"Der Aufsatz zielt darauf, der Prozess der historischen Überlagerung, Substitution und Verbreitung des theoretischen Paradigmas der Depression gegenüber jenem der Melancholie darzustellen. Im ersten Teil wird versucht, einige der einschneidenden Eigenschaften der Thematisierungen der Melancholie in der Frühen Neuzeit anzugeben, auch im Verhältnis zum Geist des Kapitalismus. Nachdem eine Skizze der Entstehung der moderne Kategorie der Depression, geht es darum, den Verlauf nachzuzeichnen, der im 20. Jahrhundert zu ihrer Transformation in ein weitläufiges theoretisches Paradigma geführt hat, das schließlich (...) jenes der Melancholie ersetzt hat. Der zweite Teil stellt den Versuch dar, eine Zeitdiagnose umzureißen: An dieser Stelle ist die psychosoziale Bedeutung bestimmter sozioökonomischer und kultureller Mechanismen zu untersuchen, unter besonderem Hinweis auf das, was als »der neue Geist des Kapitalismus« bezeichnet worden ist, sowie auf neue Formen des Individualismus und ihre paradoxen Dynamiken. Abschließend wird eine Brücke geschlagen, zwischen der Geschichte der beiden bezeichneten Paradigmen und der zeitgenössischen psychosozialen Dynamiken, die mit dem als »depressive Epidemie« interpretierten Phänomen verbunden sind. -/- The essay aims to analyse the gradual historical process of the partial overlap, replacement and expansion of the theoretical paradigm of depression with respect to that of melancholy. The first part is devoted to analysing some of the central features of the multivalent thematizations of melancholy drawn up during modernity, also with relation to the spirit of capitalism (in its Weberian acceptation). This is followed by an overview of the birth of the modern category of depression, and the process that during the twentieth century led to its transformation into a theoretical and nosological paradigm which in the end replaced that of melancholy. The second part is the attempt to draw up a Zeitdiagnose: the aim is to assess the ‘depressive’ psychosocial impact exercised by particular socio-economic mechanisms and cultural trends, with particular reference to what has been defined as the ‘new spirit of capitalism’, as well as the new forms of individualism and their paradoxical dynamics. In conclusion, I will form a bridge between the history of the two aforesaid paradigms and the contemporary psychosocial dynamics correlated to the phenomenon today interpreted as a ‘depression epidemic’.". (shrink)

The essay aims to analyse the gradual historical process of the partial overlap, replacement and expansion of the theoretical paradigm of depression with respect to that of melancholy. The first part is devoted to analysing some of the central features of the multivalent thematizations of melancholy drawn up during modernity, also with relation to the spirit of capitalism (in its Weberian acceptation). This is followed by an overview of the birth of the modern category of depression, and the process that (...) during the twentieth century led to its transformation into a theoretical and nosological paradigm which in the end replaced that of melancholy. The second part is the attempt to draw up a Zeitdiagnose: the aim is to assess the ‘depressive’ psychosocial impact exercised by particular socio-economic mechanisms and cultural trends, with particular reference to what has been defined as the ‘new spirit of capitalism’, as well as the new forms of individualism and their paradoxical dynamics. In conclusion, I will form a bridge between the history of the two aforesaid paradigms and the contemporary psychosocial dynamics correlated to the phenomenon today interpreted as a ‘depression epidemic’. Der Aufsatz zielt darauf, der Prozess der historischen Überlagerung, Substitution und Verbreitung des theoretischen Paradigmas der Depression gegenüber jenem der Melancholie darzustellen. Im ersten Teil wird versucht, einige der einschneidenden Eigenschaften der Thematisierungen der Melancholie in der Frühen Neuzeit anzugeben, auch im Verhältnis zum Geist des Kapitalismus. Nachdem eine Skizze der Entstehung der moderne Kategorie der Depression, geht es darum, den Verlauf nachzuzeichnen, der im 20. Jahrhundert zu ihrer Transformation in ein weitläufiges theoretisches Paradigma geführt hat, das schließlich jenes der Melancholie ersetzt hat. Der zweite Teil stellt den Versuch dar, eine Zeitdiagnose umzureißen: An dieser Stelle ist die psychosoziale Bedeutung bestimmter sozioökonomischer und kultureller Mechanismen zu untersuchen, unter besonderem Hinweis auf das, was als »der neue Geist des Kapitalismus« bezeichnet worden ist, sowie auf neue Formen des Individualismus und ihre paradoxen Dynamiken. Abschließend wird eine Brücke geschlagen, zwischen der Geschichte der beiden bezeichneten Paradigmen und der zeitgenössischen psychosozialen Dynamiken, die mit dem als »depressive Epidemie« interpretierten Phänomen verbunden sind. (shrink)

