PostDocs, and academics alike in the fields of philosophy, critical theory, humanities, sociology and social theory, criminology, human geography, and critical legal theory. (shrink)

The article is a response to the calls for a comprehensive understanding of the nature of monstrosity, that is, those phenomena that are not amenable to empirical observation but are increasingly attracting scholarly interest. It is shown how the monster can be conceptualized as an object of culture of human imagination, i.e., in the form of works created by a culture in order to constitute its own identity, as well as in terms of behavior and practical actions through which (...) they appear and can be discussed from a moral point of view. Admitting the importance of understanding of monstrosity within the humanities and social sciences, it is necessary to note a connection of this phenomenon with philosophy as something constantly emerging and associated with liminal zones. The author considers designations that are often used as synonyms for monstrosity and determines its specific nature. The article postulates that philosophy tries to conceptualize how a person is attracted by the world with its monstrosity, which is not just a component of being but its inherent nature. Moreover, as it deals with monstrosity, philosophy itself acquires a monstrous nature; in this sense, it cannot not be a creative activity of a universal character. In conclusion, it is stated that the philosophical understanding of monstrosity is critically important, since philosophy postulates foundations that are always monstrous in one way or another. It is also noted that the natural-scientific origins of the study of monstrosity have a philosophical orientation, since they address the fundamental question - “What is life?” Thus, monstrosity requires constant philosophical reflection on the human nature and life in general, whose boundaries are unstable and elusive. (shrink)

In this paper Foucault’s thought on monstrosity is explored. Monsters appear whenever and wherever knowledge/power assemblages emerge. That which eludes the latter, and which threatens to subvert them, is the monstrous. Foucault distinguished the production, throughout history, of juridical-natural monsters, moral monsters, and political monsters. In this paper it is argued that Foucault must have sensed that monstrosity eludes all notions of identity and difference, and therefore also the notion that places it ‘outside’. It is the space of (...) emergence itself, i.e. the location where sheer potentiality becomes the possible of and in the event. All monstrosity is therefore deeply, and inevitably, political. It is the promise of unsettling subversion. (shrink)

Monsters lurk within mathematical as well as literary haunts. I propose to trace some pathways between these two monstrous habitats. I start from Jeffrey Jerome Cohen’s influential account of monster culture and explore how well mathematical monsters fit each of his seven theses. The mathematical monsters I discuss are drawn primarily from three distinct but overlapping domains. Firstly, late nineteenth-century mathematicians made numerous unsettling discoveries that threatened their understanding of their own discipline and challenged their intuitions. The great French mathematician (...) Henri Poincaré characterised these anomalies as ‘monsters’, a name that stuck. Secondly, the twentieth-century philosopher Imre Lakatos composed a seminal work on the nature of mathematical proof, in which monsters play a conspicuous role. Lakatos coined such terms as ‘monster-barring’ and ‘monster-adjusting’ to describe strategies for dealing with entities whose properties seem to falsify a conjecture. Thirdly, and most recently, mathematicians dubbed the largest of the sporadic groups ‘the Monster’, because of its vast size and uncanny properties, and because its existence was suspected long before it could be confirmed. (shrink)

Along the path opened by Galileo’s mechanics, early modern mechanical philosophy provided the metaphysical framework in which ‘matter in motion’ underwent a process of reduction to mathematical description and to physical explanation. The struggle against the monstrous contingency of matter in motion generated epistemological monsters in the domains of both the natural and civil science. In natural philosophy Descartes’s institution of Reason as a disembodied subject dominated the whole process. In political theory it was Hobbes who opposed the artificial unity (...) of the body politic to the monstrous multiplicity of the multitude. Through a parallel analysis of the basic structure of Descartes’s and Hobbes’s enterprises, this article explains in which sense Hobbes’s peculiar form of materialism is in fact to be considered a surreptitious reduction of materialism to its ideological counterpart, Cartesian dualism, and to its implicit political-pedagogical project. (shrink)

The monster and the woman thus find themselves on the same side, the side of dissimilarity. “The female is as it were a deformed male,” added Aristotle . As she belongs to the category of the different, the female can only contribute more figures of dissimilarities, if not creatures even more monstrous. But the female is a necessary departure from the norm, a useful monstrosity. The monster is gratuitous and useless for future generations. Aristotle’s seminal work on the generation (...) of monsters posited a rigorously physical definition that was not necessarily linked to deformities: “Monstrosities,” he wrote, “come under the class of offspring which is unlike its parents” . Further, while a “monstrosity, of course, belongs to the class of ‘things contrary to Nature,’ … it is contrary not to Nature in her entirety but only to Nature in the generality of cases” .The monster, defined repeatedly by its lack of resemblance to its legitimate parents, is also monstrous in another important way, one that Aristotle described as a false resemblance to different species: “People say that the offspring which is formed has the head of a ram or an ox; and similarly with other creatures, that one has the head of another.… at the same time, in no case are they what they are alleged to be, but resemblances only” . The monster is thus a double imposture. Its strange appearance—a misleading likeness to another species, for example—belies the otherwise rigorous law that children should resemble their parents. Further, monsters offer striking similarities to categories to which they are not related, blurring the differences between genres, and disrupting the rigorous order of nature. Thus, if the monster were defined in the first place as that which did not resemble him who engendered it, it nevertheless displayed some sort of resemblance, albeit a false resemblance to an object external to its conception. Marie-Hélène Huet is William R. Kenan Professor of Romance Languages at Amherst College. She is the author of Rehearsing the Revolution: The Staging of Marat’s Death, 1793-1797 and is currently completing a book on literature and tetratology. (shrink)

