Despite the fact that cinema and animation have common features, one of the fundamental differences between them is that animation uses metaphors much more freely. This current study explores this feature of animation and analyzes how the use of metaphors affects the narrative and plot structure of full- and short-length animation. The study is based on the narrative analysis of eight films made by Pixar Animation Studio, as a successful company that produces both full- and short-length animated films. The concept (...) of monomyth, which was formulated by Joseph Campbell, in 1949, and had a significant impact on the contemporary film industry, allows me to describe the structure of each of the selected examples. Such a formal approach to describing the plot structure, in turn, makes it possible to trace the impact of the extended metaphor on these plots. As a result, this study reveals and describes three main types of creative metaphors in the context of storytelling: supportive, action-forming and destructive. It appears that the supportive metaphor is used in all of the examined films, while action-forming and destructive metaphors relate to short-length animation only. The individual features of using these types of metaphors in full- and short-length animation are revealed in the concluding parts of the research. (shrink)

This paper explores the idea that wellbeing and healthy development should be the central goal of school music programs. After establishing a framework of student wellbeing, the metaphor of rites of passage experiences is employed—through Joseph Campbell's hero's journey and Jane McGonigal's analysis of the benefits of online gaming—as one way to think about high school music programs as potential sites for contributing to optimal adolescent wellbeing. Writing at the nexus of practice and theory the authors analyze two (...) rites of passage examples from their high school music classrooms. Musicking experiences that offer students openings for embarking upon rites of passage hold potential for addressing students' needs for autonomy, relatedness, and competence—needs Richard Ryan and Edward Deci document as predictive of psychological wellbeing in all cultures and that Dissanayake argues are evolved psychobiological needs. (shrink)

This study examines how audiovisual brand stories both invite and enable consumers to enact heroic archetypes. Integrating research on the archetypal structure of narratives with research on the event structure of narratives, we distinguish singular plot stories (i.e. stories that show a Hero’s Journey) from embedded plot stories (i.e. stories that not only show but also tell one or more Hero’s Journeys) and develop a conceptual and narratological framework to analyze their structural elements. Application of the framework to 20 (...) brand stories representing 8 different brands reveals meaningful variation in elements between the singular plot stories and embedded plot stories. Differences in the expression of archetypes and event structure are argued to evoke different types of Hero enactment which in turn result in different outcomes. We specifically hypothesize that the enactment of heroic archetypes in singular plot stories primarily results in catharsis (pleasure), whereas the enactment of heroic archetypes in embedded plot stories primarily results in an outcome we describe as phronesis: a form of moral sense making of the self that advances one’s practical wisdom and prudence. The final section of the paper discusses how cathartic and phronetic outcomes of hero enactment may foster the psychological bonding between brand and consumer, and invite consumers to align their moral values with the values that are reflected by heroic character traits. The central aims of the analysis presented are to provide an exploration of narrative phenomena in a reasonably broad range of brand story videos and foremost to provide a conceptual framework with an applicable instrument suited to analyze relevant categories in these brand stories. The present study is interdisciplinary in its approach to a contemporary, developing marketing phenomenon, applying psychological modeling of archetypes and heroic values with narratological insights on perspective-taking and story structure. Its contribution is to systemize, from a narratological viewpoint, how various narrative archetypes in brand video stories may contribute to the development of brand-consumer relations. (shrink)

Through the frame of the Sumerian myth of Inanna, this essay explores Joseph Campbell’s body of work on the hero’s journey and living mythology. Particular focus is placed on examining both the place of woman as hero and the symbol of woman for the hero in Campbell’s work. This essay suggests that Campbell’s theories present both possibilities and problems from the perspective of feminist analysis for the representation of woman as hero.

