While much has been written on the moral and metaphysical status of fetuses in Christian bioethics, little thought has been given to how we might characterize the afterlives of the unborn, especially of those human biological individuals who die before even developing a body that could theoretically be resurrected. In this paper, I therefore undertake an examination of questions surrounding the afterlife, specifically as it relates to early pregnancy loss. I first lay out what I call the “problem of weird (...) heavens” that arises when we consider that significantly more unborn human beings have died than have been born in the history of humankind. I then go on to consider questions surrounding both the soteriological status of the embryo and the status of any resurrected “body” it might have. I conclude with the germs of an alternative approach mirrored on the idea of embryonic resorption and mystical union. (shrink)

The most common way of dealing with the fear of death is denying death. Such denial can take two and only two forms: strategy 1 denies the finality of death; strategy 2 denies the reality of the dying subject. Most religions opt for strategy 1, but Buddhism seems to be an example of the 2nd. All variants of strategy 1 fail, however, and a closer look at the main Buddhist argument reveals that Buddhism in fact does not follow strategy 2. (...) Moreover, there is no other theory that does, and neither can there be. This means that there is no tenable theory that denies death. There may be no universally psychologically acceptable alternative, however, which would mean that if denying death is incoherent, this is an unavoidable incoherence. (shrink)

One of the central strengths of Salem's analysis of Nasserism is that she recognizes both its world-historical significance as a progressive nationalist movement, and its severe limitations. In the first section of this paper, I discuss Salem's notion of the "afterlives" of the Nasserist project by drawing attention to one of the most debilitating legacies of that project, namely the transformation of Egyptian politics into petty bourgeois politics. In the second section, I argue that while Salem does not explicitly draw (...) on Hegel's understanding of tragedy in her account of Nasserism, her analysis of Nasserism essentially amounts to depicting it as a Hegelian tragedy. By placing Salem's book in conversation with Hegel (and his philosophy of action), we can make explicit what I take to be one of the central claims made by Salem, namely that when passing judgment on past and present national liberation movements we should remember that innocence is "only non-action, like the mere being of a stone" [nur das Nichttun wie das Sein eines Steines] (Hegel 1986, 346). In the third section of this paper, I raise some critical points about Salem's characterization of the nationalism that was associated with the Nasserist project, as well as about the deployment of the concept of modernity in her analysis. I argue that her account of modernity in the book does not distinguish between the concept of modernity as it refers to a certain kind of normative philosophical discourse, and modernization theory qua theory of development. Finally, I draw on Salem's use of the concept of hegemony in order to pose a question regarding the political significance of the contemporary cultural hegemony of Islamist movements in Egypt. (shrink)

Although largely neglected in Schelling scholarship, the concept of bliss assumes central importance throughout Schelling’s oeuvre. Focusing on his 1810–11 texts, the Stuttgart Seminars and the beginning of the Ages of the World, this paper traces the logic of bliss, in its connection with other key concepts such as indifference, the world or the system, at a crucial point in Schelling’s thinking. Bliss is shown, at once, to mark the zero point of the developmental narrative that Schelling constructs here and (...) to interrupt it at every step. As a result, bliss emerges here in its real utopian force but also its all-too-real ambivalence, indifference, and even violence, despite Schelling’s best efforts to theorize it as ‘love’; and Schelling himself emerges, in these texts, as one of modernity’s foremost thinkers not just of nature or freedom, but also of bliss in its modern afterlives. At stake in Schelling’s conception of bliss, I argue, is the very relationship between history and eternity, the not-yet and the already-here, the present, and the eschatological—as well as between Spinozian immanence and the Christian temporality of salvation, so important for modernity —not to mention the complex entanglement of indifference, violence, and love or the ideas of totality, nonproductivity, and nonrelation that Schellingian bliss involves. (shrink)

Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active “afterlives” in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a range (...) of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully “scale up” optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetrope’s dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusion’s operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today. (shrink)