Monstrosity has its recognized place in cultural narratives but in philosophical discourse it remains mostly untouched. In my paper I make an attempt at phenomenological inquiry into the experience of the Other’s monstrous body. I am beginning with some remarks concerning Georges Canguilhem and Michel Foucault, the philosophers who devoted some attention to the problem of monstrosity and the monstrous, but my analysis is mainly based on the works of Bernhard Waldenfels, Edmund Husserl and Maurice Merleau-Ponty. Waldenfels emphasizes (...) that the corporeal self is somehow perceived as alien, always somewhat distanced and not totally graspable. He also argues that the closer the Other, the stronger activation of the boundary between the spheres of the ownness and the alienness is caused. A promising framework for the analysis of the ambivalent reaction brought about by the encounter with a monstrous human body can be provided by Husserl’s phenomenological inquiry into the process of pairing, developed in his Cartesian meditations. It seems that in this experience the pairing process is frustrating and deranged because the process of apperception is disturbed by a cluster of untypical or quite unique characteristics of the monstrous body. In result, its sense remains unclear, puzzling and challenging. Interesting light on the experience of the Other’s monstrous body could shed Merleau-Ponty’s phenomenology, especially the ideas of flesh and chiasm outlined in his last work. The radical character of the monster, while does not render it something totally different from the own, elucidates, however, the contingency of the order under which the human corporeality is subsumed. (shrink)

In France between 1780 and 1815, doctors opened a broad correspondence with medical faculties and public officials about foetal anomalies . Institutional and legal reforms forced doctors to encounter monstrous births with greater frequency, and they responded by developing new ideas about heredity and embryology to explain malformations to public officials. Though doctors achieved consensus on pathogenesis, they struggled to apply these ideas in forensic cases, especially with doubtful sex. Medical networks simultaneously allowed doctors to explore obstetrical techniques, as licensing (...) regulations forced practitioners into emotional encounters with child anomalies. Doctors thus developed a new ethics for treating monstrosities, viewing them as pathological specimens, forensic objects, and obstetrical tragedies. (shrink)

In his book The Myth of Evil , Phillip Cole claims that the concept of evil divides normal people from inhuman, demonic and monstrous wrongdoers. Such monsters are found in fiction, Cole maintains, but not in reality. Thus, even if the concept of evil has the requisite form to be explanatorily useful, it will be of no explanatory use in the real world. My aims in this paper are to assess Cole’s arguments for the claim that there are no actual (...) evil persons, and, in so doing, to develop a clearer framework in which to think about evil personhood. While Cole is right to claim that there are no actual evil monsters or supernatural demons, he underestimates the extent to which ascriptions of demonic monstrosity are figurative rather than literal. Hence, a lack of actual monsters does not imply a lack of actual evil persons. More plausibly, Cole suggests that the concept of evil implies an unrealistically dualistic worldview, with purely evil people on one side and ordinary people on the other. Since no one is purely bad, Cole claims, the concept of evil fails to refer to actual persons. Cole is wrong to think that the use of extreme moral concepts is incompatible with fine-grained moral evaluations across a broad spectrum between the extremes. Nor is Cole sufficiently careful in unpacking the various ways in which a person might be considered purely bad. I will argue that some actual persons are extremely bad, that it is very likely that some actual persons are fixedly bad, and that quite possibly no actual persons are thoroughly bad or innately bad. It is plausible that a person is evil only if he is extremely and fixedly bad, but Cole is wrong to suppose that a person is evil only if he is thoroughly and innately bad. Thus, even if we accept Cole’s claim that no actual person is thoroughly or innately bad, it still seems very likely that some actual persons are evil, and hence that evil can be an explanatorily useful concept. (shrink)

The present essay analyzes an eighteenth-century phase of the querelle des monstres and highlights two main points. 1) As the cases of Lémery and Winslow demonstrate, in the period when preformation was the dominant view, the dispute over the origin of monsters carried into the very field of preformation the contrast which had originally opposed it to the now defeated model of epigenesis, namely the alternative between mechanical genesis and pre-existence of the monstrous form itself. 2) One of the most (...) important episodes in the shift of teratology from a primarily theological or metaphysical issue to a purely natural one was due to Albrecht von Haller. Haller shifted the dispute from anatomy to embryology; and it is on an embryological base and not on metaphysics that he built his own demonstration of the original nature of the monster. He was furthermore the only scientist of authority who dealt with teratology from an epigenetic standpoint. His numerous changes of view in the field of embryology did in fact never affect his early adherence to the thesis of original monstrosity. (shrink)

In Leopardi’s writings the idea of the monster/monstrous means a deviation from nature or a consequence of something that is considered monstrous because it belongs to, or reflects a taste or a set of criteria of evaluation belonging to another time or place. There is therefore both an absolute and a relative meaning of monster/monstrous, according to whether it refers to the real history of mankind, which progressively diverged from nature, or to the imaginary foundation of taste and judgement. Nonetheless, (...) these two moments are intertwined and refer one to the other reciprocally. In fact, the real difference between humanity and nature is the source of every imagination about monstrosity. One might even say that the notion of the monster/monstrous is the chain that links the ‘real’ and the ‘imaginary’ because it is the result of a miscalculation that makes a mere partial viewpoint absolute. (shrink)

