This book begins at the intersection of Dracula and War of the Worlds, both published in 1897 London, and describes the settings of Transylvania, Mars, and London as worlds linked by the body of the vampire. It explores the "vampire from another world" in all its various forms, as a manifestation of not just our anxieties around alien others, but also our alien selves. Unsurprisingly, many of the tropes these novels generated and particularly the themes they have in (...) common have been used and adapted by vampire narratives that followed. From Nosferatu to Alien, Interstellar, Stranger Things, and many others, this book examines how these narratives have evolved since the end of the nineteenth century. Bringing together texts and films from across the 19th, 20th, and 21st centuries, from the far reaches of outer space and the distant future, it concludes that the unexpected and the unknown are not always to be feared, and that humanity does have the power to write its own future. (shrink)

Vampire stories and folklores have originated from a range of sources; however, it is rather certain that the repulsive but attractive vampiric monster images in present popular culture are primarily derived from Anne Rice’s novel Interview with the Vampire. That being said, it was around the end of the eighteenth century that vampires first invaded the popular literary world, with literary vampires growing noticeably more powerful and perpetual than any of their monstrous predecessors in the years since the (...) publication of John Polidori’s successful short story The Vampyre in 1819. Due to associated aesthetic transformations, vampirism itself has become increasingly popular, to the extent that it now commands some followers who even worship vampiric rituals and lifestyles in spite of there being no solid, physical evidence of actual vampires, but rather only literary and imaginary examples of the creatures. In order to grasp how this fascination with vampires has turned into a quasi-religious phenomenon and ideology, a proper investigation of vampiric mechanisms and aesthetics should be empirical in nature. Utilizing Interview with the Vampire as an example due to its clearly substantial influence on current vampire imagery, this article examines how the paradoxical interchange between aversion and attraction plays its role in the visceral religion of the vampire-immersed world. (shrink)

The following article consists of an introduction by the first author, an annotated translation by the second, and then an analysis by the first, of the earliest known Scandinavian response to the Vampire phenomenon of Medvedia in 1732 by Nicolaus Boye, a state-employed physician residing in Stockholm. The translation shows that Boye’s own article, which constitutes a complete refutation of Johann Flückinger’s claims, was meticulously organised, abstracting and arguing against the major themes which he observed in the Visum et (...) Repertum, while the analysis shows that Boye was working under the topical medical theories of the Dutch botanist and physician Herman Boerhaave. The analysis also demonstrates the extent to which Boye’s rationalism in refuting the Visum at Repertum is informed by his Lutheranism and belief in the Day of Judgement, and concludes by showing examples of the impact his work exerted on other academics in the 1730s. (shrink)

ABSTRACT In this article, the first author provides a summary and translation from the Latin of an important early medical lecture on vampires by Nils Retzius. The lecture was delivered in Sweden, at Lund University, in 1737, and was published almost immediately thereafter. This important text has been overlooked by modern scholars of vampires. This article will bring the lecture back into circulation in its first English translation. The second author then offers an analysis of the intellectual background to this (...) rational debunking of vampires. He demonstrates how Retzius’s attempt at a comprehensive rational explanation for vampires, typical of much Enlightenment thinking, nevertheless employs a fusion of Galenic medical thinking with more modern medical and psychosomatic notions of medicine, as well as certain Lutheran notions concerning the devil and the spirit world. His argument scotches the belief in the idea of sympathetic magic affecting the dreams of the living, while emphasising the psychosomatic effects of the imagination on the physical body. (shrink)

Social Constructivism and the Philosophy of Science by Andre Kukla The Social Construction of What? by Ian Hacking.

Richard Matheson seeded several weird fish in the deep and dark waters of the American myth pool, not least as a prominent screenwriter for the legendary 1960s TV series The Twilight Zone. I Am Legend, a post-apocalyptic science fiction/horror novel, published in 1954 and set in 1976, remains one of his best known works.1 It shows up persistently on "Best of Horror" lists and is generally regarded as a milestone in modern Gothic fiction. What is it about this novel that (...) has invested it with canonical status? It tells a surpassingly bleak story, one that seems to encode very specific and largely outdated cultural anxieties. And as prophecy, it falls rather flat: Matheson depicts a vampire holocaust, and the .. (shrink)

: Drawing on several feminist and anti-racist theorists, I use the trope of the vampire to unravel how whiteness, maleness, and heterosexuality feed on the same set of disavowals—of the body, of the Other, of fluidity, of dependency itself. I then turn to Jewelle Gomez's The Gilda Stories (1991) for a counternarrative that, along with Donna Haraway's reading of vampires (1997), retools concepts of kinship and self that undergird racism, sexism, and heterosexism in contemporary U.S. culture.