1 Department of History and Philosophy of Science, University of Cambridge, Free School Lane, Cambridge, CB2 3RH, UK.

In this article, I draw on Kierkegaard’s often over-looked work, The Concept of Anxiety, to gain deeper insight into the tenor of melancholy. We discover that Kierkegaard labels anxiety, due to its connection to hereditary sin, as the source for melancholy. Thus, contrary to the usual interpretation of Kierkegaard, I argue that melancholy is more than an individual’s struggle with existence, but is intimately tied to the historical environment, because it is steeped in an ever-increasing, ever-deepening anxiety. This link be­tween (...) anxiety and melancholy clears away misunderstandings about Kierkegaard’s description of melancholy and suggests implications in psychology, philosophy, and theology. (shrink)

Melancholy is a central expressive property of the Before films and key to understanding and appreciating the trilogy as a whole. That, in a nutshell, is the thesis I develop in this paper. In the first section, I present a philosophical account of melancholy in general and aesthetic melancholy in particular. Melancholy is understood here as the profound and bittersweet emotional experience that occurs when we vividly grasp a harsh truth about human existence in such a way that we come (...) to appreciate certain aspects of life more deeply. The second section of the paper focuses on the many intense as well as more subtle moments of melancholy in the various encounters between Celine and Jesse. These moments, I argue, are partly prompted by the environment and the circumstances in which they find themselves. But both of them also actively seek out and create such moments by the stories they tell and the reflections they engage in. That seems part of who they are as individuals and, I contend, it may be part of what attracts them to each other. In the third section, I address ‘film expression’, as opposed to ‘character expression’, and argue that melancholy is not just present in the characters’ dialogue and in their facial and bodily expressions but is also expressed through various cinematic means. The final section centres on the audience and the reception of the Before trilogy. I introduce the distinction between expression and expressiveness and suggest that the films may have resonated deeply with some viewers because they are so expressive of melancholy. (shrink)

In examining Judith Butler's treatment of Spinoza insofar as it reflects the tenacity of a commitment to the need to "honor the death drive," a need often justified by the ethical and political resources it provides, this essay asks about the basis of this need for feminist theory. From whence does it come? What ethical and political work does a primary vigilance toward our destructive and death-bent urges do? Thus, I begin with a review of Butler's treatment of Spinoza, and (...) proceed to make some suggestions about what motivates her creative appropriation of his principle of conatus. Finally, without demanding that Butler represent Spinoza's philosophy accurately, I propose that Spinoza's philosophy allows a very strong acknowledgment of destruction, including self-destruction, without conceding the necessity of an ethics or politics of anxiety. Like Butler, and perhaps even more radically, Spinoza insists upon our opacity to ourselves, our irreducible and original multiplicity and constitutive relationality, as well as the inability finally to demarcate the boundaries of the self. Yet his ethics culminates in what he calls a "remedy for the affects," in an endeavor to displace and minimize sad passions, like anxiety. In concluding, the question for feminist theory remains: Which are the best fictions, models of selfhood, and modes of speculation for the displacement of anxiety, aggression, and the passions that trigger violence agianst ourselves and others in a misogynist, homophobic, and racist culture? If I am not able to answer these questions in the course of this brief essay, I hope to underline the importance of asking them. (shrink)