In recent years, much work has been done on the role of images in Hobbes. But there is an unsolved riddle with regard to the famous frontispiece of Leviathan (1651). Why is there nothing monstrous in the sovereign body depicted, despite the fact that it is named for a Biblical sea monster? In this article it is argued that there is a monster just barely hidden in the image and that the iconographical tradition helps us rediscover this creature. We argue (...) that this monstrosity serves a theoretical and political purpose pertaining to fear and imagery within Hobbes’s overall project and in the political context of his time. Moreover, we argue that the discovery of the hitherto unknown monster should make political theory and intellectual history sensitive to the role played by physical images in Hobbes as well as in political thought at large. (shrink)

1. Marx's monstrous ecostential imagination -- 2. Stranger: consuming the nature of monstrosity -- 3. Creature: the nature of domination on the margins -- 4. Thing: hauntology as a study of inheritance -- 5. Other: disconnection and a critique of the natural self -- 6. Enchantment and the madness of science -- Final thoughts.

In its hegemonic definition, biopolitical governmentality is characterised by a seemingly infinite capacity of expansion, susceptible to colonise the landscape and timescape of the living present in the name of capitalistic productivity. The main trait of biopower is its normative, legal and political plasticity, allowing it to reappropriate critiques and resistances by appealing to bioethical efficacy and biological accuracy. Under these circumstances, how can we invent rebellious forms-of-life and alternative temporalities escaping biopolitical normativity? In this essay, I interrogate the theoretical (...) presuppositions of biopolitical rationality. I provide a deconstruction of the conceptual and temporal structures upholding the notion of biopolitics, in view of laying the ground for new forms of resistance. The articulation between life and power has a long philosophical history, which has been largely ignored by social theorists and political thinkers using biopolitics as an interpretative model. I re-inscribe this model within the tradition of critical materialism, by articulating Foucault’s ‘critical ontology’ to recent philosophical works on biological plasticity (Malabou). In these discourses, the logic of biopower depends on a representation of life – ‘the living’ – as living present. Biopower finds itself anchored in the authority of the present, that is to say, of being-as-presence (ontology); it sustains presentist definitions of life and materiality, be it under the form of a ‘plastic’ ontology. By drawing on Derrida’s notions of ‘spectrality’ and ‘life-death’ and Francesco Vitale’s work on ‘biodeconstruction’, I deconstruct these discourses on life and materiality and attempt to dissociate them from their ontological grounding, in order to suggest new paths of resistance to biopower. In particular, I follow the tracks of “the monster” in the work of Foucault, Derrida and Malabou. Foucault tells us that the monster is a singular figure, parasitic and subversive, beckoning a life beyond life, at once organic and non-organic, located at the limit between the normal and the exceptional, and exceeding the scope of biopolitical normativity in both theoretical and practical terms. It exists at the intersection of what Foucault names “the symbolics of blood” and “the analytics of sex”. As such, it materialises a self-transformative dimension of the living which remains, I argue, inadequate to Malabou’s representation of plasticity. The monstrous is a self-deconstructive motif calling for another biopolitical rationality, before or beyond ontological reductions or reconstructions. (shrink)

Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt shift (...) in my readers. I direct the readers' viewing so that, at first, Gavarni's pierrots appear as handsome, albeit licentious youths, but then, through a shift in focus, I reveal their hideous, monstrous profiles. At this point, I argue that if we treat Gavarni's pierrots and the sorts of desires that they represent with single-minded opprobrium, then we run the risk of perpetuating the ugliness we scorn. There is, then, a double change in vision, which I seek to effect. The first one is the alteration of the visual, and the second, of the ethical perspective. The latter has to do with a realization that Gavarni's Pierrots can elicit from us — depending on how we see them — either complicity or reprehension, which is not so much a commentary on the drawing, as it is a reflection on ourselves (our biases, opinions, desires, values, etc.). The phenomenon that underlies the change in how we see what Gavarni portrays and how we, thereafter, relate to what we notice — the malleability of the human psyche — is what allows for and calls the many masking images we, ourselves, wear and perceive. The final question that I address in the paper is whether we can claim mastery over those images, which mask the monstrous or whether, if we do, then far from getting rid of the callous, the cruel, and the inhumane, we stand the risk of giving these expressions a freer playground? (shrink)

A collection of interdisciplinary essays examining how far and to what extent humanity and monstrosity have become intertwined.

The monster is created as a marvel, as something which, like transgression itself, does not belong to the assumed natural order of things. It is a liminal creature which embodies the very boundaries humans have overreached. The latest perspectives on the concept of the monstrous are connected to the new technological experiments and to artificial intelligence. Technology problematizes the real vs the virtual, the human vs the inhuman, the concept itself of legal persona: all this sets itself within a posthuman (...) scenario. The movies Transcendence and Her perfectly epitomize these concepts, because in the former the conscience of the scientist Will is downloaded into a computer, from which he emerges as a new monstrous entity; in the latter a computer program, a voice, so artfully interacts with man as to give the impression of a reasonable and independent human being. (shrink)

