Engages the myriad dimensions of Night in order to explore the human experience of the after-dark."--Provided by publisher.

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which (...) extraordinary events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

UNESCO Philosophy Day/Night 2016 was full of intellectual input and efforts for critical reflection in a popular form which, we would like to hope, could motivate, in a great number of people, an interest in philosophy not only as cultural heritage but also a dynamic and constantly developing sphere of thought which is no less relevant at present than it was in the past. It could, thus, be concluded that, in the true sense, the event was a celebration of (...) philosophy and human thought in a complex form. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which (...) extraordinary events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the philosophy of (...) Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

This essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between white women and Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial (...) and neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring. (shrink)

This hilarious cast of star philosophers will make you laugh while you think as they explore the moral conundrums, ridiculous paradoxes, and wild implications of Saturday Night Live Comedian-philosophers from Socrates to Sartre have always prodded and provoked us, critiquing our most sacred institutions and urging us to examine ourselves in the process. In Saturday Night Live and Philosophy, a star-studded cast of philosophers takes a close look at the “deep thoughts” beneath the surface of NBC’s award-winning late- (...) class='Hi'>night variety show and its hosts’ zany antics. In this book, philosophy and comedy join forces, just like the Ambiguously Gay Duo, to explore the meaning of life itself through the riffs and beats of the subversive parody that gives the show its razor-sharp wit and undeniable cultural and political significance. Our guest hosts raise some eyebrows with questions like: Is Weekend Update Fake News? Does SNL upset dominant paradigms or trap us in political bubbles? When it comes to SNL, how can we tell the difference between satire, smart-assery, and seriousness? Is the Ladies Man too stupid for moral responsibility? What is the benefit of jokes that cause outrage? The Church Lady has a bad case of moral superiority. How about you? What can Wayne and Garth teach us about living a happy life? (shrink)

To enter the many experiential chambers of Night--space, silence, cruelty, secrecy--and thereby confront a vision of the end of worlds.

Minerva’s Night Out presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture.

Starry Nights: Critical Structural Realism in Anthropology offers nothing less than a reinventing of the discipline of anthropology. In these six essays – four published here for the first time – Stephen Reyna critiques the postmodern tenets of anthropology, while devising a new strategy for conducting research. Combative and clear, Starry Nights provides an important critique of mainstream anthropology as represented by Geertz and the postmodern legacy, and envisions a mode of anthropological research that addresses social, cultural and biological questions (...) with techniques that are theoretically rigorous and practically useful. (shrink)

Saturday Night Live (SNL) has become a staple of each political season. In this chapter, the authors show how late night comedy programs such as SNL have joined traditional TV news programs as authorities of delimination for defining the boundaries of political truth in historical epoch. SNL is different from other comedy programs such as the The Daily Show because of its focus on parody. SNL featured many sketches focused on the election, which also contributed to the production (...) of the truth. As an authority of delimination for political truth, SNL emphasized the sexist double standard to which Hillary Clinton was held. In short, SNL will continue to play a role in the production of political truth and knowledge. Michel Foucault famously argued that truth and knowledge are neither static nor objective. Foucault shows that different historical epochs and different geographical locations have different frameworks of verification for something to be considered true. (shrink)

Saturday Night Live (SNL) has no obligation to avoid political bias, but it provides a valuable service when it reaches beyond its core audience, as arguably it has when effectively lampooning Sarah Palin and Donald Trump. There is no obligation for comedians to pass the Ideological Turing Test, but it is possible. “The Bubble” passes the Ideological Turing Test. Everyone thinks political bubbles are bad, but no one thinks they are in one. In fact, there is nothing wrong with (...) SNL exhibiting a political bias. Joe Piscopo has supported Donald Trump and voiced displeasure with Trump's portrayal on SNL, but Piscopo remains a Democrat. If SNL attempted to integrate conservative cast members and writers, the result might have more integrity but find fewer viewers. If SNL put out the word that they were looking for conservatives, there would probably be no shortage of applications and audition tapes. (shrink)