Data indicate the ubiquity and rapid increase of depression wherever war, want and social upheaval are found. The goal of this paper is to clarify such claims and draw conceptual distinctions separating the depressive states that are pathological from those that are normal and normative responses to misfortune. I do so by appeal to early modern writing on melancholy by Robert Burton, where the inchoate and boundless nature of melancholy symptoms are emphasized; universal suffering is separated from the disease states (...) known as melancholy or melancholia, and normal temperamental variation is placed in contrast to such disease states. In Burton's time these distinctions and characterizations could be secured by the anchoring tenets of humoral theory. Without such anchoring, and in light of the findings and assumptions of today's biological diagnostic psychiatry, we must re-visit each of them. My goals here are to show the need for analytic foundations when claims are made about depression such as those cited above, and to draw attention to some contemporary attempts that may help provide those foundations, particularly, attempts to define disorder or disease. With adjustments, one of these (Cooper 2002) is shown to take us some way toward that goal. (shrink)

Section 1 proposes a new philosophical account of melancholy. Section 2 examines the reasons why one might think that pornography and melancholy are incompatible. Section 3 discusses some successful examples of melancholic pornography and makes the case that feminist pornographers are particularly well-placed to produce such material.

The aim of this study is to elucidate Burton’s conception of suicide. To understand it, it is first necessary to find out how Burton understood its main cause, melancholy. The first part of the study is therefore dedicated to an analysis of the concept of melancholy elaborated in his Anatomy of Melancholy. Conclusions drawn from this analysis are then used in the second part of this work to explain Burton’s notion of suicide and the treatment or prevention he suggests. In (...) both parts, the main focus is on the Anatomy of Melancholy, which is used to explain both Burton’s position and intentions which motivated the writing of this treatise and his lifelong interest in the subject. The study is thus a contribution to research which views Burton’s thoughts and work within a historical, cultural, and conceptual context of Early Modern world but also to investigations of the impact of the work and Burton’s strategy regarding the effect the work should have on readers. Conclusions of this study point out the complexity and sophistication of Burton’s concept of suicide and show that it significantly diverges from the view commonly taken by contemporary judges, coroners, clergy, and physicians who also sometimes dealt with this issue. (shrink)

In 2021, the men’s English national football team reached their first final at a major international tournament since winning the World Cup in 1966. This success followed their previous achievement of reaching the semi-finals (knocked-out by Croatia) at the 2018 World Cup. True to form, the defeats proved unfalteringly English; with the 2021 final echoing previous tournament defeats, as England lost to Italy on penalties. However, what resonated with the predictability of an English defeat, was the accompanying chant, ‘it’s coming (...) home’. A ubiquitous presence throughout the course of both tournaments—while chanted at England football matches, it was also repeated across social media, the press and commercial advertising—the chant originates from the 1996 single, Three Lions (Football’s Coming Home), performed by David Baddiel, Frank Skinner and The Lightning Seeds. In what follows critical attention will be given to examining how the song offers what will be argued is a melancholic outlook. By re-approaching examples of English nostalgia and hubris, this chapter will expose how illustrations of English melancholy offer the potential for promoting collective forms of expression, which, when contextualized alongside England’s lack of footballing success (for the men’s team, at least), can be offset against a melancholic mediation that is cognizant of the centrality of loss—both for the subject and our collective sporting endeavours. (shrink)