Drawing on several feminist and anti-racist theorists, 1 use the trope of the vampire to unravel how whiteness, maleness, and heterosexuality feed on the same set of disavowals—of the body, of the Other, of fluidity, of dependency itself. I then turn tojewelle Gomez's The Gilda Stories for a counternarrative that, along with Donna Harauiay's reading of vampires, retools concepts of kinship and self that undergird racism, sexism, and heterosexism in contemporary U.S. culture.

When I opened the first novel, Twilight, my impression was that I had gone back in time to an old fashioned world where women were seen as empty conduits of masculine desire and valued for their propensity to self-sacrifice alone. It drove me to take another look at The Second Sex, a founding text for feminist philosophy written by Simone de Beauvoir half a century ago.

When I opened the first novel, Twilight, my impression was that I had gone back in time to an old fashioned world where women were seen as empty conduits of masculine desire and valued for their propensity to self-sacrifice alone. It drove me to take another look at The Second Sex, a founding text for feminist philosophy written by Simone de Beauvoir half a century ago.

Le capitalisme n’est pas d’abord un vampire. Pour sucer le sang de ce qu’il exploite en tant que « force de travail », il doit tout d’abord s’être approprié non seulement cette force de travail, mais tout ce qui la rend possible, c’est-à-dire l’ensemble de ses conditions d’existence – tout ce qui permet sa « reproduction ». Cette appropriation est le lieu d’un combat, dont l’enjeu est le refus de la mise au travail généralisée, des humains et des non-humains, (...) opérée par le capital. Un tel combat suppose une clarté sur ce que sont les points de métastabilité de la politique du capital, ou ce que l’on a longtemps appelé ses « contradictions objectives ». Mais il suppose aussi que la subjectivité qui connaît ces contradictions prenne sur elle, en quelque sorte, cette nécessité que l’ancien marxisme voulait trouver dans le mouvement de l’Histoire et dans le développement de ses contradictions. Il y a une contingence radicale des initiatives politiques, mais il y a bien une nécessité subjective à répondre à la disparition des conditions de vie sur la planète. (shrink)

Introduction The philosophy of history has come to be virtually expropriated by Marxism, contributing to the general disesteem in which the subject is now ...

Can transfusions of blood plasma slow down ageing or even rejuvenate people? Recent preclinical studies and experimental tests inspired by the technique known as parabiosis have aroused great media attention, although for now there is no clear evidence of their effectiveness. This line of research and the interest it is triggering testify to the prominent role played by the idea of combating the “natural” ageing process in the scientific and social agenda. While seeking to increase the duration of healthy living (...) time may be considered a duty, it also raises ethical questions about how to pursue this goal. Specifically, therapies and techniques accessible only to a fraction of the population seem destined to exponentially increase social inequality and to produce undesirable consequences. In this article we address the issue precisely in the light of the prospected use of plasma for the rejuvenation of a small elite of people. (shrink)

Studies in Ethics, Law and Technology differs from similar journals in the field in the following way: it is broader both in terms of focusing on a wide range of technologies as well as giving equal attention to ethical and regulatory questions. Besides, being an electronic medium, SELT has no limited word count, which characterizes hard copy journals. Finally, SELT seems to invite more pioneering and imaginative work. These points are being well demonstrated by this third issue of SELT's second (...) volume. (shrink)

Can the abnormal become an expert ? Can the subaltern speak ? What kind of objectivity does the expertise done by the abnormal, trans, intermittent, handicap or drug-addict produce? What can be called « knowledge » in a post-organic time ? Taking as starting point Donna Haraways’ « situated knowledge », this text draws a diagrammatic cartography of displacements from dominant knowledge towards a multiplicity of local or minor knowledges as well as from the epistemological debate about feminist objectivity towards (...) a political genealogy of the production of knowledges. (shrink)