In lieu of an abstract, here is a brief excerpt of the content:Bob Dylan’s “Highway Shoes” The Hobo-Hero’s Road through ModernityTodd Kennedy (bio)In the final verse of Bob Dylan’s “Don’t Think Twice, It’s Alright” (1963), the speaker proclaims, “I’m walkin’ down that long, lonesome road, babe / where I’m bound, I can’t tell.” With no destination in sight, he seems content to remain on a perpetual, isolated journey on what he terms “the dark side of the road.” Such an (...) ethos of movement, which permeates Dylan’s corpus, mirrors a dissident strain of American culture that seeks to find a Jeffersonian, individualistic freedom via movement through space outside of mainstream society. As early as Bringing It All Back Home (1965), peaking with Blood on the Tracks (1975), and persisting into his most recent work, Dylan has consistently merged aspects of blues, country, and literary traditions, to invoke images of mobility that examine individual freedom in a world where technology, fragmentation, and homogeneity seem to result in a destructive dehumanizing of individuals. In so doing, Dylan uses an intensely innovative aesthetic as he ambivalently romanticizes uprooted wandering in a manner that both mirrors and expands upon what I term an ontology of the hobo-hero that permeates American letters from Walt Whitman to John Dos Passos (and beyond) as it glorifies those who remain in constant motion in order to maintain a sense of integrated self in the face of crushing modernity.Gilles Deleuze and Félix Guattari similarly identify such an ontology within American culture when they, in A Thousand Plateaus, declare America a “special case” defined by its ceaseless search for a “rhizome,” or a “space in which two things that have nothing to do with one another form a parallel constructed by the mind. It is not imitation or resemblance, but becoming” (10). For Deleuze, Guattari, and, as I argue, Bob Dylan, the rhizome occupies a singular place within American letters. In other words, Deleuze and Guattari admit that America “is not immune from [...] the search for roots” in its “quest for a national identity or even for a European ancestry or genealogy (Kerouac going off in search for his ancestors),” yet they adamantly assert,every thing important that has happened or is happening takes the route of the American rhizome [...]. American books are different from European books, even when Americans set off in search of trees. The conception of the book is different. Leaves of Grass. And directions in America are different: the search for arborescence and the return to the Old World occur in the East. But there is the rhizomatic West, with its Indians without ancestry, its ever-receding limit, its shifting and displaced frontiers.(19) [End Page 37]Such an assertion should come as no surprise, I would argue, since, beginning with the earliest attempts to define “America,” Americans have seen their identity linked to mobility. In fact, the lone commonality that Americans share is descent from immigrants who came to the United States from a “home” or “homeland” where cultural identity was not far removed from national identity. It would stand to reason, therefore, that a group of uprooted individuals thrust into a self-declared melting pot would begin to define themselves by their dislocation. For instance, eighteenth-century French immigrant J. Hector St. John de Crèvecœur claimed that, within the American continent, “individuals of all nations are melted into a new race of men” (44) as America represents, for Crèvecœur, an “asylum” in which “the poor of Europe have by some means met together” (42). Crèvecœur proceeded to privilege those people, such as farmers, who planted “roots” as they helped to build and improve their society, but Crèvecœur’s assertion that we are united by our mutual uprootedness proves indicative of what critic Robert James Butler has observed as a recurrent American “quest for pure motion” (80, emphasis in original). Or, one encounters what the novelist John Steinbeck claimed he perceived in “nearly every American”: a “burning desire to go, to move, to get under way, anyplace, away from any Here” (10). It is such an attempt for perennial rebirth through movement, a rhizomatic selfhood, that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Confessions of an American PsychoJames Hogg’s and Bret Easton Ellis’s Anti-Heroes’ Journey from Vulnerability to ViolenceDaniel Cojocaru (bio)My vitals have all been torn, and every faculty and feeling of my soul racked, and tormented into callous insensibility.... I could perceive no bottom, and then—not till then, did I repeat the tremendous prayer!—I was instantly at liberty; and what I now am, the Almighty knows! Amen.—James Hogg, The Private (...) Memoirs and Confessions of a Justified Sinner1My conscience, my pity, my hopes disappeared a long time ago (probably at Harvard) if they ever did exist.... My pain is constant and sharp.... But even after admitting this... and coming face-to-face with these truths, there is no catharsis. I gain no deeper knowledge about myself.... This confession has meant nothing.—Bret Easton Ellis, American Psycho2A hundred and sixty-seven years lie between the publication of James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) (henceforth referred to as Confessions) and Bret Easton Ellis’s American Psycho (1991). Yet one cannot but be amazed at the striking similarities of the main [End Page 185] protagonists’s insights at the end of these two novels. Although connections between works of Gothic Romanticism and postmodern narratives have been duly noted, the possible reasons for the analogies remain largely unexplored.3It will be argued here that both novels are representations of worlds immersed in what René Girard, in Deceit, Desire, and the Novel (henceforth referred to as Deceit), has termed “deviated transcendency,” resulting in similar stages of narrative progression, which in turn can be analyzed in terms of Girard’s mimetic cycle of violence.At a first glance, the two pieces seem to be concerned with themes that to a secularized age must appear most disparate. But as Girard has noted: “The very idea of mediation encourages literary comparisons at a level which is no longer that of genre criticism or thematic criticism.... It may illuminate the works through each other.”4 Hogg’s narrative deals with the problem of antinomianism and the resulting spiritual pride. The anti-hero of the narrative, Robert Wringhim, relies on his belief that he is one of the elect and cannot fall from grace and consequently is convinced by his elusive friend Gil-Martin to become a murderer without having to fear punishment. American Psycho on the other hand is concerned with the consequences of the crass materialism of the U.S. yuppie generation, culminating at the end of the 1980s, as experienced by the serial-killing first-person narrator Patrick Bateman. However, one could argue that in its very first pages, American Psycho presents the reader with a secularized version of antinomianism. Michael Steig has fleetingly noted that the egocentric doctrines of antinomianism psychologically resemble the “I’m alright tenets” of yuppie pseudo-psychology.5 Timothy Price, one of Bateman’s colleagues on Wall Street, expresses this in the following words: “In essence what I’m saying is that society cannot afford to lose me. I’m an asset.”6 Translated into antinomian terms, one could say that he is one of the elect, one of the privileged enjoying a capitalist heaven on earth; and by saying that society cannot afford to lose him, he, like Robert Wringhim, is showing that he believes he cannot fall from grace—or at least he tries to believe it.“I was well aware that the devilish powers of his mother would finally prevail; and either the dread of this, or the inward consciousness of having wronged him, certainly unnerved my arm.”7 If, in this reference to a quarrel with a fellow pupil at school, Robert gives away the fact that he doubts his own words, through the rhetorical device of correctio, so does Timothy Price by his choice of words. In fact, it is exactly because he is an asset that society can afford to lose him. As he is literally transformed into a commodity, society can discard him and in the novel indeed does so. It is one of the many ironies of the narrative that Price disappears soon after the above... (shrink)

The account of the hero is often depicted as a narratological journey which, with reference to the ground-breaking work of Campbell, is referred to as the monomyth. The basic outline of all monomyths is an account of how a hero embarks on a journey, meets a major crisis and then returns back home altered in some way. This change does not only benefit the hero but is also to the advantage of the community that he or she hails (...) from. This study examines the possibility that the story of Esther fits the prerequisites of a monomyth and argues that the additions to LXX-Esther give emphasis to and reinforce the impression of the hero-myth underlying the story. The therapeutic and transforming qualities of the hero story, narrated in LXX-Esther, are examined in more detail. It is concluded that this hero story fulfils two basic human functions: an epistemic function and a restorative function.Contribution: This article contributes to HTS Teologiese Studies/Theological Studies’s’ contested Historical Thought and Source Interpretation by focusing on textual and hermeneutical studies, and narratives behind the Abrahamic religion as expressed in the Hebrew Scriptures, Apocrypha, Pseudepigrapha and the Septuagint. (shrink)