이 글은 본 논문은 18세기말경에 활동한 독일의 초기 낭만주의자인 노발리스와 19세기의 독일철학자 프리드리히 니체의 작품에 공통적으로 내재된 ‘밤’의 분위기와 그 상징적 의미에 대한 비교연구이다. 두 사람의 활동기간이 길게는 거의 1세기 가까이 차이가 남에도 불구하고, 그들의 문체와 사상에는 다양한 유사성이 발견된다. 그들은 예술의 중요성을 강조하고, 자신들의 작품을 통해 예술과 사상의 결합을 시도하였다. 노발리스가 철학적 예술가였다면, 니체는 예술적 철학자였다. 경계를 넘어서려는 이들의 시도는 독일적인 사유의 지평을 확대하였음은 물론이고, 예술가적 창조의 전형을 보여주었다. ‘밤’은 예술적 직관이 가장 왕성하게 작용하도록 하는 상상과 꿈의 시간이다. 노발리스에게 (...) 신성한 ‘밤’은 모든 시공간의 구분이 사라지고 태초의 시간으로 되돌아가는 순간이며, 니체에게 깊은 ‘밤’인 자정은 위대한 정오로도 통하는 ‘영원회귀’의 시간이기도 하다. 이러한 신비주의적 시간인 ‘밤’의 관점에서 볼 때 낭만주의자로서의 니체의 모습이 드러난다. 디오니소스적 시간인 ‘밤’은 어둡지만, 인간의 상상력을 최대한 자극시키는 가장 창조인 시간이기 때문이다. (shrink)

This text contains 54 of Martin Gardner's most searching and challenging essays, spanning nearly six decades. Issues tackled range from the apparent inexplicability of quantum physics to the eternal question of the existence of God, and an array of subjects are covered, from philosophy, the arts and religion, to mathematics and science.

Supernatural fans often associate Season 3's popular “Jus in Bello” episode with the world's quintessential zombie movie, George Romero's Night of the Living Dead. Romero's zombie films, beginning with Night, fill the survival space with multiple, diverse survivalists who are forced to work through personal differences stemming from jealousy and petty annoyance to racism and bigotry, issues of morality, theology, and other social and cultural differences. Indeed, the setting is the first link to Romero's Night, whose cramped (...) Pennsylvanian farmhouse is little different than the poorly fortified police station holding Sam and Dean. The demons congregate listlessly around the jail. This is an obvious visual homage to the isolated Pennsylvanian farmhouse in Night. The work of the demons in “Jus in Bello” like the zombies in Night and Dawn, is ceaseless and instinctual. (shrink)

From Emily Litella to Grumpy Old Man, from Joe Blow to Drunk Uncle, Saturday Night Live has long employed guest characters as “citizen journalists” on its famous Weekend Update segment. These characters have provided a comic take on everyday issues impacting the life of citizens in the public sphere. Two of the first philosophers who take up the modern problems of participatory democracy in the public sphere are John Dewey (1859–1952) and Walter Lippmann (1889–1974). “Weekend Update” provides us with (...) a foundation to understand what Dewey and Lippmann argued about news, democracy, and the formation of public opinion. Dewey's creative response to the problems of the public in democracy was not to rely on experts, but to rely on the arts and artists to help communicate important issues in the public sphere and foster more public participation. (shrink)

The night journey (isrā’) and ascension (mi‘rāj) represent arguably the most significant and unique events in the life of Prophet Muḥammad. However, the influential Sufi thinker Muḥyī al-Dīn ibn ‘Arabī (d. 638/1240) argues that the Prophet had thirty-four night journeys of which only one was physical. This physical night journey, and the ascension that took place with it, was the one in which he was given the five daily prayers. Ibn ‘Arabī thus employs the secondary night (...) journeys and ascensions of Prophet Muḥammad to delineate a point of emulation between the Prophet’s spiritual experience and those of his nation. Muslims can also have their own ascensions, but their journeys cannot be physical, and, analogously, cannot have autonomous legislative authority. They can, nevertheless, cause a change in their perception that allows them to see the world as it truly is: a manifestation of the divine Names. (shrink)