The conceptions of lovesickness and of its remedies that emerge in the Decameron result from a medical tradition that in previous centuries was assimilated by the Latin culture. The case of the Decameron is particularly interesting because this work was composed during the Black Death epidemic, between 1348 and 1354. Boccaccio’s Decameron seems to be situated in a tension between two diseases: the black plague, from which the brigata tries to escape, and lovesickness. It is quite significant that Boccaccio dedicated (...) his work to women who love and need the comfort of literature, thereby addressing a new ideal of noble women, not based on their wealth, but on their intelligence and sensitivity. Women are often victims of their melancholy, because they have no opportunity to distract themselves, being confined to the private space of their rooms. Boccaccio describes women as being subject to passion and illness, so that the lovesickness cases described in the Decameron strongly allude to the discrimination of women and to the oppression they had to endure. An explicative example that testifies to the preeminent role that the medical culture played is Decameron X, 7, in which Lisa, the daughter of an apothecary, strangely cannot be healed by pharmacological remedies that her father knows, and not a single physician can help to heal her lovesickness. The case of Lisa can be interpreted as an exemplum: a woman afflicted by the same sickness as Lisa could understand how to behave by means of reading of this novella. Moreover, this paper will demonstrate that a useful outline of Lisa’s symptomatology can be found in Dino del Garbo’s commentary on Guido Cavalcanti’s poem Donna me prega. (shrink)

The essay aims to analyse the gradual historical process of the partial overlap, replacement and expansion of the theoretical paradigm of depression with respect to that of melancholy. The first part is devoted to analysing some of the central features of the multivalent thematizations of melancholy drawn up during modernity, also with relation to the spirit of capitalism (in its Weberian acceptation). This is followed by an overview of the birth of the modern category of depression, and the process that (...) during the twentieth century led to its transformation into a theoretical and nosological paradigm which in the end replaced that of melancholy. The second part is the attempt to draw up a Zeitdiagnose: the aim is to assess the ‘depressive’ psychosocial impact exercised by particular socio-economic mechanisms and cultural trends, with particular reference to what has been defined as the ‘new spirit of capitalism’, as well as the new forms of individualism and their paradoxical dynamics. In conclusion, I will form a bridge between the history of the two aforesaid paradigms and the contemporary psychosocial dynamics correlated to the phenomenon today interpreted as a ‘depression epidemic’. Il saggio mira ad analizzare il graduale processo storico di parziale sovrapposizione, sostituzione ed ampliamento del paradigma teoretico della depressione rispetto a quello della melanconia. La prima parte è dedicata ad analizzare alcuni dei tratti nevralgici delle polivalenti tematizzazioni della malinconia avvenuti nel corso della modernità, anche in relazione allo spirito del capitalismo (nella sua accezione weberiana). Segue una panoramica sulla nascita della categoria moderna di depressione, e del processo che nel corso del XX secolo l’ha condotta alla sua trasformazione in un paradigma teoretico e nosologico che ha infine sostituito quello della melanconia. La seconda parte rappresenta il tentativo di elaborare una Zeitdiagnose: l’obiettivo è valutare l’impatto psicosociale di natura ‘depressiva’ esercitato da particolari meccanismi socioeconomici e tendenze culturali, con particolare riferimento a ciò che è stato definito il «nuovo spirito del capitalismo», nonché alle nuove forme dell’individualismo e alle loro dinamiche paradossali. In conclusione viene gettato un ponte tra la storia dei due suddetti paradigmi e le dinamiche psicosociali contemporanee correlate al fenomeno oggi interpretato quale «epidemia depressiva». (shrink)

Philosophers and intellectual historians generally recognize pragmatism as a philosophy of progress. For many commentators, pragmatism is tied to a notion of progress through its embrace of meliorism – a forward-looking philosophy that places hope in the future as a site of possibility and improvement. I complicate the progressive image of hope generally attributed to pragmatism by outlining an alternative account of meliorism in the work of William James. By focusing on the affectivity and temporality of James’s meliorism, I argue (...) that James offers a non-progressivist version of hope that is affectively tempered by melancholy and oriented temporally toward the present. (shrink)