Researchers’ attention has been drawn to parallels between Homer’s Odyssey and the Epic of Gilgamesh. However, hitherto, no connections have been observed between Kazantzakis’s Sequel and the Mesopotamian work. Convergent are the primary motivations and actions undertaken by the protagonists of both poems, particularly their “peregrinations” to the boundaries of the world, dictated by eschatological anxieties. Moreover, the hero of Kazantzakis’s Sequel undergoes a transformation analogous to the legendary ruler of Uruk: under the influence of concerns, the proud kings opt (...) for solitary wanderings, which results in better self-understanding and higher axiological awareness. The comparison of symbols, such as the sun, fire, lightning, the Water of Life and Death, and theriomorphic allegories, indicates Kazantzakis’s utilization of numerous intermediary sources stemming from the ancient Near Eastern tradition. An additional aim of the article is to indicate interpretative possibilities of books describing the wanderings of the Odyssean spirit after abandoning the project of building the “ideal city,” as versions of ars moriendi: the art of overcoming the fear of death. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 39-41 [Access article in PDF] Wishing I Were Here:Postcards from My Religious Journey Grace G. Burford Prescott College Summer 1966, Bowling Green, Kentucky An energetic ten-year-old, sitting on a red-cushioned wooden pew in a Presbyterian church leans over to her mother to whisper, "Which is it? Are we supposed to be like little children, or leave behind our childish ways?" After church, her mother (...) does a reasonably good job at answering the question.Later, perhaps even later that day, this little girl has gleefully exchanged her dress and going-to-church shoes for a cotton shirt and shorts and blue Keds, and has escaped to her favorite spot in the woods behind her house. There she swings on vines in imitation of Tarzan and plays contentedly on her own for hours, feeling utterly at home.In this scene, we see that the little girl has discovered that she can best deal with a certain type of recurring physical pain by focusing her entire attention on her breath, as she silently repeats "breathing in, breathing out." Fall 1971, Bryn Mawr, Pennsylvania A group of eight or so teenagers attend their English literature class at an elite college-preparatory school for girls. Our hero, recently arrived, southern accent still quite in evidence, revels in real education; this a delightfully stark contrast to what she got from Kentucky public schools, then forty-ninth in the nation according to some poll or other—only Mississippi's were worse. In this particular class she finds herself defending Presbyterians against what she considers simply inaccurate descriptions of them by James Joyce. At the same time, she is waking up to the realization that she does not believe—and the suspicion that she never really has believed—the Christian doctrines she has been raised on. Indeed, she feels quite foolish for never having properly examined what exactly she had bought into when she participated in all those church activities. She can't recall ever actually believing in "God the Father, Almighty, Maker of Heaven and Earth," much less in "Jesus Christ, His only Son, Our Lord," and all the rest of it. [End Page 39] Spring 1975, Swarthmore, Pennsylvania Having thoroughly rejected religion—for she knows none other than the one she grew up with—our hero pursues study of astronomy, math, language, and music, quite intent on becoming a college professor of some subject or another. Somewhat annoyed that she must take two courses in the curricular area that includes religion, philosophy, anthropology, and sociology, but encouraged by her friends' assertions that religion courses are "not too bad," she signs up for religion and science, figuring that at least half of it will be rational. At the same time, she takes a course on Asian religions. Sometime in the middle of a clear spring night we find her engaged in her part-time job, seated at the eyepiece end of a twenty-meter-long, twenty-four-inch refracting telescope, patiently keeping a star placed just so on the cross-hairs in the siting scope, making fine adjustments to the telescope's precise tracking while the light of stars collects on glass plates coated with very fast photographic emulsion. Between clicks of the shutter she ponders the curiously attractive ideas she is encountering in her religion courses this term. Spring 1983, Evanston, Illinois Our hero earns a Ph.D. in the history and literature of religions, with a focus on Buddhism and Hinduism, and heads for Washington, D.C., to become what she had always aspired to be—a college professor. Summer 1997, Interstate 40 Having experienced a denial of tenure, the challenges of part-time college teaching, training and freelance work in the field of copyediting, life as a wildlife-wielding teacher of auditoria full of elementary school children, an administrative job as second-in-command to a self-described megalomaniac, and the vagaries of teaching two hundred students a term—this lifelong seeker eagerly moves across the country to start a job teaching at an alternative, experiential learning-based... (shrink)

This article discusses the Homeric background of the Republic with the aim of elucidating Plato’s critique of Homeric nostos. It argues that the Republic unfolds as a nostos voyage, with Socrates striving to steer the soul home. Even though Segal has already argued for seeing the Republic as an Odyssean voyage, this article suggests that Plato does more than simply borrow the idea of a voyage as a metaphor for the wanderings of the soul. Rather, there is an implicit critique (...) of Homer as the “poet of Becoming” in the dialogue. Thus, reading the Republic in the context of other Platonic dialogues such as the Cratylus and Theaetetus where Socrates identifies Homer as the source of the view that Ocean is the origin of all things and that everything is in flux allows us to better appreciate Socrates’ critique of poets in the Republic. At stake in this critique is ultimately the question of the soul’s true nostos, which Plato identifies with a vertical ascent to Being rather than with a temporary homecoming within Becoming. This article contributes to the elucidation of the Homeric and pre-Socratic background of Platonic philosophy. It undertakes a literary reading of the Republic against the background of the hero’s journey motif. Specifically, it argues that Plato critiques and emends the Odyssean nostos in order to make space for Parmenidean ontology, thus forging a new understanding of salvation. (shrink)

This paper offers an interpretation of René Girard’s mimetic theory in light of Hannah Arendt’s account of St Augustine’s philosophy of love. Girard’s mimetic theory crosses many disciplines and has been the main inspiration in his oeuvre over decades. However, its later application and how it purports to demystify culture and point to the truth of the Christian revelation, sits uneasily with his early confessional position. This paper is an attempt to make sense of Girard the Christian thinker, who seeks (...) to explain Christianity without a continuous searching quest for God and ethical orientation in the world. I examine his early theory of desire and how it claims to lead to the conversion of the hero and author of the novel, and how Girard compares the hero’s journey in literary space to the Saint’s journey in spiritual space. In explicating Hannah Arendt’s work entitled Love and Saint Augustine I set out some of the key concepts of Augustine’s philosophy of “love as desire” and highlight a number of contexts in Augustine’s thinking that refocus his philosophy in the direction of memory in response to the commandment to love God, neighbour and self. I go on to examine whether Arendt’s analysis of Augustine might also apply to Girard’s journey with mimetic theory. Finally, I attempt to articulate a context for reading Girard in light of Augustine’s own searching quest for God, one that tries to bring his personal and confessional stance back into his account of mimesis and human origins. (shrink)

The graphic novel Asterios Polyp uses the story of Asterios, a laughable “paper architect,” who has never produced a building, to tackle the challenging topics of the abstract and the concrete, the universal and the particular. Asterios goes on a journey conforming with the Hero’s Journey or Monomyth, but he arrives not at the rarified or transcendent, but the humble and concrete. Plato saw the sensible world of particulars as populated by imperfect imitations, and imitative art (like graphic (...) novels) as even further removed from truth, Asterios Polyp cleverly uses pictures, their colors, lines, and other properties to illustrate its claims and vindicate and celebrate the particular, though not at the expense of the universal. We learn with Asterios that to live a good life and find peace in the world, we must integrate the abstract and the concrete, the universal and particular. (shrink)