Kaplan (1989a) insists that natural languages do not contain displacing devices that operate on character—such displacing devices are called monsters. This thesis has recently faced various empirical challenges (e.g., Schlenker 2003; Anand and Nevins 2004). In this note, the thesis is challenged on grounds of a more theoretical nature. It is argued that the standard compositional semantics of variable binding employs monstrous operations. As a dramatic first example, Kaplan’s formal language, the Logic of Demonstratives, is shown to contain monsters. For (...) similar reasons, the orthodox lambda-calculus-based semantics for variable binding is argued to be monstrous. This technical point promises to provide some far-reaching implications for our understanding of semantic theory and content. The theoretical upshot of the discussion is at least threefold: (i) the Kaplanian thesis that “directly referential” terms are not shiftable/bindable is unmotivated, (ii) since monsters operate on something distinct from the assertoric content of their operands, we must distinguish ingredient sense from assertoric content (cf. Dummett 1973; Evans 1979; Stanley 1997), and (iii) since the case of variable binding provides a paradigm of semantic shift that differs from the other types, it is plausible to think that indexicals—which are standardly treated by means of the assignment function—might undergo the same kind of shift. (shrink)

This paper introduces the Monstrous Conclusion, according to which, for any population, there is a better population consisting of just one individual (the Monster). The Monstrous Conclusion is deeply counterintuitive. I defend a version of Prioritarianism as a particularly promising population axiology that does not imply the Monstrous Conclusion. According to this version of Prioritarianism, which I call Asymptotic Prioritarianism, there is diminishing marginal moral importance of individual welfare that can get close to, but never quite reach, some upper limit. (...) I argue that Asymptotic Prioritarianism faces a theoretical cost, that I call the Absolute Priority Principle. However, the Absolute Priority Principle is an extreme version of what I call the Trade-off Condition, an already noteworthy problem facing other (more widely endorsed) versions of Prioritarianism. I conclude that it is better for a theory to imply the Absolute Priority Principle and avoid the Monstrous Conclusion than to imply the Monstrous Conclusion and the Trade-off Condition. The potential for Asymptotic Prioritarianism is substantial. (shrink)

Table of contents for MONSTERS AND PHILOSOPHY, edited by Charles T. Wolfe (London 2005) -/- List of Contributors iii Acknowledgments vii List of Abbreviations ix -/- Introduction xi Charles T. Wolfe The Riddle of the Sphinx: Aristotle, Penelope, and 1 Empedocles Johannes Fritsche Science as a Cure for Fear: The Status of Monsters in 21 Lucretius Morgan Meis Nature and its Monsters During the Renaissance: 37 Montaigne and Vanini Tristan Dagron Conjoined Twins and the Limits of our Reason 61 Annie (...) Bitbol-Hespériès Degeneration and Hybridism in the Early Modern Species 109 Debate: Towards the Philosophical Roots of the Creation-Evolution Controversy Justin E. H. Smith Leibniz on the Unicorn and Various other Curiosities 131 Roger Ariew The Creativity of God and the Order of Nature: 153 Anatomizing Monsters in the Early Eighteenth Century Anita Guerrini The Status of Anomalies in the Philosophy of Diderot 169 Annie Ibrahim The Materialist Denial of Monsters 187 Charles T. Wolfe Cerebral Assymetry, Monstrosities and Hegel. 205 On the Situation of the Life Sciences in 1800 Michael Hagner The Lady Knight of the Perilous Place 217 Elfriede Jelinek Monster: More than a Word. . . From Portent to Anomaly, 231 the Extraordinary Career of Monsters Beate Ochsner Index 281 . (shrink)

Given that they are chance events, there can be no scientific demonstration or knowledge of monsters. There are still, however, many recognizable elements of scientific explanation in Aristotle's Generation of Animals Book IV chapter 4. What happens in cases of monsters and deformities occurs in the process of generation, and there is much that we can know scientifically about this process—working from the animal’s essential attributes outward to factors that influence these processes. In particular, we find Aristotle looking for and (...) investigating whether “for the most part” correlations are causally relevant and linked to essence. Even though the birth of monsters is scientifically inexplicable, the features of animals that tend to produce them can be known about. I will explain how it is that producing more than one offspring per birth is a knowable feature of a kind. This feature, along with others, can then give us a much better grasp on what happens in particular instances of monstrous birth. (shrink)

This article explores and discusses Tim Burton's film Edward Scissorhands by applying a Georg Simmel/Ernst Bloch analysis. Aside from each of the philosophical approaches serving as insightful analyses of the symbolism and narrative of the film, it is also theoretically useful to compare and unpack the similarities and differences in aspects of both Simmel's and Bloch's philosophical ideas and metaphors, influenced by their collaboratory experiences; Bloch became associated with Georg Simmel in 1908. The association and friendship with Simmel lasted until (...) 1911; at this time Bloch became increasingly disillusioned with Simmel's apparent inability to commit to any particular philosophical position. Correspondence finally drew to a close when Simmel openly supported the war policy of Imperial Germany in 1914. The influences of many of Simmel's ideas in relation to the development of Bloch's philosophy are implicitly noticeable in the cross-referencing of similar ideas, metaphors and themes. This article will suggest and tentatively work through aspects of some similarities and differences. The aim of this comparison and contrast of Simmel in relation to Bloch via Edward Scissorhands, will also serve to highlight Bloch's philosophical departure from Simmel's fragments. By exploring and discussing Simmel's essays 'The Aesthetic Significance of the Face', 'The Ruin' and 'The Stranger,' in the context of Edward Scissorhands, I will suggest that the film can be seen as a particularly poignant and effective cultural metaphor of not only the problematic nature of human ideals, but also urban ennui and disconnectedness. By comparison, the Blochian treatment of Edward Scissorhands will emphasise the Gothic, the radical stridency of Youth, and, potential utopian possibilities that are, so far, 'Not-Yet'. These frameworks will suggest that Edward Scissorhands be understood as a beautiful-monster, a cultural refraction of the utopian incognito of Not-Yet articulated future possibilities. (shrink)

Amazons and giants, snakes and gorgons, centaurs and gryphons: monsters abounded in ancient culture. They raise enduring philosophical questions: about chaos and order; about divinity and perversion; about meaning and purpose; about the hierarchy of nature or its absence. Del Lucchese grapples with the concept of monstrosity, showing how ancient philosophers explored metaphysics, ontology, theology and politics to respond to the challenge of radical otherness in nature and in thought.

