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.

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)

For Descartes, nature must be interpreted through a limited number of simple laws used to describe the multiplicity of the real, focusing on the rule and normality rather than on the exception and monstrosity. Nevertheless, monstrosity has a vital function in Descartes' philosophy. By offering a new reading of the evil genius and the deceiver God in terms of absolute monstrosity, I intend to demonstrate the novel role played by the will in this philosophical ‘teratomachy’. Examining the (...) peculiar status Admiration occupies in the economy of the passions, I also analyze a passage from the Cogitationes circa generatione animalium , the only text in which Descartes explicitly discusses physical monstrosities. I argue that these pages, in which Descartes subscribes to a rigidly mechanistic, epigenetic view of embryology, are in tension with his doctrine of final causes and the idea of continuous creation. My theory is that the entire philosophy of Descartes can be read as a veritable war against a certain idea of monstrosity. (shrink)

A militant Marxist atheist and a "Radical Orthodox" Christian theologiansquare off on everything from the meaning of theology and Christ to the war machine of corporatemafia.

A militant Marxist atheist and a "Radical Orthodox" Christian theologiansquare off on everything from the meaning of theology and Christ to the war machine of corporatemafia.

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)

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)

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)

Monstrosity and Chinese Cultural Identity: Xenophobia and the Reimagination of Foreignness in Vernacular Literature since the Song Dynasty. By isaac Yue. Amherst, NY: Cambria Press, 2020. Pp. xii + 199. $110 ; $40.

David Kaplan's semantic theory for indexicals yields a distinct logic for indexical languages that generates contingent a priori truths. These special truths of the logic of indexicals include examples like "I am here now", an utterance of which expresses a contingent state of affairs and yet which, according to Kaplan, cannot fail to be true when it is uttered. This claim is threatened by the problem of displaced communications: answerphone messages, for example, seem to facilitate true instances of the negation (...) of this supposed logical truth as they allow the agent of the message to no longer be at the location of the message when it is encountered by an audience. Many such displaced communications can be identified in everyday natural language uses of indexicals. Recent discussion has suggested that Kaplan's error is to be overly restrictive in the possible contexts of utterance his semantic theory recognizes, as he fails to acknowledge the possibility of utterances that occur at a context distinct from that in which they are constructed. I reject this diagnosis and defend Kaplan's semantic theory. Displaced communications, I argue, are best understood as resulting from a pragmatically introduced metalinguistic context-shifting operation and hence do not demand revision of Kaplan's semantic theory. I provide an analysis of the pragmatic process underlying this operation and make the case for its merits over those of rival accounts of displaced communications. (shrink)

In reaction to a particularly scathing review of his Practice in Christianity, Kierkegaard postulated what he called a ‘preacher-machine.’ As we will see, the preacher-machine is only one type of character-machine, for, in Practice in Christianity, there are five other such machines. Starting up these character-machines will allow for an analysis of the repulsion of the God-man, Christ himself. This repulsion is important because Kierkegaard claims that it is the condition for the emergence of faith. After discussing repulsion, Kierkegaard will (...) locate a singular mistake of Christendom, which will allow him to offer his remedy to this problem. In doing so, I will claim, Kierkegaard makes a particularly forceful claim about the true status of Christianity. We begin by attempting an articulation of a definition of monstrosity before setting the scene of these six machines. (shrink)

This article explores the foundational place of disharmony in Deleuze's metaphysics and examines the consequences of this for the ethics that can be drawn from his work. For Deleuze, the space in which difference manifests itself is one of discord, monstrosity and violence. This becomes evident in his revision of Leibniz's notion of harmony in which he offers a “new harmony” based on the violent discords of differential relations, his evocation of the monstrosity of difference, and his theorization (...) of the violence of thought. This paper addresses the critically neglected juncture between Deleuze's violent metaphysics and the kinds of speculative ethics that this metaphysics calls forth. (shrink)

Resumen: El siguiente ensayo realiza un análisis crítico de los discursos/prácticas de la modernidad desde la biopolítica en torno a la anormalidad, la ciencia (como tecnociencia) y las posibilidades de comunidad que existen en las relaciones de las/los marginados/as. Tomando como referentes las películas Freaks y La Forma del Agua. Mostrando cómo el cine juega y propone elementos críticos de estas prácticas/discursos de la modernidad. Dentro de esta anormalidad se considerará a la monstruosidad como metáfora y como realidad corpórea, y (...) las mujeres como cuerpos limítrofes y marginales del reparto (en términos de Rancière). Un análisis que juega con la contingencia de la crisis social que atravesamos a nivel mundial, así como de los fragmentos sociales y corporales, pero que, sin embargo, en sus entrañas posibilitan otras formas de relaciones, otros tejidos y posibilidades de comunidad. Abstract: The following essay makes a critical analysis of the discourses/practices of modernity from the perspective of biopolitics around abnormality, science (as technoscience) and the possibilities of community that exist in the relationships of the marginalized. Taking as referents the films Freaks and The Shape of Water. Showing how cinema plays and proposes critical elements of these practices/discourses of modernity. Within this abnormality, we will consider monstrosity as metaphor and corporeal reality, and women as borderline and marginal bodies of the cast (in Rancière's terms). An analysis that plays with the contingency of the social crisis we are going through worldwide, as well as the social and corporal fragments, but which, nevertheless, in their entrails make possible other forms of relationships, other fabrics and possibilities of community. (shrink)

