Most readings of Tayib Salih’s Season of Migration to the North have focused on Mustafa Saeed and the nameless narrator, both male characters, and they have largely avoided a politically radical reading of the novel. This article attempts to present the female character, Hosna, as the revolutionary par excellence, following Lacan and Slavoj Žižek’s reading of Antigone. Th rough Žižek’s distinction between the act and action, this article argues that Hosna’s deed at the end of the novel, murder and suicide, (...) is not just an action out of hopelessness but rather an act that aims to make a new social order possible. We will try to connect Žižek’s distinction between act and action to Benjamin’s distinction between divine violence and mythic violence and Lacan’s idea of “Th ing-directed desire” (Marc De Kesel 245). By doing so, this article aims to put the extreme violence of Hosna in a new light and argues against the readings that simply ignore her act as an extreme form of violence and fail to see it in a broader framework of philosophical and sociological understanding. (shrink)

Karl Pearson is the leading figure of XX century statistics. He and his co-workers crafted the core of the theory, methods and language of frequentist or classical statistics – the prevalent inductive logic of contemporary science. However, before working in statistics, K. Pearson had other interests in life, namely, in this order, philosophy, physics, and biological heredity. Key concepts of his philosophical and epistemological system of anti-Spinozism (a form of transcendental idealism) are carried over to his subsequent works on the (...) logic of scientific discovery. This article’s main goal is to analyze K. Pearson early philosophical and theological ideas and to investigate how the same ideas came to influence contemporary science, either directly or indirectly – by the use of variant theories, methods and dialects of statistics, corresponding to variant statistical inference procedures and their specific belief calculi. (shrink)

This paper traces how the dualism of body and soul, cosmic and human, is bridged in philosophical and religious traditions through appeal to the notion of ‘breath’ (πνεῦμα). It pursues this project by way of a genealogy of pneumatic cosmology and anthropology, covering a wide range of sources, including the Pythagoreans of the fifth century BCE (in particular, Philolaus of Croton); the Stoics of the third and second centuries BCE (especially Posidonius); the Jews writing in Hellenistic Alexandria in the first (...) century BCE (Philo); and the Christians of the first century CE (the gospel writers and Paul). Starting from the early Pythagoreans, ‘breath’ and ‘breathing’ function to draw analogies between cosmogony and anthropogony – a notion ultimately rejected by Plato in the Timaeus and Aristotle in his cosmological works, but taken up by the Posidonius (perhaps following the early Stoa) and expanded into a rich and challenging corporeal metaphysics. Similarly, the Post-Hellenistic philosopher and biblical exegete Philo of Alexandria, who was deeply influenced by both Platonist and Stoic physics, approaches the cosmogony and anthropogony described in Genesis (1:1–3 and 1:7) through Platonist-Stoic philosophy, in his attempt to provide a philosophically rigorous explanation for why Moses employed certain terms or phrases when writing his book of creation. Finally, the chapter sees a determined shift in the direction of rejecting pneumatic cosmology for a revised pneumatic anthropogony in the writings of the New Testament: by appeal to the ‘Holy Spirit’ or ‘Holy Breath’ (πνεῦμα ἅγιον), early Christians effectively adapted the Stoic metaphysics of ‘breath’, with its notions of divine intelligence and bonding, to the prophetic and ecclesiastical project of building a Christian community conceived of as the ‘body of Christ’. Hence, the spiritual cosmogony of the Pythagoreans, Stoics, and Philo is effectively subordinated to the spiritual anthropogony that facilitates the construction of the Christian kosmopolis, only fully realised in the form of New Jerusalem, the ‘bride’ which, in tandem with the Holy Spirit, calls to the anointed. At the end of the Christian worldview, the kosmos of Greek philosophy is supplanted by the pneumatic kosmopolis. (shrink)

The symbolic argument against women's ordination supposes that the theological significance of Christ's sex is his saving relationship to the Church, which takes the form of that of a bridegroom and his bride. It infers that a male priest alone is fit to represent Christ in his capacity as the Saviour of the Church, and thus that only men should be ordained. Since the emergence of the symbolic argument, however, scholars have rediscovered a long tradition of understanding Christ's saving relationship (...) to the Church in maternal terms. While remaining neutral on whether women ultimately ought to be ordained or not, I argue that the kind of reasoning in the symbolic argument, if updated with the Jesus as Mother tradition, would suggest that it is fitting for a female priest to represent Jesus as Mother, just as it is fitting for a male priest to represent Christ the Bridegroom. Other critics of the symbolic argument tend to contest what is seen as its ‘literalist’ or ‘essentialist’ or overly gendered-valanced assumptions about priestly representation. I show that even if we grant to the symbolic argument more gendered and ‘essentialist’ views on each of the major points of disagreement in these debates, women might still be fit to represent Christ because of the maternal ways that Christ has traditionally been thought to relate to the Church. As a result, the symbolic argument may be repurposed to support women's ordination rather than undermine it. (shrink)