A comprehensive analysis of the use of metaphors of monstrosity and death in political theory, specifically in relation to conservatism, Marxism and fascism.

This paper aims to examine the very unstable concept of the “uncanny” from an atmospherological point of view. Its official theoretical “sanction” is due to Heidegger, who considered it the latent but fundamental ground of any being-in-the-world, and especially to Freud, who described it as the feeling that arises when something familiar suddenly becomes unfamiliar. Freud claimed to be inspired in this conception by Schelling's definition of unheimlich, which I try to explain to better understand what an uncanny atmosphere is. (...) It seems characterized by elements such as ontological ambiguity-vagueness and paranoid subjectification, alien corporeality and unpredictable situations. The paper ends with a brief analysis of the specific uncanny of houses, both in terms of their transformation from a secure interior to an uncanny place and in terms of the anxiety about materially inheriting a house and thus cohabiting with the past. In the perspective adopted here, the uncanny shows that we are not at home within our own body because we always coexist with an external-foreign and in this sense “monstrous” presence. (shrink)

What is the political function of monstrosity? What is the nature of our political relationship with the dead? Why are the undead so threatening? In _The Monstrous and the Dead_, Mark Neocleous explores such questions as they run through three major political traditions: conservatism, Marxism and fascism. One of the things uniting these otherwise opposing traditions is that they share a common interest in the dead. This is therefore a book about the politics of remembrance, showing that how and (...) why the dead register in our political lives constitutes a major dividing line for the political traditions in question: are the dead to be reconciled with the living in a conservative fashion, resurrected for the cause of fascism or are their hopes and struggles to be redeemed for a communist future? Exploring these issues reveals that, as well as leaving traces in memories, dreams and unfulfilled wishes, the dead also generate fears, most notably the fear that they are not really dead: they are undead and thus monstrous. The book therefore simultaneously considers the function of monstrosity as a rhetorical political device: in Burke’s response to the monstrous revolution, Marx’s use of the vampire and fascism’s concept of the Marxist-liberal-Jewish menace. The outcome is an original reading of key thinkers and movements in western politics, a provocative account of the role of political metaphor and an eclectic argument concerning the place of the dead in historical struggles. (shrink)

This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and “prosthetic” pregnancy, it asks whether the “monstrous” can offer different kinds of figurations of the maternal that acknowledge the agency and potential (...) power of the pregnant subject. (shrink)

: This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and "prosthetic" pregnancy, it asks whether the "monstrous" can offer different kinds of figurations of the maternal that acknowledge the agency and (...) potential power of the pregnant subject. (shrink)

In this paper I argue that “monstrous” women – violators of both moral and gender norms – mark the limits of acceptable behavior through such violation and thus provide particular insight into the workings of gendered power relations within contemporary western societies. Drawing upon Michel Foucault’s 1975 College de France course titled Abnormal , I begin by arguing that gendered power relations in western societies can be characterized as “normalizing.” Next, I refer to Foucault’s discussion of “natural” and “moral” monsters (...) in order to provide a sketch of the monstrous woman, and then show how specific monstrous women violate moral and gender norms. By way of conclusion I argue that the figure of the monstrous women is not wholly negative but rather ambivalent. As Foucault asserts, monsters are “limit figures;” monstrous women challenge limits – including prevailing norms governing the feminine and the human – in ways that render them explicit such that they are denaturalized and ultimately opened up to critical interrogation. (shrink)

"What matters is not so much that Žižek is endorsing a demythologized, disenchanted Christianity without transcendence, as that he is offering in the end a heterodox version of Christian belief."--John Milbank"To put it even more bluntly, my claim is that it is Milbank who is effectively guilty of heterodoxy, ultimately of a regression to paganism: in my atheism, I am more Christian than Milbank."--Slavoj ŽižekIn this corner, philosopher Slavoj Žižek, a militant atheist who represents the critical-materialist stance against religion's illusions; (...) in the other corner, "Radical Orthodox" theologian John Milbank, an influential and provocative thinker who argues that theology is the only foundation upon which knowledge, politics, and ethics can stand. In The Monstrosity of Christ, Žižek and Milbank go head to head for three rounds, employing an impressive arsenal of moves to advance their positions and press their respective advantages. By the closing bell, they have not only proven themselves worthy adversaries, they have shown that faith and reason are not simply and intractably opposed. Žižek has long been interested in the emancipatory potential offered by Christian theology. And Milbank, seeing global capitalism as the new century's greatest ethical challenge, has pushed his own ontology in more political and materialist directions. Their debate in The Monstrosity of Christ concerns the future of religion, secularity, and political hope in light of a monsterful event--God becoming human. For the first time since Žižek's turn toward theology, we have a true debate between an atheist and a theologian about the very meaning of theology, Christ, the Church, the Holy Ghost, Universality, and the foundations of logic. The result goes far beyond the popularized atheist/theist point/counterpoint of recent books by Christopher Hitchens, Richard Dawkins, and others. Žižek begins, and Milbank answers, countering dialectics with "paradox." The debate centers on the nature of and relation between paradox and parallax, between analogy and dialectics, between transcendent glory and liberation. Slavoj Žižek is a philosopher and cultural critic. He has published over thirty books, including Looking Awry, The Puppet and the Dwarf, and The Parallax View. John Milbank is an influential Christian theologian and the author of Theology and Social Theory: Beyond Secular Reason and other books. Creston Davis, who conceived of this encounter, studied under both Žižek and Milbank. (shrink)