Analysis of the work Thus spoke Zarathustra (1883-1885), by the German philosopher Friedrich Nietzsche. More specifically, they stop at the second moment of that work, Da redemption. In a sense, Zarathustra - as a kind of mask over Nietzsche's face - presents a good part of Nietzschean doctrine: there is a walk, or a crossing, that will take him to the hero's journey, both in terms of content and in the style of narrating your philosophy. Therefore, Zarathustra, as (...) a mask for the philosopher Nietzsche, weaves his criticisms of the West, being also a mask through which the journey is taken and the subject's redemption is reached. (shrink)

The other within : encountering myth -- The elf-king's closet : types of myth -- The view from outside : theories of myth -- Singing the world : myths of creation -- The hero's journey : the warrior -- The hero's journey : the Savior -- The end of days and the life everlasting : eschatological myths -- Shadowside : myths of evil, the trickster, and the flood -- Our people : nationalistic myths -- The wizard's (...) prism : psychology of myth -- The thinkers : notable scholars and philosophers of myth -- Absence and light-sabers : modern myth. (shrink)

Silence features prominently in both political and academic debates about resistance and complicity with repressive orders. On the one hand, the dictum ‘silence is complicity’ is frequently taken for granted. On the other hand, heroes are thought to be those who ‘speak up’ or ‘break the silence’, contest the regime and its henchmen, agitate and take up arms. This paper troubles these assumptions about silence as complicity and speech as resistance. It argues that silence provides an interesting and productive angle (...) for criticising the idealised, temporally static, voluntarist, act-centred and virtuous vision view of heroes that usually dominates national-myth making. The many ways in which resisters deployed silence selectively, strategically, sometimes courageously, sometimes cowardly is erased from redemptive, idealising national narratives of heroism. It is by looking at these silences theoretically and historically that I hope to decentre this hegemonic heroic understanding of resistance. The work of Nobel Laureate Herta Müller serves as an illuminating example. (shrink)

Star Wars Episode VII: The Force Awakens is not the hero’s journey as George Lucas previously conceptualized it. Instead, the story line of The Force Awakens leads me to believe that it creates a new iteration of the hero myth. It follows the contemporary heroine’s journey while conforming to the essential construct of the hero monomyth. First, the contemporary heroine’s journey focuses primarily on the greater good and secondarily on her own personal journey, which is the (...) converse of the traditional hero’s journey. Second, the contemporary heroine’s self is awakened and called to adventure in a different way than the traditional hero. Third, the traditional hero receives guidance on his journey, while the contemporary heroine pushes ahead alone, striving to save her society from despair. (shrink)

This essay is an interpretation of Nietzsche’s enigmatic idea of the Eternal Return of the Same in the context of his life rather than of his philosophy. Nietzsche never explained his ‘abysmal thought’ and referred to it directly only in a few passages of his published writings, but numerous interpretations have been made in secondary literature. None of these, however, has examined the significance of this thought for Nietzsche, the man. The idea belongs to a moment of ecstasy which Nietzsche (...) experienced during the summer of 1881 in Sils-Maria, in the Swiss Alps. Like Dante, in ‘the middle of life’, he walked down the wooded Alpine slope and entered his own Inferno. On the anniversary of long-buried loss and pain, his psyche was temporarily flooded by archetypal imagery. This event is interpreted in the light of Freud’s theory of repetition compulsion, the uncanny, and the oedipal confrontation with the unconscious. From the turbulent and frightful experience, a symbol of transfiguration emerged in the shape of Eternal Return. Its likeness to Mandala, a Jungian archetype of wholeness and the self, is striking. In the years that followed, Nietzsche produced his greatest works that assured him an unassailable place in Western philosophy. And yet, there was something disturbing about this dream-thought, and Nietzsche shuddered at any mention of the thought. Linking it with the head of Medusa in his unpublished notes, he hinted at its petrifying quality. The beguiling beauty of Medusa makes her an ambiguous symbol of exhilaration, as well as terror. Under her captivating gaze, a hero’s journey towards selfhood becomes a journey into the night of madness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How Can Satan Cast Out Satan? Violence and the Birth of the Sacred in Christopher Nolan’s The Dark Knight1Nicholas Bott (bio)Last Summer, Christopher Nolan’s final installment of the Batman trilogy hit theaters. The Dark Knight Rises promised to be the epic conclusion of a hero’s journey, a journey of a man’s transformation into a legend. Little was revealed in the official trailers, except that evil was rising (...) in Gotham City, and so too must The Batman. But in this essay I’d like to suggest that we didn’t need to view The Dark Knight Rises before seeing either evil, or Batman rise; by the end of the second film, evil and Batman have already risen—and together—in the sacred form of The Dark Knight.This essay first elucidates how Bruce Wayne’s strategy to inspire good among the citizens of Gotham, first articulated in Batman Begins, encompasses the hallmarks of Girard’s mimetic theory, including: mimesis, rivalry, scandal, and, finally, the outworking of the mimetic mechanism of the surrogate victim—the scapegoat. Next, this essay takes a closer look at the goodness, or lack thereof, of Batman’s climactic self-sacrifice with its attendant resolution. Finally, this essay demonstrates that interpretations [End Page 239] of Batman’s self-sacrifice in the movie have mirrored the disparate interpretations of Christ’s self-sacrifice, in relation to the climax and resolution of the Passion accounts.Mimetic Structure in Bruce Wayne’s StrategyBeginning With the EndThe final visual the audience is given in The Dark Knight is of Batman escaping on his Batpod. The screenplay’s description of this final scene reads: “The batpod streaks through Gotham’s underground streets, the Batman’s cape fluttering behind. A wraith...”; (TDK, 140).2 Commissioner Gordon’s voice is overheard saying, “... He’s not our hero. He’s a silent guardian, a watchful protector, a dark knight” (TDK, 140). Bruce Wayne has sacrificed himself for the sake of Gotham. But what kind of sacrifice has he made?3 In the words of Alfred, “The sacrifice he’s making [is]—to not be a hero. To be something more” (TDK, 73). And Batman has become something more. No longer a hero, the language Commissioner Gordon uses to describe Batman on behalf of Gotham is mythical and sacred. Girard understands this sacralization to be the completion of the surrogate victim mechanism, the satanic process whereby the sacrifice of an innocent scapegoat reconciles a community in the midst of crisis and violent upheaval.4 This sacred vision of Batman represents the final stage of the surrogate victim mechanism, providing evidence that the satanic has been at work. But if this is the case, something has gone terribly awry in Bruce Wayne’s strategy to inspire good. With this conclusion in mind, the flaws in Wayne’s strategy as it develops throughout Batman Begins and The Dark Knight become apparent, and correspond with each step in the mimetic process.Mimesis as PlotMimesis, or imitation, stands at the heart of The Dark Knight’s plot because it stands at the heart of Bruce Wayne’s strategy to inspire good. We encounter this strategy in Nolan’s first film, Batman Begins, as Wayne explains to Alfred his reasons for returning to Gotham City:Alfred:Are you coming back to Gotham for long, sir? [End Page 240]Bruce:As long as it takes. I want to show the people their city doesn’t belong to the criminals and the corrupt.Alfred:In the depression, your father nearly bankrupted Wayne Enterprises combating poverty. He believed his example could inspire the wealthy of Gotham to save their city.Bruce:Did it?Alfred:In a way. Their murder shocked the wealthy and the powerful into action.Bruce:People need dramatic examples to shake them out of apathy. I can’t do that as Bruce Wayne. As a man... I’m flesh and blood, I can be ignored, destroyed. But as a symbol... As a symbol, I can be incorruptible. I can be everlasting.Alfred:What symbol?Bruce:Something elemental, something terrifying.(Batman Begins)5By invoking the symbolic, Bruce Wayne believes Batman will be... (shrink)