"If the previous chapters by Cabrera, Reid and Craig, and Cerbone all accentuate the paradox of existence, that our being-in-the-world is simultaneously beautiful and ugly, good and evil, joyous and painful, Jussi Backman's "Not One Power, But Two: Dark Grounds and Twilit Paradises in Malick" investigates this fundamental ambivalence in terms of Schelling's doctrine of evil, a view that assigns evil (and hence melancholy) a fundamental place as a basic principle of reality. Backman's suggestion at once deepens and complexifies the (...) way in which Malick's films can be seen as exercises in "aesthetic theodicy," as Sinnerbrink has said." (Steven DeLay, Introduction). (shrink)

Since late antiquity, a connection was made between Jews and the psychological state of despondency based, in part, on the link between melancholy and Saturn, and the further association of the Hebrew name of that planet, Shabbetai, and the Sabbath. The melancholic predisposition has had important anthropological, cosmological, and theological repercussions. In this essay, I focus on various perspectives on melancholia in thinkers as diverse as Kafka, Levinas, Blanchot, Rosenzweig, Benjamin, Bloch, Scholem, and Derrida. A common thread that links these (...) thinkers is the hopelessness of hope imparted by the messianic belief in a future that must be perpetually deferred. (shrink)

The aim of this entry is to provide the reader with a philosophical map of the progression of the concept and experience of boredom throughout the Western tradition—from antiquity to current work in Anglo-American philosophy. By focusing primarily on key philosophical works on boredom, but also often discussing important literary and scientific texts, the entry exposes the reader to the rich history of boredom and illustrates how the different manifestations of boredom—idleness, horror loci, acedia, sloth, mal du siècle, melancholy, ennui, (...) monotony, and emptiness—are grounded in the historical context in which they arise. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

Scattered skeptical remarks and a general austerity that infused his writings have given Justice Oliver Wendell Holmes a reputation as some type of nihilist. Noted commentators such as Richard Posner and Albert Alschuler have claimed as much. This article seeks to correct this misunderstanding. Holmes was not a nihilist in the sense of being melancholy due to a belief that the world has no absolute moral values or gods. Instead, Holmes was a pragmatist in the spirit of William James and (...) John Dewey. While Holmes had doubts about moral truth and deities, he ultimately thought that their existence (or non-existence) should have no bearing on our behavior or the law. We must, through our collective efforts, find values that work for us. (shrink)

There has been recent work on acedia and its relationship to depression, but the results are a mixed bag. In this essay, I engage some recent scholarship comparing acedia with depression, endeavouring to clarify the concept of acedia using literature from theology, philosophy, psychiatry, and even a 16th-century treatise on witchcraft. Along the way, I will show the following key theses. First, the concept of acedia is not identical to the concept of depression. Acedia is not merely a primitive psychological (...) predecessor to depression, but it marks off significantly different ways of being, not least because of one’s spiritual relation to God. As Lucrèce Luciani-Zidane (2009: 13) has said, “acedia is entangled in the heart (or life) of Christian dogma.” Second, however, it is still possible that an instance of acedia can coincide with an instance of depression, if one’s condition, or state, is such that each term can be correctly and truthfully applied. By the conclusion of this piece, I begin to explore what practical implications this view has for practitioners and laypersons. (shrink)

I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to the (...) real thing. When one experiences them, it takes time for them to wear off, and one gets irritated with the companion who, because not similarly moved, wants immediately to start discussing where to go for dinner. Like many others, I am drawn to the philosophy of music by a need to understand how such emotional responses are possible. How can absolute music move us in the way that it does, and to the extent that it does? (shrink)

As a fundamental feature of our existence, melancholy is an inescapable characteristic of our ontological constitution. However, there is a distance between the clinical condition of melancholia and the human feeling, the capacity to feel sorrow and nostalgia. In this sense, melancholy and melancholia are similar but different. During the XIX century just few among philosophers have tried to described melancholy in terms of disorder, using philosophical tools rather than clinical definitions, drifting the accent from melancholy to melancholia. Hegel has (...) been one of them, one that has seen inside the depth of human being in order to understand and describe what is the “the nocturnal point of the contraction”: melancholia, in terms of clinical condition. The philosophical exploration of madness and its parameters is essentially an ontological project: this is how Hegel addresses “the Concept of derangement in general” and melancholia in particular, anticipating most of Freud’s consideration on this topic. (shrink)