"What matters is not so much that Žižek is endorsing a demythologized, disenchanted Christianity without transcendence, as that he is offering in the end a heterodox version of Christian belief."--John Milbank"To put it even more bluntly, my claim is that it is Milbank who is effectively guilty of heterodoxy, ultimately of a regression to paganism: in my atheism, I am more Christian than Milbank."--Slavoj ŽižekIn this corner, philosopher Slavoj Žižek, a militant atheist who represents the critical-materialist stance against religion's illusions; (...) in the other corner, "Radical Orthodox" theologian John Milbank, an influential and provocative thinker who argues that theology is the only foundation upon which knowledge, politics, and ethics can stand. In The Monstrosity of Christ, Žižek and Milbank go head to head for three rounds, employing an impressive arsenal of moves to advance their positions and press their respective advantages. By the closing bell, they have not only proven themselves worthy adversaries, they have shown that faith and reason are not simply and intractably opposed. Žižek has long been interested in the emancipatory potential offered by Christian theology. And Milbank, seeing global capitalism as the new century's greatest ethical challenge, has pushed his own ontology in more political and materialist directions. Their debate in The Monstrosity of Christ concerns the future of religion, secularity, and political hope in light of a monsterful event--God becoming human. For the first time since Žižek's turn toward theology, we have a true debate between an atheist and a theologian about the very meaning of theology, Christ, the Church, the Holy Ghost, Universality, and the foundations of logic. The result goes far beyond the popularized atheist/theist point/counterpoint of recent books by Christopher Hitchens, Richard Dawkins, and others. Žižek begins, and Milbank answers, countering dialectics with "paradox." The debate centers on the nature of and relation between paradox and parallax, between analogy and dialectics, between transcendent glory and liberation. Slavoj Žižek is a philosopher and cultural critic. He has published over thirty books, including Looking Awry, The Puppet and the Dwarf, and The Parallax View. John Milbank is an influential Christian theologian and the author of Theology and Social Theory: Beyond Secular Reason and other books. Creston Davis, who conceived of this encounter, studied under both Žižek and Milbank. (shrink)

It is common practice in formal semantics to assume that the context specifies an assignment of values to variables and that the same variables that receive contextually salient values when they occur free may also be bound by quantifiers and λs. These assumptions are at work to provide a unified account of free and bound uses of third person pronouns, namely one by which the same lexical item is involved in both uses. One way to pursue this account is to (...) treat quantifiers and λs as monsters in Kaplan’s sense. We argue that this move should be avoided and explore an alternative route based on the idea that there is a variable assignment coordinate in the context and a variable assignment coordinate in the circumstance of evaluation, with the definition of truth in context identifying them. One fundamental challenge that arises in pursuing a unified account is to explain the difference in the way the gender presuppositions of bound and free pronouns project. The proposal that emerges from the attempt to meet this challenge is a non-indexical account of free third person pronouns and a new conception of the role and structure of assignment functions. (shrink)

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film (...) as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts. (shrink)

This article explores the political meanings of a relatively unexplored dimension of Edmund Burke's thought: the monster. After first showing the extent to which the figure of the monster appears throughout Burke's work, the article speculates on some of the political reasons for Burke's use of the metaphor of the monstrous. These reasons are rooted in the categories of the aesthetic developed in the Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, and also in his (...) political fear of a new collective entity only beginning to emerge on the historical stage: the proletariat. The article therefore has three aims: first, to contribute to the developing body of literature on Burke's aesthetic ideology; second, to deepen our knowledge of the Gothic tropes in Burke's writings; and third, to broaden our conception of the way conservative ideology conceptualizes order and the threats to that order. (shrink)

Inspired by Schlenker's (2003) seminal 'Plea for Monsters', linguists have been analyzing every occurrence of a shifted indexical by postulating a monstrous operator. My aim in this paper is to show that Kaplan's (1989) original strategy of explaining apparent shifting in terms of a quotational use/mention distinction offers a much more intuitive, parsimonious and empirically superior analysis of many of these phenomena, including direct--indirect switches in Ancient Greek, role shift in signed languages, free indirect discourse in literary narratives, and mixed (...) quotation. Format: . (shrink)

From his long years of experience as a local executive until he was ushered into the presidency, Duterte was able to master the masses’ longings. He understands what the public expects in a leader-- gathered from information he collected in unorthodox fashion. He plunges into the grassroots even (at times) resorting to disguises; and sometimes he maintains his own intelligence group that feeds him necessary information. The shock that he generates in all corners, factions, sectors and even countries would qualify (...) him (perhaps) to be the unnamed monster that can disrupt the realm of Philippine politics. But despite his monstrous image, quite surprisingly, Duterte remains popular and appealing to the electorate. This essay foregrounds the ambivalent monster that the Philippine president wittingly or unwittingly assumes; a monster that is ready to devour victims while protecting those he (supposedly) loves. The essay argues that Duterte is a monster that represents a rapture—a kind of abrupt transition. He represents a monster leader that does not care about the elite’s and traditional pundits’ definition of a leader. He represents a leader that is hindi-iba (sa masa) but at the same time iba sa marami (trapo/traditional politicians). (shrink)