For Marx, capitalism depends upon and perpetuates a system of relationships whereby members of one class of persons, capitalists, enjoys extensive and pervasive social and economic advantages over others. But on Marx’s analysis, this system of being-taken-advantage-of—this system of economic exploitation—is not to be understood by appeal to discrete incidents of fraud, bad deals, theft, or under-remuneration. Rather, the central contention of Marx’s analysis, the contention analyzed, developed, and evaluated here, is that economic exploitation is class exploitation, a phenomenon that (...) occurs only within and because of the complex system of capitalist production. And it is because this system presupposes a set of oppressive social and economic ownership relations that are not freely chosen and yet govern the terms of participation in the economy and polity that it can be appropriately described as wrong or unjust. (shrink)

The first look at the philosophy behind Stephenie Meyer's bestselling Twilight series Bella and Edward, and their family and friends, have faced countless dangers and philosophical dilemmas in Stephenie Meyer's Twilight novels. This book is the first to explore them, drawing on the wisdom of philosophical heavyweights to answer essential questions such as: What do the struggles of "vegetarian" vampires who control their biological urge for human blood say about free will? Are vampires morally absolved if they kill only animals (...) and not people? From a feminist perspective, is Edward a romantic hero or is he just a stalker? Is Jacob "better" for Bella than Edward? As absorbing as the Meyer novels themselves, Twilight and Philosophy: Gives you a new perspective on Twilight characters, storylines, and themes Helps you gain fresh insights into the Twilight novels and movies Features an irresistible combination of vampires, romance, and philosophy Twilight and Philosophy is a must-have companion for every Twilight fan, whether you're new to the series or have followed it since the beginning. (shrink)

Social Constructivism and the Philosophy of Science by Andre Kukla The Social Construction of What? by Ian Hacking.

In lieu of an abstract, here is a brief excerpt of the content:TWILIGHT OF THE VAMPIRES: HISTORY AND THE MYTH OF THE UNDEAD Matthew Kratter University ofCalifornia Berkeley "Whoever fights monsters should see to it that in the process he does not become a monster." (Nietzsche, Beyond Good andEvil, IV, 146) One ofthe most satisfying parts ofan extended engagement with the mimetic theory is the bird's-eye view of history that it affords one—that magnificently coherent panorama which stretches from proto-hominids through (...) the Passion to post-culture and the Apocalypse. The sheer scope of Girard's historical vision is also, admittedly, one ofthe more controversial aspects of his theory. As early as Violence and the Sacred (French, 1972; English trans., 1977), in a conscious revolt against the anti-Hegelian and anti-systematic temper of the times, Girard implied a historical telos for human culture that consists ofthe gradual replacement of sacrificial by non-sacrificial paradigms and praxes. With the publication of Things Hidden Since the Foundation ofthe World (1978; 1987) and The Scapegoat (1982; 1986), however, Girard appeared to step beyond the pale of polite (read, secularist) academic discourse by explicitly identifying the Christian Paraclete as the divine dynamo behind the historical process: "The Spirit is working in history to reveal what Jesus has already revealed, the mechanism ofthe scapegoat, the genesis of all mythology, the nonexistence of all gods of violence" (Scapegoat 207). More recently, in an essay on Satan (literally, "the accuser"), the contrasting role of the Paraclete (literally, "the lawyer for the defense") as a defender ofvictims is again emphasized: Matthew Kratter31 It is possible to read the history, first of the Christianized West, then ofthe Westernized planet, our modern history, as... a process of vindication and rehabilitation of more and more persecuted victims. New hidden victims of society are continuously being brought to light; the consensus against them always dissolves after a while. First it was slaves, then the lower classes, then people ofdifferent ethnic and religious backgrounds. Today the victimization of ethnic groups, of women, ofhandicapped people, ofthe very young and the very old, is coming to light. (GirardReader 208) Mostrecently, Girard's view ofhistory has become, ifanything, more unified, as (following Raymund Schwager) he has begun to emphasize the continuity between the sacrificial and the non-sacrificial (without, of course, trying to elide their differences). At a recent AAR/SBL conference in San Francisco (22 November 1997), Girard discussed the Eucharist as a recapitulation ofthe religious history of mankind, in which all previous forms of sacrifice are present (from cannibalism and "other-sacrifice" to the other end of the spectrum and "self-sacrifice"). Or phrased somewhat differently, the redemptive effects ofthe Passion radiate backwards and forwards in time— what Giuseppe Fornari implies when he refers to Christianity's "capacity to redeem the whole history ofman, summing up and surpassing all its sacrificial forms" (187). It may well prove that "Sacrifice" (with a capital "S") is the single most important and comprehensive word that we possess to describe our history. The central contention ofthis essay is that the phenomenon ofthe vampire offers itself as a privileged site for exploring this work of the Paraclete in history. The very processes of "bringing to light" and "exhuming victims," described by Girard above, are certainly metaphors appropriate to the twilit world ofthe vampire, in which the undead are always being dug up or exposed to die light. IfI maintain that, this late in the twentieth century, we are living in the "twilight ofthe vampires," the allusion to Wagner's Götterdämmerung and Nietzsche's Götzen-dämmerung is not accidental. The ambiguity ofthe German verb dämmern (which can mean "to grow dark" or "to grow light") captures all the paradoxes that surround the mythologizing, demythologizing, and remythologizing of the traditional figure ofthe vampire. I will explore these paradoxes in five successive moments (in the most archaic and traditional form taken by the vampire, then in a medieval persecution text, a late-Victorian novel, a German Expressionist film, and finally a series of 32Twilight ofthe Vampires contemporary popular novels) in order to demonstrate the various metamorphoses undergone by the vampire throughout a history which may be viewed as overseen by the Paraclete—and by a... (shrink)

