The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. (...) These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination. (shrink)

While completing a PhD in literature with a focus on the practices of physical and linguistic spaces, I was also working and sleeping at a dilapidated house in a poorer part of Bristol in case I was needed by one of five paranoid or clinically psychotic residents. I gave out medication in the morning, then went home to study in a small rented room. I began to see ritual everywhere - in my professors' routines; my own habits; the behaviours of (...) the mentally ill patients. This paper is the story of a number of madnesses and the problems with reading ritual performance in everything we do. (shrink)

This is an account of an interview with one of Britain's foremost literary theorists, Professor Catherine Belsey. The interview was conducted in Ghent, Belgium in 1997. The discussion spans all of Belsey's works, from the earliest, Critical Practice (1980), to her latest publication, Shakespeare and the Loss of Eden (1999). In this piece, Belsey openly and unpretentiously discusses her feminist commitment, her sometimes controversial critical positions, some of the influences on her careers and the importance to her of her teaching.