This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. It shows how Lynch's tactic of interweaving apparently discrete spaces of dream and reality – one often inverting or uncannily ironising the other – relies on the virtual space of cinema, which leaves a mark on understanding, irrespective of its apparent truth. To do so, I employ Peter Sloterdijk's philosophy of space – especially the spherology developed in his Spheres (...) trilogy – and Bernard Stiegler's approach to cinematic phenomenology to consider the transferential force of cinema, and its power to cultivate and shape popular consciousness. Mulholland Drive is acutely aware of this force, and its interplay with the expectations and disappointments of Hollywood monstrosity inserts itself into the sphere-forming traffic of modern meaning-making. In doing so, I argue, the film takes up Lynch's familiar approach to irony and the weird to unwind the destructive uniformity of Hollywood hegemony. The productive bifurcations that result, inscribed in between cinema and consciousness, and forgettable as the very spheric intimacy of memory, gesture to what might live beyond discrete forms. (shrink)

This edited volume takes a new look at an old question: what is the relationship between beauty and monstrosity? How has the notion of beauty transformed through the years and how does it coincide with monstrous ontologies? Contributors offer an interdisciplinary approach to how these two concepts are interlinked and emphasizes the ways the beautiful and the monstrous pervade human experience. The two notions are explored through the axis of human transformation, focusing on body, identity and gender, while questioning (...) both how humans transform their body and space as well as how humans themselves are gradually transformed in different contexts. The pandemic, gender crisis, moral crisis, sociocultural instability, and environmental issues have redefined beauty and the relationship we have with it. Exploring these concepts through the lens of human transformation can yield valuable insights into what it means to be human in a world of constant change. The book will be of interest to scholars working in art history, archaeology, philosophy, architecture, and cultural studies. (shrink)

Mixed quotation exhibits characteristics of both mention and use. Some even go so far as to claim it can be described wholly in terms of the pragmatics of language use. Thus, it may be argued that the observed shifting of indexicals under all quotation shows that a monstrous operator is involved. I will argue the opposite: a proper semantic account of quotation can be used to exorcize Schlenker's monsters from semantic theory.

This paper argues that today the true source of terror in the economico-biopolitically advanced countries of global capitalism lies in biopower’s own constitution as a normative field (the protection of life) that presupposes its exception (the superfluity of life) as its own precondition. At the two extreme poles of this exception we find “terrorism,” and particularly suicide bombing, and unmanned aerial vehicles (UAVs or drones), as the pair revealing the core of biopower. However, of the two only “terrorism” is discursively (...) constructed in the “West” as a monstrous act that should incite horror. Linking horror to the psychoanalytic concepts of repression and foreclosure, I argue that the biopolitical function of horror lies in rendering unreadable the message of such “monstrous” acts. Furthermore, insofar as horror’s experience is an affective state of being that can, nevertheless, be incited discursively, affect shifts to the center of the political domain. The affect of horror in particular becomes instrumental to politics as it can provide the criterion for determining the bio-racial break between, in Foucault’s words, “what must live and what must die.”. (shrink)

This paper argues that today the true source of terror in the economico-biopolitically advanced countries of global capitalism lies in biopower’s own constitution as a normative field that presupposes its exception as its own precondition. At the two extreme poles of this exception we find “terrorism,” and particularly suicide bombing, and unmanned aerial vehicles, as the pair revealing the core of biopower. However, of the two only “terrorism” is discursively constructed in the “West” as a monstrous act that should incite (...) horror. Linking horror to the psychoanalytic concepts of repression and foreclosure, I argue that the biopolitical function of horror lies in rendering unreadable the message of such “monstrous” acts. Furthermore, insofar as horror’s experience is an affective state of being that can, nevertheless, be incited discursively, affect shifts to the center of the political domain. The affect of horror in particular becomes instrumental to politics as it can provide the criterion for determining the bio-racial break between, in Foucault’s words, “what must live and what must die.”. (shrink)

This paper argues that while regulatory frameworks in aged care authorise restraints to protect vulnerable persons living with dementia from harm, they also serve as normalising practices to control challenging monstrous Others. This argument emerges out of an observed unease in aged care discourse where older people living with dementia are described as ‘vulnerable’, while dementia behaviours are described as ‘challenging’. Using narrative analysis on a case study from the Final Report of the Australian Royal Commission into Aged Care Quality (...) and Safety (RCAC), this paper investigates how the RCAC (re)produced constructions of persons with dementia as ‘vulnerable monsters’. Drawing upon monstrous theory about ‘unruly and leaky’ bodies, extracts from the case study reveal how the RCAC repeated and reinforced monstrous constructions of dementia. Dementia behaviours, particularly ‘wandering’, were constructed through a dehumanising crisis frame that produced ‘challenging’ bodies and legitimised ‘last resort’ normalising practices, such as physical and chemical restraints. In failing to resist monstrous constructions of dementia behaviours, the RCAC accepted and authorised a regime of scaled responses leading to restrictive practices for control of challenging bodies in aged care. Although dementia care and restrictive practices received substantial attention in the RCAC, this paper reveals a missed opportunity for deeper review of institutionalised use of restraints that has relevance for ongoing reform of Australian aged care following conclusion of the RCAC. (shrink)