This article presents a variety of philosophical answers to the age old question: unde malum - where does evil come from? Starting with the metaphysical responses of Augustine, Hegel and Kant, it proceeds to examine some more recent approaches - Lyotard, Kristeva and Zizek - in terms of the 'postmodern sublime'. He concludes by proposing a 'hermeneutic' response to the problem, inspired by Paul Ricoeur, which seeks to address the question in terms of narrative understanding and practical action. /// O (...) presente artigo apresenta uma série de respostas filosóficas à imemorial questão: unde malum - qual a origem do mal? Partindo das respostas metafísicas de Santo Agostinho, Hegel e Kant, o autor examina depois algumas das abordagens mais recentes ao problema - Lyotard, Kristeva e Zizek - em termos do 'sublime pós-moderno', O artigo conclui com uma proposta 'hermenêutica 'para o problema, proposta essa inspirada no pensamento de Paul Ricoeur e cujo objectivo é elucidar a questão do mal em termos de uma compreensão narrativa e de acção prática. (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)

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 paper opens by reviewing Aristotle’s conception of the natural slave and then familiar treatments of the internal conflict between the ruling and subject parts of the soul in Aristotle and Plato; I highlight especially the figurative uses of slavery and servitude when discussing such problems pertaining to incontinence and vice—viz., being a ‘slave’ to the passions. Turning to Campanella, features of the City of the Sun pertaining to slavery are examined: in sketching his ideal city, Campanella both rejects Aristotle’s (...) natural slave and is critical of the European institutions of slavery. The fact that slavery has no place in the City of the Sun takes on added significance when complemented with Campanella’s remarks on dominion and servitude in his Quaestiones de politiciis: I show that Campanella’s conception of slavery is intimately bound to sin, and consider whether his employment of the trope of slavery within the context of vice diverges from familiar usage. (shrink)

The European Legacy, Volume 17, Issue 3, Page 405, June 2012.

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)

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

According to the orthodox account developed by Kaplan, indexicals like I, you, and now invariably refer to elements of the context of speech. This essay argues that the orthodoxy is wrong. I, you, and the like are shifted by certain modal operators and hence can fail to refer to elements of the context, for example, I can fail to refer to the speaker. More precisely, indexicals are syntactically akin to logical variables. They can be free, in which case they work, (...) roughly, on the Kaplan model. But they can also be bound: this happens, in a systematic fashion, when they are in the scope of epistemic modals or attitude verbs. The new view has two interesting philosophical consequences. First, it vindicates a broadly Fregean perspective on referential expressions, essentially refuting the idea that indexicals are rigid designators. Second, it suggests a new picture of the interaction between context and linguistic meaning: compositional semantics does not need to look at the context and hence has no need for a context parameter. (shrink)

In this essay, I am concerned with the representation of groups in popular culture. My interest has to do with the politics of representing people. The couplet beauty/nonbeauty (or, more specifically, beauty/ugliness) frequently figures importantly in the representation of groups, including most notably, for my purposes, ethnic and racial minorities. This couplet can be politically significant because beauty is often associated in our culture with moral goodness. . . . Thus, beauty and non beauty can serve as a basis for (...) political rhetoric. . . . If one concept of human beauty (which is connected to ideas of goodness) sees beauty as the instantiation or near approximation of the concept human being, then the related idea of human ugliness (which is connected with ideas of moral degradation) is rooted in problematic exemplifications of the concept of the human. These "problematic exemplifications" can take many forms. The two that will preoccupy me in this essay are the imperfect exemplifications of the human found in the popular genres of horror and humor. (shrink)

A partir de uma análise comparativa entre a obra consagrada Frankenstein, de Mary Shelley, e a trilogia contemporânea Jogos Vorazes, de Suzanne Collins, este trabalho pretende assinalar a visão pessimista quanto ao progresso tecnológico e científico que ambas compartilham. Apoiamo-nos na teoria de Walter Benjamin e Hannah Arendt, pensadores que escreveram sobre a mesma visão pessimista. Ademais, nossa pesquisa investiga as faces da monstruosidade na trilogia Jogos Vorazes em contraste com a criatura gerada por Frankenstein, categorizada como monstro clássico. Por (...) fim, assinalamos a provável inclinação das mensagens finais para um pessimismo quanto ao progresso científico e tecnológico. Nosso objetivo é o de mostrar como essas histórias, separadas por quase duzentos anos, convergem para o mesmo questionamento sobre o futuro. (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)