The experience the world's cultural traditions has proved that the human existence with the change of vital biological processes and social conditions subordinates to and stands at the certain step of the hierarchy. In order to achieve higher status it needs to go through the frames of the tradition of ceremonial and ritual scheme, i.e. the process of conscious mode of management and transformation of the human personality. The ceremonies of initiation served as the means of control and transformation of (...) human personality with the help of consciousness, the encoding of the subconsciousness of inner soul of a person took place. The article deals with the different approaches in the interpretationof initiations. But the determining thing is the fact that they formalized the entrance of a person to the communal and corporate unions that were closed for the outsiders, and the essence of the process of formalization was pointed to the regulating of different variance in behavior, its unification, typification, to the development of common schemes and standards. This trend can be seen in the fact that any society, taking care of its integrity, appeals to the collective memory, uses the mythological means, develops the system of social codes of behavior that are offered to its members as ceremonies and rituals that build the basis of the axiom of cosmology of the community. The article is an attempt to define functional and semantic meaning of the phenomenon of initiation from the point of view of the theories of psychoanalysis and some myth centered ideas and conceptions. The analysis of the essential characteristics of initiation as a conscious means of management and transformation of a person's identity is developed. The characteristics of an individual's behavior from the point of view of the tradition of ceremonial and scheme has shown that the modern perspective understanding of the anthropological catastrophe is possible at the conjuncture of retrieval of a personality's integrity in the process of spiritual initiation sublimation that is the most important stage of immersion of a person in his or her own Selfness. (shrink)

*Note that this project is now being developed in joint work with Rich Woodward* -/- Some things are left open by a work of fiction. What colour were the hero’s eyes? How many hairs are on her head? Did the hero get shot in the final scene, or did the jailor complete his journey to redemption and shoot into the air? Are the ghosts that appear real, or a delusion? Where fictions are open or incomplete in this way, we (...) can ask what attitudes it’s appropriate (or permissible) to take to the propositions in question, in engaging with the fiction. In Mimesis as Make-Believe (henceforth, MMB), Walton argues that just as truth norms belief, truth-in-fiction norms imagination. Granting that what is true-in-the-fiction should be imagined, and what is false-in-the-fiction is not to be imagined, there remains the question of what to say within the Waltonian framework about things that are neither true- nor false-in-the-fiction---the loci of incompleteness. (shrink)

Autobiographical essay covering the first twenty five years of the author's life.

The article deals with the images of Lithuania found in Czesław Milosz’s poetry. The novels and essays have only been used to confirm the conclusions drawn from the interpretation of selected poems. Despite the frequently-declared unwillingness of the author of Dolina Issy [The Valley of the Issa] to accept and use any autobiographical elements in literature, the land of his childhood has always been present in all the poet’s works. The explanation of this fascination with nostalgia seems to be unsatisfactory. (...) The author of the article perceives the poetic images of Lithuania created by the uprooted immigrant as a symbol of his inner, not purely geographical, settlement. The subject of the discussion is the ever-changing perception of the Eastem-Borderland, which corresponds to particular stages of the protagonist’s journey through life. The starting point is the experience of eviction. It modifies the originally idealized vision of the „little homeland” and makes the hero’s attempt to reject or „amputate” it. The poems from the volume Światło dzienne [Daylight] surprise the reader by a hostile attitude towards the poet’s youth spent in Lithuania and the perception of these early memories as some destructive forces threatening the artist. It is only after a many-years’ quest that the borderland heritage is appreciated and conquered again. Now, however, it acquires a different, more symbolic form. The cycle Miasto bez imienia [A Town without a Name] and the poem Gdzie wschodzi słońce i kędy zapada [Where the Sun Rises and Sets] are evidence of a gradual transformation. The faithful recreation in the poet’s memory of particular places and people changes into the construction of some outside religious space, built from the traces of the real world. Lithuania changes into a perfect reality, a Super-Land, capable of retaining the past and combining it with the present. It is a prop freeing the poet from the waste land of Urizen. (shrink)

Abstract:Thoreau’s story of climbing Saddleback (Mt. Greylock) in A Week on the Concord and Merrimack Rivers (1849) preserves his memories associated with the place and establishes the cultural significance of the mountain. The interpolation is about Thoreau’s quest to find a place of meaning and permanence amid the rapid changes in his life and the development of rural New England from industrialization. Places are integrations of space and time created by stories with personal and cultural significance. Such places must be (...) preserved. The hike is a pilgrimage to a paradise where he has a transcendental vision of a new world. Thoreau is born again on the mountain. The Greylock story is one of the most studied places in A Week. Literary critics have discussed how Thoreau’s ascent and the sunrise at the summit are the climax of the Romantic hero’s journey through nature, space, and time. None have noticed the symbolism of Thomas Carlyle’s “untamable fly” appearing instead of God, and none have explored Greylock as a Thoreauvian place. Thoreau’s trip to Greylock and the Catskills was a search for inspiration, and he was inspired to write Walden (1854). He stayed in cabins that prefigured his house at Walden Pond, and he saw things that reminded him of Harvard, Boston, Staten Island, and other mountains he had climbed. At the summit he found water, nibbled supper with the mice, conceived of a book about nature, and watched the sunrise of his new life. The history of Greylock is the story of the environmental impact of unregulated lumbering and development and the resulting conservation efforts. The old growth forest is now protected state land, with rare birds and a ghost. The mountain is a literary place also associated with Hawthorne, Melville, and Rowling. Since 1994, Thoreau’s climb up Greylock has been commemorated by an annual hike retracing his footsteps. (shrink)