Many interpretations of David Cronenberg’s 1986 film The Fly read it as a film about monstrosity. Within this framework, the protagonist Seth Brundle’s progressive illness and decay are subsumed under his metamorphosis into a monster. Illness is taken to be a metaphor for the changes in Seth, changes that continuously turn him away from the human and towards the monstrous. Seth’s monstrosity, in turn, arises from the fusion of human and non-human, in this case the fusion of a (...) man with an insect. I suggest an opposite interpretation: instead of seeing Seth’s illness as a metaphor for monstrosity, I suggest that monstrosity is a metaphor for illness. Seth’s physical corruption as he becomes more and more monstrous is, in fact, a depiction of illness, and elicits disgust in the viewer that is identical to the disgust elicited by physical corruption brought about by illness. The external deformation of Seth as he becomes more and more fly-like, shown so spectacularly in the film, is a representation of the internal destruction and physiological chaos caused by disease. I argue that the notion of the monstrous that is so central to the film in fact supports the health/ illness dichotomy, in which the two states – health and illness, or human and monster – are posited as mutually exclusive. Instead of accepting the dichotomy and focusing on the dialecticbetween human and monstrous, as many interpretations have, I claim that the film in fact demonstrates the fallacy of this dichotomous view, showing that ultimately we all have ‘the disease of being finite’. I propose to understand the film as a tragedy portraying the terminal illness of a decent man. As such, the film dupes the viewer into accepting the human/ monster and healthy/ diseased dichotomies, only to grasp their illusoriness by the end of the film. (shrink)

In Book VI of his Confessions, Saint Augustine offers a detailed description of one of the most famous cases of weakness of will in the history of philosophy. Augustine characterizes his experience as a monstrous situation in which he both wills and does not will moral growth, but he is at odds to explain this phenomenon. In this paper, I argue that Aquinas’s action theory offers important resources for explaining Augustine’s monstrosity. On Aquinas’s schema, human acts are composed of (...) various operations of intellect and will, and thus are subject to disintegration. In order to capture the gap in human action between making choices to pursue particular goals and translating those choices into behavior, Aquinas distinguishes between two operations of will that he calls choice and use. I apply hisdistinction between choice and use to Augustine’s case, arguing that Augustine’s moral weakness is a result of will’s failure to use its choices. The central thesis of this paper is that Augustine’s monstrosity is a bona fide case of weakness of will that is best explained as a failure in use at the level of will. (shrink)

1. Complex demonstratives (noun phrases of the form ‘that F’) often behave in devious ways which do not fit well with their traditional understanding as devices of direct reference. Namely, there a...

In Book VI of his Confessions, Saint Augustine offers a detailed description of one of the most famous cases of weakness of will in the history of philosophy. Augustine characterizes his experience as a monstrous situation in which he both wills and does not will moral growth, but he is at odds to explain this phenomenon. In this paper, I argue that Aquinas’s action theory offers important resources for explaining Augustine’s monstrosity. On Aquinas’s schema, human acts are composed of (...) various operations of intellect and will, and thus are subject to disintegration. In order to capture the gap in human action between making choices to pursue particular goals and translating those choices into behavior, Aquinas distinguishes between two operations of will that he calls choice and use. I apply hisdistinction between choice and use to Augustine’s case, arguing that Augustine’s moral weakness is a result of will’s failure to use its choices. The central thesis of this paper is that Augustine’s monstrosity is a bona fide case of weakness of will that is best explained as a failure in use at the level of will. (shrink)

A common object found within medical museums is the developmental series: an arrangement of embryos depicting the transformation of an unremarkable blob into an anatomically organized and recognizable organism. The developmental series depicts a normative process, one where bodies emerge in reliable sequential stages to reveal anatomically perfect beings. Yet a century before the developmental series would become a visual model of embryological development, the very process of development itself was discerned through the comparative study of preserved human fetuses—specifically, those (...) deemed “monstrous” or characterized as “malformations.” This article examines how anatomically diverse fetal bodies were reformulated from singular curiosities into alternative developmental pathways whose characteristics testified to the laws of nature and to the primordial, physical relationship between humans and other species. In early nineteenth century Amsterdam, the father-son team of physicians Gerard and Willem Vrolik built up an internationally renowned anatomical museum famous especially for Willem’s collection of fetal malformations. Physical preparations of fetal malformations play a central role in Willem’s monumental handbook on developmental embryology: comparing human embryos against one another and the embryos of other species, Willem plots out a sequence of embryological development in which a body’s form marks its place within the ever-unfolding natural order. In conversation with the literature on model organisms, this article explores how the “monstrous” gets standardized and, in doing so, contributes to the scientific production of a normative physiological process. (shrink)

The monstrous power of the blind in Diderot’s 1949 Letter is not due to its ability to make people laugh or afraid, as its most common etymology would indicate: monstrum, monstrare, to point to an abnormal fact. The monstrous power of Diderot’s monster is that of one who shows: monere, monitor, in the manner of a guide or pathfinder. It shows us that everything that lives, and especially the human being, is a hybrid. It takes the idea of a possible (...) mixture of animals and humans into account, thus the boldness of an ‘anti-speciesism’ as presented in the fantastical bestiary of Alembert’s Dream. It brings the humanism of essence to an end and invites us to redefine a new social bond. (shrink)