Miracle Max, it seems, is the only remaining miracle worker in all of Florin. Among other things, this means that he (unlike anyone else) can resurrect the recently dead, at least in certain circumstances. Max’s peculiar talents come with significant perks (for example, he can basically set his own prices!), but they also raise a number of ethical dilemmas that range from the merely amusing to the truly perplexing: -/- How much about Max’s “methods” does he need to reveal to (...) his patients? Is it really OK for Max to lie about Valerie’s being a witch, even though she really isn’t? Just how much of the “truth” does Max have to tell his patients? -/- Let’s suppose that Humperdinck had offered Max his old job back. Would it have been OK for Max to accept this offer? What about if Humperdinck wanted him to do experiments at “the Zoo”? -/- Is Max obligated to offer his services to everyone who needs them, such as the (mostly) dead Westley and friends? Or is he free to pick and choose? -/- In this chapter, I’ll consider how these questions might be addressed using concepts of medical ethics. As it turns out, Max’s dilemmas are not too different from the sorts of dilemmas that many medical professionals encounter in their daily lives, and exploring how Max could (or should) respond to them can help us figure out what we can do here in the “real” world. (shrink)

Abstract: The present paper seeks to explore the emotional structures that make human beings afraid of death in solitude, the feelings that necessitate the imagining of a peopled death, a death accompanied by fellow humans, gods, or God. In order to do this I take up the works of two great thinkers of the East and the West, and place them on a comparativist spectrum. The discussion covers many areas, including the polytheistic imaginations of ancient Greece and eighth century India, (...) in the context of the complex interface of beauty and death in the thought of Shankaracharya, the great proponent of Advaita Vedanta in India, and Socrates, who, in the Platonic dialogues, presents a monism Shankara could have recognized well. I try to investigate the tension between decay and beauty which leads these philosophers towards a strict ascetic impulse. At the same time, I also argue that neither of them could exclude the beauty of this world altogether from their thought. Finally, I explore the ways in which we can imagine a beauty greater than death that does not let us logocentrically negate death but rather encompasses it. Rather than taking death as the closure of all possible beauty, as ultimate nothingness, can we envisage a beauty that drowns death in the sea of kalon envisioned by Diotima in the Symposium, or in the saundaryalahari, the flood of majestic beauty radiated by Shankaracharya’s Goddess? To explore these areas and to understand the interconnected issues of plurality, impermanence, beauty and truth, I draw on the twentieth century philosophers like Iris Murdoch and Sri Aurobindo as well as Socrates and Shankara. This paper finally embarks on an imaginative journey towards a peopled or crowded death, where gods or divinized humans accompany the dying person in the process of death as his/her “necessary others”(a la Adriana Cavarero). Author’s bio-note: Anway Mukhopadhyay is a doctoral research scholar at the Department of English, Banaras Hindu University, Varanasi, India. He is the author of Do You Love Me, Master?, The Place of Eros in the Master Slave Dialectic(Saarbrucken, Germany: Lambert Academic Publishing, 2010),and Bloom Again in Autumn, The Move towards an Empathetic Temporality in Yuri Medvedev’s “The Bride’s Room” (Munich: Grin Verlag, 2012) and has been published in reputed international journals in India, the USA and Australia. His areas of interest include Indian and Western philosophy, gender and literary and cultural theory. His current research centres round the polyvalent nuances of ‘planetary’ feminisms in our time. Email id: [email protected], [email protected] . (shrink)

The scope of the essay is limited by the ideas behind the mechanisation of desire as conceptualised in The Large Glass by Marcel Duchamp. This glass-based installation depicts a convoluted mechanism, as the full-title of the work suggests, representing The Bride Stripped Bare by her Bachelors, Even. Using tropes and figures from his earlier studies, the artist designed a machine for the production of desire, rendering the unconscious mechanical and dynamic. The paper aims to present selected aspects of the installation, (...) including mechanical reproduction (1), technological fetishism (2), transparency (3), as well as to discuss its significance with reference to Deleuze and Guattari’s concept of the Body without Organs (4). The interpretive force of the machine metaphor in the work of Duchamp is analysed in the context of integrative and non-integrative attitudes to technology. (shrink)