Langeweile wird in dieser Anthologie als Signatur der Moderne lesbar: Sie durchdringt die gegenwärtige Kultur, wird aber nach wie vor weggeschoben, ja tabuisiert. Der Band bietet eine Textauswahl von klassischen Denkern sowie von Autorinnen und Autoren des modernen Diskurses bis heute und stellt den Zusammenhang mit verwandten Phänomenen der Sinnleere und Erschöpfung her. Als zunehmendes Massenphänomen in saturierten Gesellschaften entwickelt die Langeweile eine pathologische Dynamik, wenn ihr nicht ein eigener Raum gelassen wird. Ein Plädoyer für die Anerkennung dieses unvermeidlichen Gefühls. (...) Mit Texten von Blaise Pascal, Immanuel Kant, Arthur Schopenhauer, Søren Kierkegaard, Charles Baudelaire, Friedrich Nietzsche, Georg Simmel, Walter Benjamin, Bertrand Russell, Iwan Gontscharow, Siegfried Kracauer, Emil Cioran, Giacomo Leopardi, Wolf Lepenies, Elizabeth S. Goodstein, Peter Toohey, Martin Doehlemann, Françoise Wemelsfelder und anderen. (shrink)

The objective of this doctoral dissertation is to interpret the explanation of akrasia that the Dutch philosopher Benedictus Spinoza (1632-1677) gives in his work The Ethics. One is said to act acratically when one intentionally performs an action that one judges to be worse than another action which one believes one might perform instead. In order to interpret Spinoza’s explanation of akrasia, a large part of this dissertation investigates Spinoza’s theory of emotion. The first chapter is introductory and outlines Spinoza’s (...) categorisation of mental states and his conception of the relation between the mind and the body. The second chapter deals with Spinoza’s epistemology and the relation between cognitive mental states and states of the brain. The third chapter argues that Spinoza holds that emotions are non-cognitive mental states that are caused by cognitive mental states. The fourth chapter interprets Spinoza’s discussion of the emotions of Joy and Sadness insofar as they are mental states. The fifth chapter suggests that when Spinoza says that the power of our body is increased or decreased when we are joyful or sad, he means that when we are joyful or sad then, at the same time, our heart and perhaps the organs of our digestive system are affected in such a way that our bodily health is increased or decreased. The sixth chapter points to three problems that concern Spinoza’s definitions of the psychophysical states of pleasure, pain, cheerfulness and melancholy, and offers slightly altered definitions of these states. The seventh chapter interprets the various aspects of Spinoza’s conception of the emotion of Desire, both insofar as it is a state of the mind and insofar it is a state of the body, as well as the relation between the emotion of Desire and man’s striving for self-preservation. The eighth chapter discusses what Spinoza writes on the strength of emotions and the way in which we make value judgments in order to finally interpret why it is, according to Spinoza, that ‘we so often see the better for ourselves but follow the worse’. (shrink)

English interpretations, appropriations, and transpositions of the figure of Don Quixote play a pivotal role in eighteenth-century constructions of so-called English national character. A corpus of quixotic narratives worked to reinforce the centrality of Don Quixote and the practice of quixotism in the national literary landscape. They stressed the man from La Mancha’s eccentricity and melancholy in ways inextricable from English self-constructions of these traits.2 This is why Stuart Tave is able to write that eighteenth-century Britons could “recast” Don Quixote (...) in a fashion that followed “national pride” in the “freedom” of their humors.1 However, Don Quixote’s integral place in patriotic self-constructions was troubled by gender. While national character was construed as masculine by default, quixotism’s association with masculinity was complicated by the potential passive penetrability of quixotism and the proliferation of narratives about female quixotic readers. This essay will analyze these tensions. Henry Fielding’s Joseph Andrews (1742) and Laurence Sterne’s Tristram Shandy (1759–67) are key examples of quixotic texts that respond to the figure of the female quixote by interrogating the relationship between Englishness, masculinity, and quixotism. (shrink)