: Certain themes of L.A. Paul’s Transformative Experience are explored in the context of an argument with a vampire. The major disagreement is about the extent to which third-party data should inform our decisions as to whether to embark on a transformative experience. Three case-studies are explored: becoming a vampire, having a child, and eating durian. Keywords: Transformative Experience; Decision; Epistemologically Transformative Experience; Personally Transformative Experience Discutendo con il vampiro Riassunto: Affronterò alcuni aspetti del libro di L.A. Paul (...) Transformative Experience nell’ambito di una discussione con un vampiro. Il punto di maggiore disaccordo verte sulla misura in cui fattori terzi dovrebbero informare le nostre decisioni in merito a un’esperienza trasformativa. Prenderò in considerazione tre casi: diventare vampiro, avere un figlio, mangiare il durian. Parole chiave: Esperienza trasformativa; Decisione; Esperienza epistemologicamente trasformativa; Esperienza personalmente trasformativa. (shrink)

In his article on « Vampires », in the Dictionnaire philosophique, Voltaire both evokes the phenomenon of the so-called « vampire plague » which hit Central Europe during the 1730s and recalls the controversial interpretations of this phenomenon in France and abroad. He takes advantage of the occasion to renew his anti-religious polemic, with a caustic irony that doesn’t spare even a sincere Voltairian like Jean Baptiste Boyer d’Argens, who had offered a penetrating analysis of this phenomenon in his (...) Lettres Juives. In his text, Voltaire chooses satire rather than an inquiry into causes of the phenomenon, revealing a superficial anthropological approach as well as the limits of an argument conceived as pure ideology. (shrink)

This article illuminates Henry Irving’s production of Shakespeare’s Cymbeline (1896) as a major contribution to fin-de-siècle Gothic culture. Cymbeline (1896) was one of the most popular Victorian Shakespeare productions, running to wild acclaim for more than seventy-two performances. In Cymbeline’s sexually-charged bedroom scene, Imogen, played by beloved Victorian actress Ellen Terry, was preyed upon by Henry Irving’s villainous Iachimo. Terry and Irving were at the zenith of a twenty-year partnership at London’s Lyceum theatre, and Victorian Britain’s greatest star actors. Ellen (...) Terry’s Imogen became an ideally desirable heroine for both audiences and critics of Victorian Shakespeare. Simultaneously, Cymbeline, and the acclaimed performances of Terry and Irving, became a source for literature’s most famous Gothic vampire novel: Dracula, published by Bram Stoker in 1897. Bram Stoker was Henry Irving’s business manager, and intimately involved with Irving and Terry’s professional lives at the Lyceum theatre. This article reveals the relationship between Shakespeare and Dracula, especially Ellen Terry’s Imogen as an inspiration for Lucy Westenra. Textual evidence includes Terry’s correspondence and unpublished promptbooks, as well as Stoker’s biography of Henry Irving, and facsimile notes on Dracula. Examining Cymbeline (1896) and Dracula (1897) offers a new reading of Dracula, given Cymbeline’s obsession with liminal states and female vulnerability. Moreover, Victorian responses to Ellen Terry’s Imogen in the bedchamber scene highlight fin-de-siècle eroticisations of the sleeping woman, and Victorian fantasies of sexual access to the actress. Examining Terry’s reception illuminates the disjunction between performed female passivity as Imogen, and the professional, creative activity that underlined Terry’s stage practice and agency as a Victorian actress. (shrink)