It is doubtless appropriate to read The Interpretation of Dreams according to the image of the journey which Sigmund Freud describes in a letter to Wilhelm Fliess:The whole thing is planned on the model of an imaginary walk. First comes the dark wood of the authorities , where there is no clear view and it is easy to go astray. Then there is a cavernous defile through which I lead my readers—my specimen dream with its peculiarities, its details, its (...) indiscretions and its bad jokes—and then, all at once, the high ground and the open prospect and the question: “Which way do you want to go?”1This walk has nothing of the nonchalant about it. Rather, it is strewn with tests and trials, as is usually the case in the “myth of the hero” or of the “conquistador,” which we know played a major role in Freud’s thought and in that of his disciples. The progress, in epic poetry, moves toward a discovery, the founding of a city, by means of difficult stages and combats. Every “discourse” capable of attaining a goal distant from its prolegomena finds its appropriate metaphor in the hero’s progress, or in the voyage of initiation. Discursivity then becomes the intellectual equivalent of the epic’s trajectory. At the time of its publication, Freud found his book insufficiently probing, and imperfect in its discursivity. He criticized himself for having failed to link properly his arguments . Doubt was momentarily cast on the achievement of the main goal…. But such severity was not to persist.But one can also read the work by discerning its framing devices. Several authors mentioned in the first chapter reappear at the work’s conclusion. Such a return is far from fortuitous; it is the result of an extremely well-calculated strategy. Another framing system which has been noticed by many readers is the one, shortly before the end of the book, which returns to a line from Virgil that Freud had placed as an epigraph on the title page: Flectere si nequeo superos, Acheronta movebo. This line, because of its repetition at two crucial points in the book, traces its message in the form of an emblem. When it breaks in, it makes explicit that the dream mechanism is the return of the repressed:In waking life the suppressed material in the mind is prevented from finding expression and is cut off from internal perception owing to the fact that the contradictions present in it are eliminated—one side being disposed of in favor of the other; but during the night, under the sway of an impetus towards the construction of compromises, this suppressed material finds methods and means of forcing its way into consciousness.Flectere si nequeo superos, Acheronta movebo.2 1. Sigmund Freud to Wilhelm Fliess, 6 Aug. 1899, Freud, The Origins of Psychoanalysis: Letters to Wilhelm Fliess, Drafts and Notes, 1887-1902, ed. Marie Bonaparte, Anna Freud, and Ernst Kris, trans. James Strachey , p. 290.2. Freud, The Interpretation of Dreams, ed. and trans. Strachey , p. 647; my emphasis. The Latin is translated in n. 1 on that page of Freud’s text: “If I cannot bend the High Powers, I will move the Infernal Regions.” All further references to this work, abbreviated I, will be included in the text. Another framing device is created by the theme of the prophetic dream, discussed at the outset of the first chapters and taken up again, with the ambivalence of denial and concession, in the final paragraph of the book. Jean Starobinski, professor emeritus at the University of Geneva, has devoted studies to Montaigne, Diderot, Rousseau, Saussure, and modern French poets. As an M.D., he is familiar with psychoanalysis and participates in the editorial board of La Nouvelle Revue de Psychanalyse . Some of his recent research deals with the history of melancholia; his most recent books are Montaigne in Motion and Rousseau . He was awarded the Balzan Prize in 1984. (shrink)

Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control her (...) magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddha Loves Me! This I Know, for the Dharma Tells Me SoDonald K. SwearerI intend no disrespect to either the Buddha or the Christ by my rewrite of Anna Bartlett Warner’s 1859 Sunday school song, “Jesus Loves Me.” That one might construct the Buddha in the image of a loving Jesus may be more startling or offensive to Buddhists (and also to Christians) than the modern, apologetic view of (...) the Buddha as a rational renouncer. Versions of both can be textually justified; however, each is a reification that reflects the bias of the interpreter. Both ignore the complexity of the figure of the Buddha within the varied and diverse traditions of Buddhism. My starting point in the following essay acknowledges this complexity as well as the inevitable limitations of my personal interpretation of the Buddha, necessarily conditioned by my experience. I propose to structure the essay around two polarities—universal/particular and wisdom/compassion—looking first at the Buddha and then briefly reflecting dialogically at the end of each section on the figure of the Christ.Buddha: Universal and ParticularIn my personal experience in Buddhist Asia, especially Thailand, and my studies of Buddhist traditions, in particular the Theravada, I have been impressed by the creative tension between the universal and particular dimensions of the figure of the [End Page 113] Buddha. Even the modern Western view of the Buddha evidences this tension. Typically the word Buddha evokes the story of Prince Siddhattha’s renunciation of his royal status, subsequent quest for enlightenment, and eventual realization of nibbana. 1 In the hands of a comparative mythologist such as Joseph Campbell, the detailed embellishments of the Buddha’s sacred biography are absorbed into the tripartite, monomyth structure of the hero’s narrative—separation, attainment, return. For Campbell, the story of the historical Buddha, Siddhattha Gotama, represents a rite of passage, a deep psychological truth of self-discovery symbolized by other heroes in world mythology. Despite the antistructuralist critique by historical and textual scholars, as well as the feminist criticism that the heroic journey does not reflect women’s experience, in one form or another the Buddha reified as an exemplar of the universal paradigm of the individual’s journey of self-realization continues to capture the Western imagination.A somewhat more sophisticated version of the universal hero motif is the Buddha as ‘rational renouncer,’ an interpretation favored by both Buddhists and scholars of Buddhism who portray the Buddha as an empiricist and pragmatist somewhat on the order of William James. In this view, Prince Siddhattha’s quest was a rational response to the experience of suffering, and the truth he perceived on the night of his enlightenment was nothing more nor less than a direct perception of the universal law of cause and effect obscured to ordinary awareness. De-emphasizing both the ascetical and devotional aspects of the Buddha’s sacred biography, the rational renouncer school of thought places its emphasis on epistemological transformation characterized in Buddhist texts as “seeing things as they really are.”The Buddha as universal hero and as rational renouncer can be critiqued as modernized, rationalized, westernized reifications of the Buddha, an example of the ‘orientialist’ distortion that characterized the colonial project. Charles Hallisey has pointed out that such reconstructions of the Buddha were not merely the products of Western scholars but owed much to Asian Buddhists as well. 2 But are we to assume that throughout the history of Buddhism, similar hermeneutical moves and debates over the nature of the Buddha did not exist? I find a tension in the Buddhist tradition between two contrasting images of the Buddha: as an exemplar of a universal truth, and as a being defined by the contingencies of human particularities.Theravada Buddhists find strong support in the sutta for a humanistic interpretation of the Buddha. In particular, they argue that the Buddha of the early Buddhist canonical texts specifically denied that he was a god, and that he was a teacher of the truth he perceived at his enlightenment. They find support for this view in the Mahaparinibbana Sutta, wherein the Buddha tells his followers that when he dies the teaching and the disciplinary rules he... (shrink)