This article explores André-Marie Ampère's autobiography in order to analyse the dynamics of science in early 19th century French institutions. According to recent works that have emphasised the value of biographies in the history of science, this study examines Ampère's public self-representation to show the cultural transformations of a life dedicated to science in post-revolutionary French society. With this aim, I have interpreted this manuscript as an outstanding example of the scientific rhetoric flourishing in early 19th century French Romanticism, which (...) celebrated the life and works of men of science by means of biographies. Following this approach, Ampère's account has been analysed in relation to certain commonplaces shared with other autobiographies of that time, such as his traumatic experience linked to the French Revolution. Finally, this article discusses Ampère's autobiography as revealing an emerging model of scientific personae, i.e. a new collective way of thinking, feeling and perceiving, which announced the category of the modern scientist. (shrink)

Using Mikhail Bakhtin’s concept of dialogism as a theoretical starting point, this thesis investigates the manifestations of dialogic voice in Odes by John Keats. In fact, this study attempts to examine the dialogic reading of “Ode to a Nightingale”, “Ode on Grecian urn”, “Ode on Indolence”, “Ode to Psyche”, “To Autumn” and “Ode to Melancholy”, through structural viewpoints. A scrutiny upon Keats's odes through dialogical perspective may reveal that Keats is a social and an involved poet of his time. Moreover, (...) Keats as an escapist poet chooses the world of fancy and imagination to free himself from conflicts of his society. His odes are associated with expression of joy-pain reality through which Keats in a close dialogue with readers tries to display his own social and political engagement. Examining allusions, ironies and paradoxes, all the elements of structure, may show Keats’s historical response toward a troubled society. (shrink)

For Philippe Pinel, the concept of melancholy is one of the key methods for understanding not only a specific mental illness but also the new map of mental alienation. However, as Hegel shows in his work, the madness is not only a moment of growth in the history of the mind, but also a pattern of scientific intellect that builds a new science of the mind that is a science of humanity. It is the melancholy, however, with its complex and (...) rich history, which represents the testbed of the nascent psychiatry: the epistemological crisis caused by the inquiry into the nature of melancholy started, which with Pinel, will force both medicine and philosophy to build anew the moral science, only recently born with Pinel and Esquirol. This new foundation will be possible only by meditating on the history of the conception of melancholy and its relation to the antique and modern philosophical and scientific thought. (shrink)

Theoretical applications of time and temporality remain a key consideration for both climate scientists and the humanities. By way of extending this importance, we critically examine Timothy Morton’s proposed “ecological awareness” alongside Slavoj Žižek’s “parallax view”. In doing so, the article introduces a “past-present parallax” in order to contest that, while conceptions of the past are marked by “lack”, equally, our conceptions of and relations to Nature remain grounded in an ontological incompleteness, marked by contingency. This novel approach presents an (...) ecological awareness that remains temporally attuned to the impasses and inconsistencies which frame our relations in/with Nature. (shrink)

Richard Linklater’s celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Céline (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so (...) vividly in the interactions between Céline and Jesse, including: the nature of love, romanticism and marriage the passage and experience of time the meaning of life the art of conversation the narrative self gender death Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy. (shrink)

semiology of social and global transformations on public relations and, by consequence, of human intimacy.

According to the book blurb (p. iv), the themes explored in the volume include the nature of love, romanticism, and marriage; the passage and experience of time; the meaning of life; the art of conversation, the narrative self; gender; and death. All these topics are indeed touched upon to a greater or lesser extent. I find this book to be, in its essence, an investigation of love and romance. So, my main question here is: what can we learn about romantic (...) life from this philosophical exploration of the Before trilogy? (shrink)