This essay develops Slavoj Žižek’s critique of Quentin Meillassoux’s speculative materialism. The first part consists of a discussion of Meillassoux’s ‘principle of factiality’ (which states that only contingency is necessary) and Ray Brassier’s problematization of this principle’s self-referentiality. The second part takes up Žižek’s critique of Meillassoux, which solves the problem of self-reference by dialecticizing the principle of factiality, ending up with the thesis of the contingency of necessity. The third part is an elaboration of Žižek’s critique in which the (...) main lacuna in Meillassoux’s philosophy, i.e. the lack of any account of the genesis of subjectivity, is seen to lead to a disavowal of ‘constitutive mythology’ as theorized by Markus Gabriel. It is argued that Meillassoux’s notion of ‘hyper-Chaos’ is in fact the core of his mythology, which becomes especially clear when contrasted with an alternative mythology, namely Henri Bergson’s vision of ‘creative evolution’. Finally, it is shown how Žižek’s critique of Meillassoux gravitates toward this mythology of creative evolution as his Lacanian version of dialectical materialism is reformulated in the light of the speculative realist problematic. (shrink)

Under the light of ancient Western philosophies, our darker moods like grief, anguish, and depression can seem irrational. When viewed through the lens of modern psychology, they can even look like mental disorders. The self-help industry, determined to sell us the promise of a brighter future, can sometimes leave us feeling ashamed that we are not more grateful, happy, or optimistic. Night Vision invites us to consider a different approach to life, one in which we stop feeling bad about (...) feeling bad. -/- In this powerful and disarmingly intimate book, Existentialist philosopher Mariana Alessandri draws on the stories of a diverse group of nineteenth- and twentieth-century philosophers and writers to help us see that our suffering is a sign not that we are broken but that we are tender, perceptive, and intelligent. Thinkers such as Audre Lorde, María Lugones, Miguel de Unamuno, C. S. Lewis, Gloria Anzaldúa, and Søren Kierkegaard sat in their anger, sadness, and anxiety until their eyes adjusted to the dark. Alessandri explains how readers can cultivate “night vision” and discover new sides to their painful moods, such as wit and humor, closeness and warmth, and connection and clarity. -/- Night Vision shows how, when we learn to embrace the dark, we begin to see these moods—and ourselves—as honorable, dignified, and unmistakably human. (shrink)

It's unnerving, isn't it? When our faith feels ungrounded, untethered... unreal. When our certainty is adrift, as though an undercurrent has pulled us away from shore into the deep, into the darkness. This is disillusionment. This is spiritual pain. And if this is you, please know that you are not alone. (And you are not as far away from safety as you may feel or fear.) Though faith shines best in full sun, it grows depth in the dark. The (...) class='Hi'>night is not your enemy. In fact, the night is necessary. In The Night Is Normal, revered author, speaker, and mentor Dr. Alicia Britt Chole offers a groundbreaking perspective that reveals spiritual disillusionment as an unexpected friend. Within these sacred pages, you'll explore how night-faith develops within your soul something far more satisfying than understanding and far more powerful than peace. Whether you're disillusioned with God, yourself, or others, Alicia offers practical and soul-full tools to help you navigate the night and find your way to a livable and love-saturated hope. Your night will not last forever. Within it, there is priceless treasure (that's simply too weighty to be sourced in sunshine). (shrink)