IntroductionParkinson’s disease patients have a significantly higher risk of developing dementia in later disease stages, leading to severe impairments in quality of life and self-functioning. Questions remain on how deep brain stimulation affects cognition, and whether we can individualize therapy and reduce the risk for adverse cognitive effects. Our aim in this systematic review is to assess the current knowledge in the field and determine if the findings could influence clinical practice.MethodsWe have conducted a systematic review according to PRISMA guidelines (...) through MEDLINE and Embase databases, with studies being selected for inclusion via a set inclusion and exclusion criteria.ResultsSixty-seven studies were included in this systematic review according to the selected criteria. This includes 6 meta-analyses, 18 randomized controlled trials, 17 controlled clinical trials, and 26 observational studies with no control arms. The total number of PD patients encompassed in the studies cited in this review is 3677, not including the meta-analyses.ConclusionCognitive function in PD patients can deteriorate, in most cases mildly, but still impactful to the quality of life. The strongest evidence is present for deterioration in verbal fluency, while inconclusive evidence is still present for executive function, memory, attention and processing speed. Global cognition does not appear to be significantly impacted by DBS, especially if cognitive screening is performed prior to the procedure, as lower baseline cognitive function is connected to poor outcomes. Further randomized controlled studies are required to increase the level of evidence, especially in the case of globus pallidus internus DBS, pedunculopontine nucleus DBS, and the ventral intermediate nucleus of thalamus DBS, and more long-term studies are required for all respective targets. (shrink)

Rediscover the Promise of Enlightenment As Western culture has embraced practices like meditation and yoga, has something been lost in translation? “What we see in America today in both the yoga boom and mindfulness fad,” writes Dr. Miles Neale, “is a presentation of technique alone, sanitized and purged of the dynamic teachings in wisdom and ethics that are essential for true liberation.” For anyone seeking a path dedicated to both authentic personal growth and the overthrow of the nihilism, hedonism, and (...) materialism that are threatening our planet, this compelling teacher presents a well-conceived, sustainable solution with Gradual Awakening. The core of this book is Tibetan Buddhism’s “gradual path”—or Lam Rim—interpreted with fresh insights from modern scientific research. Offering an illuminating new presentation of Tibet’s deep psychology, meditative techniques, and virtuous rituals, Dr. Neale presents a time-honored path of enormous transformational potential. Each chapter serves as a practical manual that will allow you to experiment with and actualize the benefits of role-modeling visualization, affirmations, contemplative themes, textual recitation, prayers, altars, offerings, and meditation. Here you’ll explore: • Uprooting the “sickness of paradigm”—why a complete spiritual practice must directly confront the fundamental human suffering caused by the modern ethos of scientific reductionism • The Lam Rim path—the history, heritage, and power of this 30-step “hero’s journey” of awakening • Evolutionary self-care—understanding the Buddhist concept of renunciation as a form of self-love and healing • Radical altruism—awakening Bodhicitta, our innate aspiration to evolve fully in service to others • Quantum vision—how the teaching of “emptiness” allows us to pierce the illusion of materialism and accurately perceive the subtlest nature of reality • Dr. Neale’s MAPS process (Maturity, Acceptance, Possibility, and Seeds) to integrate and manifest key insights and skills in your everyday life The mass-market dilutions of Eastern wisdom that focus on symptom relief and easy answers have left behind the ultimate promise of spiritual practice: enlightenment. “Enlightenment is an unfolding process—open to everyone.” writes Dr. Neale. For most of us, this path to awakening must be realized through a gradual process: building on incremental insights into who we truly are, learning to care for ourselves and others, and discovering creative ways to engage the problems we all face. Gradual Awakening will serve as a lifelong companion for anyone willing to embrace a new paradigm that integrates science with spirit, theory with practice, and personal meditation with the desire to transform the world. A portion of the proceeds from this book will benefit the Buddhist nuns of Kopan Nunnery in Nepal. (shrink)

Resumen En este artículo abordo las relaciones entre la subjetividad y la gubernamentalidad en la obra de Michel Foucault con la finalidad de profundizar y elucidar ciertos elementos que subyacen en su estrategia para escapar de las formas de subjetivación neoliberales. La subjetividad se piensa como la tensión entre un dispositivo de control y un lugar para la resistencia. Su estrategia se funda en la comprensión de los procesos de estatalización y de las prácticas estatales a partir de las cuales (...) podemos entender cómo hemos llegado a ser lo que somos y con ello resistir a los procesos de subjetivación que fomentan dichas prácticas.This article examines the relations between subjectivity and governmentality in the work of Michel Foucault in order to clarify the elements involved in his strategy to escape from neoliberal forms of subjectivation. Thus, i examine how subjectivity emerges from the tension between being a control device and at the same time a place of resistance. Foucault's strategy is based on the understanding of processes of nationalization and State practices, from which we might understand how we have become what we are and, on this basis, resist the processes of subjectivation promoted by state practices. (shrink)

This paper walks through four different approaches to Hegel's notion of Consciousness in the Phenomenology of Spirit. Through taking four different approaches our aim is to explore the multifaceted nature of the phenomenological movement of consciousness. The first part provides an overview of the three chapters of the section on Consciousness, namely Sense-Certainty, Perception and Force and the Understanding, attempting to unearth the implicit logic that undergirds Consciousness’ experience. The second part focuses specifically on the shape of Sense-Certainty, providing an (...) analysis of the movement from Sense-Certainty to Perception from a neuroscientific view. Thirdly, we consider an inferentialist reading of the chapters on Consciousness which has been made popular by Robert Brandom. We think that while this view elucidates the connection that Hegel draws between meaning and use, it fails to account for the vital place of immediacy in each of the shapes. Finally, the fourth part suggests that Hegel’s notion of Consciousness improves the reading of tragedy he develops in chapters 5 and 7 of the Phenomenology. While many critics have noted that Hegel fails to do justice to tragic experience, Consciousness contains an epistemology that develops analogously to the heroes of ancient tragedy. Each approach in this paper comes at Hegel’s description of the journey of Consciousness from a different angle, and together they paint a multi-layered picture of a highly important part of Hegel’s corpus. (shrink)

When we know who we truly are, rather than who we take ourselves to be, we will realize that we are indeed the hero of our story and that we need not look to others or the world to find our heart's desire.