E. T. A. Hoffmann is one of the most famous representatives of early German horror literature. He has been both, inspired by its predecessors, as well as having influenced the work of many of his successors, and hence the development of the whole genre. The present article examines a story by E. T. A. Hoffmann, “Vampirismus” from the collection of short stories “Serapions Brüder”. Emphases are, on the one hand, on the mechanisms that cause readers’ fear and uncertainty and, on (...) the other hand, the peculiarity of the vampire or Nachzehrer figure and their function in the story. Firstly, it will be shown that the vampire depicted in the work is not actually a vampire. We find here a ghoul; that is a demon from Arab culture. However, the ghoul has more to do with the monster outlined by Antoine Galland in his translation of the “One Thousand and One Nights” than with traditional folk beliefs. Secondly, the author comes to the conclusion that Hoffmann has functionalized the Horrible. This element does not work by itself, but serves the author as the background of the action. And he is using this background to let the characters reveal all their weaknesses and dark sides. The violation of the order ruling in the world as it is represented engages the reader and at the same time raises his fear. The resulting excited feelings and general alienation are further reinforced for the figure of the Nachzehrer that occurs instead of a formerly innocent, graceful girl. The emergence of the supernatural – the final confirmation of the breach of order – is responsible for the effect just described. (shrink)

One of the largely untapped potentials of Sausserian semiotics is the ability it provides to examine shifts in the cultural meanings attached to objects and ideasacross time. To explore this potentiality, we trace the intertextual evolution of one of the most enduring mythic figures, the vampire. Our analysis begins with ancient texts and moves forward in time to contemporary cinematic and televised depictions of the vampire. We document the deployment of the vampire as a vehicle carrying oppositional (...) meanings as it moves through various eras. For example, vampires may connote both racism and racial resistance, homophobia and gay acceptance, women’s subjugation and women’s empowerment. By using the vampire to mediate contested, liminal regions of cultural discourse, storytellers have constructed increasingly complex and multivocal portraits of this figure. At present, vampire narratives have come to resemble an alternative universe of human morality and behavior, complete with family structures, emotional depth, and interpersonal conflicts. (shrink)

Genetic determinism is the idea that many significant human characteristics are rendered inevitable by the presence of certain genes. The psychologist Susan Oyama has famously compared arguing against genetic determinism to battling the undead. Oyama suggests that genetic determinism is inherent in the way we currently represent genes and what genes do. As long as genes are represented as containing information about how the organism will develop, they will continue to be regarded as determining causes no matter how much evidence (...) exists to the contrary. Philip Kitcher has strongly disputed Oyama’s diagnosis, arguing that the conventional ‘interactionist’ perspective on development is the correct framework for understanding the role of the genes in development. While acknowledging the legitimacy of many of Kitcher’s observations, I believe that Oyama’s view is substantially correct. In this paper I provide several lines of support for support the Oyama diagnosis. (shrink)

Uses philosophical concepts in metaphysics, epistemology, ethics, and political philosophy to analyze the television series "Buffy the Vampire Slayer.".

Since the appearance of the 1992 film Buffy, The Vampire Slayer (hereafter BtVS) and the popular 1997-2003 TV series based on it, Buffy has become a cult figure of global media culture with a panorama of websites, copious media and scholarly dissection, academic conferences, and a fandom that continues to devour reruns and DVDs of the 144 episodes. The series caught its moment and its audience, popularizing Buffyspeak, the Buffyverse (the textual universe of the show), and Buffypeople, who dedicated (...) themselves to promoting and explicating the phenomenon and exemplified the British cultural studies ideal of the active audience, able to both quote and interpret, while citing episode and season. A global popular, by the time the series reached its apocalyptic conclusion in summer 2003, it was widely recognized as one of the most striking cult TV shows of the epoch. (shrink)

This paper proceeds from the assumption that the spiritual beliefs of native people of northern Kamchatka (Koryaks, Chukchis, Evens) are not false consciousness, nor "really" about something else. I situate beliefs about vampiric shamans in the larger cultural context of the spiritual world, the human soul, and the afterlife. After this description of d iscourse about shamans, the second half of the paper demonstrates how the way people talk about the spiritual world is interconnected with their social reality.