ABSTRACTThis piece theorizes the myriad strange possibilities of “the inexistent night” – that is, a minor temporal-existential break in the after-dark that nevertheless enables both disastrous and euphoric transformations to take hold. To illustrate this subtle turn, the focus rests upon a close analysis of a text by the twentieth-century, avant-garde, Japanese writer Yasunari Kawabata titled House of the Sleeping Beauties. This is a minimalist tale of enigmatic encounters in which characters embody different cyclical moods relating night to (...) anonymity, solitude, and impermanence. In the final stride, an entire conceptual edifice of the inexistent unfolds – amid radical disorientations of identity, desire, movement, and sensation – combining the architectonics of ghostliness with the atmospherics of shadow to suggest a more cryptic world beyond all existential centers. (shrink)

The recent social encyclical Fratelli tutti provides the Chinese Catholic Church with renewed hope in a time of sweeping impasses. This article is inspired by Pope Francis’s passionate summons for the centrality of love, a culture of encounter, and a new social and political order. It presents an utterance of a laywoman rising from the Chinese Church, aspiring to dialogue with the encyclical. By weaving Francis’s vision together with the wisdom of Carmelite saints and my personal knowledge of the Chinese (...) Church, I call upon the Chinese Church to deepen its roots in the soil of love and to journey through the dark night. I urge the Chinese Church to re-encounter atheism and to become a beacon of peace in Chinese society. I conclude the article with an appeal for authentic solidarity from the world Church and all concerned parties of the Chinese Church. (shrink)

I examine the kindred phenomena of shadows and night in order to reveal their significance for better understanding our lifeworld and the elemental environment. I first describe how light is primary to ecological perception and how it conditions our conceptions of space, truth, and beauty. Light and darkness are involved in a dialectical relationship rather than conceived as polar opposites. Borne of the interplay of both realms, shadows have been disparaged historically and deserve to be reconsidered for their aesthetic (...) appearance and their relevance to an ecology and anthropology of perception. Night, in turn, is often marked by a negative ontology that points toward the possibility of a kind of elemental a priori, but it is important to characterize darkness in terms of its subtle shades and filtering by way of the creative matrix of the human imagination. Seeing the night in novel and unexpected ways, especially via the insights and descriptions of phenomenologists, poets, and artists, enables us to grasp the depth and atmosphere of the surrounding world and to light up our geographical perspectives, our philosophical visions, and our environmental awareness. (shrink)

Upon its release in 1968, George Romero's Night of the Living Dead was attacked by many critics as an exploitative low budget film of questionable moral value. I argue in this paper that Night of the Living Dead is indeed nihilistic, but in a deeper philosophical sense than the critics had in mind.

Hegel and Plato offer distinctive but related philosophical accounts of ethical absolutism, thereby suggesting that a comparative study of their ethical ideas will be valuable in clarifying their respective philosophical approaches, as well as in admitting a critical examination of the structure for and viability of two significant absolutist ethical standpoints. This paper will concentrate on evaluating their rival conceptions of the Good and related ethical doctrines as specific responses to their recognition of the need to secure ethical life against (...) the socially divisive effects of ethical controversy. This common inspiration of their ethical theorizing confirms the validity and significance of Williams' remarks on the significance of the consciousness of ethical variation cited earlier. Plato's and Hegel's elaborations of absolutist ethical positions, however, conflict with Williams' scepticism over whether there is an objective basis for ethics which is invoked in his Ethics and the Limits of Philosophy and his paper �The Truth in Relativism� to justify relativism, at least in regard to significantly divergent and diachronically distinct ethical practices. Ultimately, this paper will consider the extent to which the absolutist aspirations of Plato's and Hegel's ethical theories can be sustained in the light of the evident variation in ethical thought and practice. (shrink)

Helvétius and the philosophy of happiness.--The player's illusion.--The beyond.--The question of free will.--The insurrection of the vertebrates.--The pessimism of Leopardi.--The colors of life.--The art of seeing.--The rivers of France.--The fall of days.--Insinuations.--Footprints on the sand.