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)

We find our way in the world partly by means of the discriminatory power of our emotions. The gut sense that something is repugnant or unsavory—the sort of feeling that many now have about various forms of biotechnology—sometimes turns out to be rooted in articulable and legitimate objections, which with time can be spelled out, weighed, and either endorsed or dismissed. But we ought not dismiss the emotional response at the outset as “mere feeling.”.

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way (...) in which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

This critical review focuses on the problems of modernity as outlined by Žižek and Milbank in The Monstrosity of Christ: Paradox or Dialectic? It argues that both Žižek’s nihil-a-theology and Milbank’s radical orthodoxy cannot provide satisfactory resolutions to the problem of the universal and the particular in both its epistemic and ethical inflections on account of being unable to make intelligible the deeper problem of order and chaos. Both authors generate a flat actualist ontology characteristic of the epistemic fallacy, (...) and hold to some form of either perspectival realism or superidealism. It is argued that it is only by affirming something like a dialectical critical realist ontology that these problems are able to be addressed while maintaining the intelligibility of scientific understanding, paradox, progress, the universal and the particular and our ethical relation to the Other. (shrink)

Why would Deleuze condemn the dialectic of the One and the Many? It is not simply to replace one set of categories with another. Rather, it is to make differential topology safe for the philosophy of time. If Deleuze affirms pure multiplicity, it is to overcome Henri Bergson's prohibition upon using mathematics to inquire into time. How else could Deleuze justify his monstrous identification of ‘continuous multiplicities’ with Riemannian manifolds?

Fertile grounds for theoretical inquiry can be found in the oddest corners. Contemporary television programming provides viewers with several talk shows of the grotesque, as I will call them, in which the aim of each episode is to put some monstrous human phenomenon on display with the help of a host and a participating studio audience. In this paper I will try to support the unlikely claim that these talk shows, which include The Jerry Springer Show and Sally Jesse Raphael (...) (among others), provide remarkably fruitful foci for theoretical attention. My plan is to give a reading of the ideological structure of talk shows of the grotesque. In particular, my interest lies in a relatively recent strand of ideological theory that has treated questions concerning the nature and reproduction of ideology as serious ontological questions: questions that go to the heart of our philosophical understanding of subjectivity, autonomy, and the metaphysics of belief and other intentional attitudes. Here I take the work of Louis Althusser, Judith Butler, and Slavoj i ek as paradigmatic and seminal representatives of this type of theorizing. My eye, in this paper, will be turned toward showing how the contemporary talk show of the grotesque provides us with a case study through which we can productively interrogate this new theoretical turn in our understanding of ideology. After spending a substantial amount of time laying down some theoretical groundwork, during which I take a selective and usurious tour through recent theories of ideology, performativity, and the constitution of subjectivity, I will analyze the talk show phenomenon by dividing it into four levels of participatory activity: those of the host, the guests, the studio audience, and the television audience. I will argue.. (shrink)

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

Lady Gaga’s celebrity DNA revolves around the notion of monstrosity, an extensively researched concept in postmodern cultural studies. The analysis that is offered in this paper is largely informed by Deleuze and Guattari’s notion of monstrosity, as well as by their approach to the study of sign-systems that was deployed in A Thousand Plateaus. By drawing on biographical and archival visual data, with a focus on the relatively underexplored live show, an elucidation is afforded of what is really (...) monstrous about Lady Gaga. The main argument put forward is that monstrosity as sign seeks to appropriate the horizon of unlimited semiosis as radical alterity and openness to signifying possibilities. In this context it is held that Gaga effectively delimits her unique semioscape; however, any claims to monstrosity are undercut by the inherent limits of a representationalist approach in sufficiently engulfing this concept. Gaga is monstrous for her community insofar as she demands of her fans to project their semiosic horizon onto her as a simulacrum of infinite semiosis. However, this simulacrum may only be evinced in a feigned manner as a (dis)simulacrum. The analysis of imagery from seminal live shows during 2011–2012 shows that Gaga’s presumed monstrosity is more akin to hyperdifferentiation as simultaneous employment of heterogeneous and potentially dissonant inter pares cultural representations. The article concludes with a problematisation of audience effects in the light of Gaga’s adoption of a schematic and post-representationalist strategy in the event of her strategy’s emulation by competitive artists. (shrink)