The medical drama and its central character, the doctor-hero have been a mainstay of popular television. House M.D. offers a new (and problematic) iteration of the doctor-hero. House eschews the generic conventions of the “television doctor” by being neither the idealized television doctor of the past, nor the more recent competent but often fallible physicians in entertainment texts. Instead, his character is a fragmented text which privileges the biomedical over the personal or emotional with the ultimate goal of scientifically uncovering (...) and resolving instances of disease. This article examines the implicit and explicit messages in House M.D. and critically analyzes both the show and its lead character in relation to the traditional medical drama genre that highlights the “doctor-hero” as the central character. While at first House seems to completely violate narrative and generic norms, ultimately the program provides a new form that reinforces the presence of the doctor-hero, but highlights House’s character as the central figure who is personally and interpersonally problematic but biomedically effective. (shrink)

In times of stress, trauma and crisis—whether on a personal or global scale—it can be all too easy for us to externalize a larger-than-life figure who can assuage our suffering, a Hero who comes to the fore even as we recede into the background. In taking on our collective burden, however, such an omnipotent Hero can actually undermine us, representing as it does the very same characteristics we fail to note in one another. By granting the Hero to power to (...) set things right, we seem to deny it to ourselves, leaving us temporarily lightened but ultimately helpless. In response, Sue Grand deconstructs the myth of the Heroic and argues for the "ordinary hero," a more realistic figure with the same limitations, concerns and fears as the rest of us, but who nonetheless stands up for the greater good in the face of danger, despair and villainy. From the foundation of relational psychoanalysis, Grand incorporates cultural and ethical considerations in her examination of what this ordinary hero might look like, a trip that takes us from the consulting room to right outside our front doors, from the heart of a "civilized" nation to the myriad war-torn regions dappling the globe, both past and present. Along the way we meet individuals whose encounters with adversity range from the mundane to the catastrophic, and learn how they struggle against the dubious concept of the Hero looming large in their lives. Recounting this journey in finely-tuned yet imminently accessible and enjoyable prose, Grand demonstrates that the best place to ultimately find the ordinary hero is within each other: The hero is us. (shrink)

Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve Arabic (...) and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century. (shrink)

Saint Bonaventure's Journey of the Soul into God is one of the most important works in the Christian mystical tradition. In this volume, Randall Smith provides the first comprehensive commentary in English of Bonaventure's classic text. He situates the work within its historical, intellectual, and cultural contexts.

In defending Levinas’s ethical theory against Ricoeur’s objections in Oneself as Another, I make a two-fold argument in regard to heroic action and the ordinary ethical relation. First, I suggest a definition of the hero as she who does what is right—that is, what is ethically necessary or obligatory—even when it requires extreme sacrifice. Second, I argue that the development of virtuous character, out of which such heroic action comes, is dependent upon the asymmetrical relation between an alterior Other and (...) a self who is willing to sacrifice to do what is right. Re-orienting oneself toward the ethical relation is, itself, a sacrifice, requiring that one adopt a non-reciprocal, asymmetrical devotion to the Other. Thus, ethics, including both heroic and ordinary ethical behavior, ought not be founded on notions of friendship, symmetry, or mutuality, but rather on absolute difference, asymmetry, and self-sacrifice. (shrink)

Whoever knows a little about China—even very little—knows, in one way or another, about the Taoist Immortals, although our knowledge may be limited to the representation of them on a bit of sculptured jade, on a Han mirror or in some wood engraving. One has heard of them as an essential part of Chinese folklore. In the book of Taoist saints, the Liesien tchouan, they may be observed in all their oddness, living on pine cones or the “marrow of stones” (...) and flying off into the air toward the apotheosis of some unknown paradise. This aspect of the Immortals has been studied often and well. But there is another aspect to the Immortals no less important, a philosophical aspect which, I believe, deserves our attention. Sun Yat-sen, the “Father of the Chinese Republic,” is certainly not given the name of “Hidden Immortal” (Yat-sen, Yi-sien) out of a simple interest in folklore, and the heroes of the Chinese novel, Kia Pao-yu of the first Hong-leou mong, dedicated themselves to achieve the way of the Immortals for reasons that went deeper and were more intelligent than mere superstitious emulation of some grotesqueries of occult folklore. No, the Chinese Immortal is a veritable hero of the same stamp as Saints of the Christian tradition and like the latter he embodies a religious philosophy of the highest inspiration. (shrink)

본 논문은 ‘영웅-순교자’라는 화두를 통해 밀 사상의 통일성을 새롭게 조명해 보고자 했다. 사상적 성숙기에 집필된 『공리주의』와 『자유론』사이에 이념적 불일치가 발생함을 주석가들은 지적해 왔다. 밀의 소극적 자유 개념이 필연적으로 모든 간섭주의적 성격의 법을 배제하는데 반해, 공리주의의 제1원리인 ‘최대 다수의 최대 행복’의 원리는 그러한 법을 요구할 수 있다는 것이다. 공시적 관점에서 제기된 밀 사상의 통일성 문제는 곧장 전⋅후기 사상 사이의 단절이라는 통시적 문제로 이어진다. 아버지 제임스 밀로부터 물려받았던 공리주의를 자유주의자 존 스튜어트 밀은 저버렸던 것일까, 아니면 여전히 계승하고 있는 것일까? 공시적 관점과 통시적 (...) 관점 모두에서 밀 사상의 통일성을 논하고자 하면서, 본 논문은 ‘영웅-순교자’ 화두가 지니는 논쟁적 의미와 발견술적 의미에 초점을 맞추었다. (shrink)