This essay is a comparison between Schelling's and Blanchot's conceptions of the night of the imaginary. Schelling is the most romantic of the German idealist philosophers and Blanchot the most extreme of the French “deconstructionists.“ Their historical link is actually indirect, but they offer two complementary views on the “same“ impersonal nocturnal experience of the imaginary, the approach of which requires a certain self-overcoming of philosophy towards literature.

In this piece, I extend a transformative power account to the conservation of dark (and starry) night skies. More specifically, I argue that the transformative power that dark nights bear warrants their conservation and is best understood in terms of the important intellectual, cultural, aesthetic, and (psycho-physiologically) restorative effects that they afford. This gives us a pressing set of reasons to combat the growing, global phenomenon of light pollution. To do so, I argue, we ought to preserve the few (...) remaining dark refuges that we have left (what I term wildness regions) and synergistically re-wild (i.e. re-darken) urban and suburban environments. Synergistic re-darkening, I propose, can be achieved by (i) establishing interpretive (educational) ‘dark zones’, (ii) implementing bioluminescent lighting technologies, and (iii) strategically employing lighting design. Finally, and in order to enact a degree of epistemic justice, I argue that we ought to implement multi-cultural ‘co-learning’ initiatives, which promote education pertaining to both Western, scientific and indigenous, North American astronomies. (shrink)

Study of philosophy and aesthetics in music.

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form (...) of formalism, this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

How does Christian philosophy address phenomena in the world? Felix Ó Murchadha believes that seeing, hearing, or otherwise sensing the world through faith requires transcendence or thinking through glory and night. By challenging much of Western metaphysics, Ó Murchadha shows how phenomenology opens new ideas about being, and how philosophers of "the theological turn" have addressed questions of creation, incarnation, resurrection, time, love, and faith. He explores the possibility of a phenomenology of Christian life and argues against any simple (...) separation of philosophy and theology or reason and faith. (shrink)

Möbian Nights: Literary Reading in a Time of Crisis develops a new understanding of literary reading: that in the wake of disasters like the Holocaust, death remains a premise of our experience rather than a future. Challenging customary "aesthetic" assumptions that we write in order not to die, Sandor Goodhart suggests (with Kafka) we write to die. Drawing upon analyses developed by Girard, Foucault, Blanchot, and Levinas (along with examples from Homer to Beckett), Möbian Nights proposes that all literature works (...) "autobiographically", which is to say, in the wake of disaster; with the credo "I died; therefore, I am"; and for which the language of topology (for example, the "Möbius strip") offers a vocabulary for naming the "deep structure" of such literary, critical, and scriptural sacrificial and anti-sacrificial dynamics. (shrink)

This essay explores the underlying connections, through reversals and doubling, in Jim Jarmusch’s Night on Earth. The film utilizes more than just similar cinematic techniques across its five episodes, it embeds conceptual connections that result in a strong location-expression conveying to the viewer the unique ‘flavor’ of each of the five cities. The essay explores the concepts of reversal, doubling, location-expression, and spectatorship. It elucidates the filmic expressions of place by gesturing toward expression theory and rasa theory. Ultimately, the (...) film’s unity, like that of a rock band’s LP, holds together enough to suggest the peculiar awareness of the filmgoer’s tourist spectatorship. (shrink)

Plato had a great deal to say about the nature and function of the soul, much of it inspired by Socrates’ death by hemlock. According to Plato, the body and soul are two separate entities. The soul, Aristotle hypothesized, is a sort of non‐corporeal nervous system that directs sensory perception, movement, and thought, a great blob of form that animates a matter, entirely useless without a vessel to fill. In direct opposition to Plato and Socrates, Aristotle believed the physical and (...) metaphysical comprised an integrated system, and, therefore, the soul could not exist separate from a body. Medieval theologian, and later saint, Thomas Aquinas, really, really tried to tint the stained‐glass windows rose by combining the Platonic and Aristotelian philosophies on the nature of our spiritual guts. Thomas leaned much more heavily on Aristotle than he did on Plato when formulating his own theory of post‐demise, body–soul logistics. (shrink)