"A collection of philosophical essays about the undead: beings such as vampires and zombies who are physically or mentally dead yet not at rest. Topics addressed include the metaphysics and ethics of undeath"--Provided by publisher.

From Fine and Kamp in the 70’s—through Osherson and Smith in the 80’s, Williamson, Kamp and Partee in the 90’s and Keefe in the 00’s—up to Sauerland in the present decade, the objection continues to be run that fuzzy logic based theories of vagueness are incompatible with ordinary usage of compound propositions in the presence of borderline cases. These arguments against fuzzy theories have been rebutted several times but evidently not put to rest. I attempt to do so in this (...) paper. (shrink)

This article tries to establish a possible dialogue between the way in which two influential contemporary theories, Roberto Esposito's biopolitical theory and Jacques Lacan's psychoanalysis, approach racism and the constitution of Otherness. After summing up key concepts in Esposito's theory, the article lays out the very deadlock in his work, represented by his assumption of racial difference or Otherness as inscribed in the bio-logical content of human life. However, by interpreting Jewishness under Nazism in terms of ‘undead’ ‘flesh without (...) body’, Esposito himself crosses paths with the psychoanalytic approach, in so far as Lacan defined the Freudian death drive using the same term. The second part of the article is thus dedicated to the articulation of the relations between primal repression, trauma and jouissance, out of which can be derived an alternative conception of biopolitics, based on the discursive constitution of Otherness, rather than on the assumption that it is a biological fact. (shrink)

I don’t know whether undead beings exist. I also think it is an open question whether anyone is evil in, say, the way bad guys are depicted in supernatural horror films and serial killer movies. I do think it’s nevertheless puzzling that the undead are frequently portrayed as evil in that way. I’m inclined to think that if we were to stumble across any undead they would be less likely to be evil than any random live person (...) we stumble across. Consider this a call for some undead understanding. I am going to approach these conclusions in a roundabout way. First, I’ll try to sketch something of an ontology of the undead, an account of their nature and variety. Then, I’ll show how these considerations should change how we think about the undead and their purported propensity for evil. (shrink)

ArgumentMuch of the long controversy concerning the workings of electric batteries revolved around the concept of the contact potential (especially between different types of metals), originated by Alessandro Volta in the late eighteenth century. Although Volta’s original theory of batteries has been thoroughly rejected and most discussions in today’s electrochemistry hardly ever mention the contact potential, the concept has made repeated comebacks through the years, and has by no means completely disappeared. In this paper, I describe four salient foci of (...) its revivals: dry piles, thermocouples, quadrant electrometers, and vacuum phenomena. I also show how the contact potential has maintained its presence in some cogent modern scientific literature. Why has the death of the Voltaic contact potential been such an untidy affair? I suggest that this is because the concept has displayed significant meaning and utility in various experimental and theoretical contexts, but has never been successfully given a simple, unified account. Considering that situation, I also suggest that it would make sense to preserve and develop it as a multifarious concept. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TWILIGHT OF THE VAMPIRES: HISTORY AND THE MYTH OF THE UNDEAD Matthew Kratter University ofCalifornia Berkeley "Whoever fights monsters should see to it that in the process he does not become a monster." (Nietzsche, Beyond Good andEvil, IV, 146) One ofthe most satisfying parts ofan extended engagement with the mimetic theory is the bird's-eye view of history that it affords one—that magnificently coherent panorama which stretches from proto-hominids (...) through the Passion to post-culture and the Apocalypse. The sheer scope of Girard's historical vision is also, admittedly, one ofthe more controversial aspects of his theory. As early as Violence and the Sacred (French, 1972; English trans., 1977), in a conscious revolt against the anti-Hegelian and anti-systematic temper of the times, Girard implied a historical telos for human culture that consists ofthe gradual replacement of sacrificial by non-sacrificial paradigms and praxes. With the publication of Things Hidden Since the Foundation ofthe World (1978; 1987) and The Scapegoat (1982; 1986), however, Girard appeared to step beyond the pale of polite (read, secularist) academic discourse by explicitly identifying the Christian Paraclete as the divine dynamo behind the historical process: "The Spirit is working in history to reveal what Jesus has already revealed, the mechanism ofthe scapegoat, the genesis of all mythology, the nonexistence of all gods of violence" (Scapegoat 207). More recently, in an essay on Satan (literally, "the accuser"), the contrasting role of the Paraclete (literally, "the lawyer for the defense") as a defender ofvictims is again emphasized: Matthew Kratter31 It is possible to read the history, first of the Christianized West, then ofthe Westernized planet, our modern history, as... a process of vindication and rehabilitation of more and more persecuted victims. New hidden victims of society are continuously being brought to light; the consensus against them always dissolves after a while. First it was slaves, then the lower classes, then people ofdifferent ethnic and religious backgrounds. Today the victimization of ethnic groups, of women, ofhandicapped people, ofthe very young and the very old, is coming to light. (GirardReader 208) Mostrecently, Girard's view ofhistory has become, ifanything, more unified, as (following Raymund Schwager) he has begun to emphasize the continuity between the sacrificial and the non-sacrificial (without, of course, trying to elide their differences). At a recent AAR/SBL conference in San Francisco (22 November 1997), Girard discussed the Eucharist as a recapitulation ofthe religious history of mankind, in which all previous forms of sacrifice are present (from cannibalism and "other-sacrifice" to the other end of the spectrum and "self-sacrifice"). Or phrased somewhat differently, the redemptive effects ofthe Passion radiate backwards and forwards in time— what Giuseppe Fornari implies when he refers to Christianity's "capacity to redeem the whole history ofman, summing up and surpassing all its sacrificial forms" (187). It may well prove that "Sacrifice" (with a capital "S") is the single most important and comprehensive word that we possess to describe our history. The central contention ofthis essay is that the phenomenon ofthe vampire offers itself as a privileged site for exploring this work of the Paraclete in history. The very processes of "bringing to light" and "exhuming victims," described by Girard above, are certainly metaphors appropriate to the twilit world ofthe vampire, in which the undead are always being dug up or exposed to die light. IfI maintain that, this late in the twentieth century, we are living in the "twilight ofthe vampires," the allusion to Wagner's Götterdämmerung and Nietzsche's Götzen-dämmerung is not accidental. The ambiguity ofthe German verb dämmern (which can mean "to grow dark" or "to grow light") captures all the paradoxes that surround the mythologizing, demythologizing, and remythologizing of the traditional figure ofthe vampire. I will explore these paradoxes in five successive moments (in the most archaic and traditional form taken by the vampire, then in a medieval persecution text, a late-Victorian novel, a German Expressionist film, and finally a series of 32Twilight ofthe Vampires contemporary popular novels) in order to demonstrate the various metamorphoses undergone by the vampire throughout a history which may be viewed as overseen by the Paraclete—and by a... (shrink)

This article addresses a recurrent tension in the literature on race and racism in Brazil. On the one hand, we find the so-called myth of racial democracy presented as the dominant racial ideology in Brazil, obscuring enduring racial inequality and thwarting the development of a mass-movement for racial justice. On the other hand, we find periodic announcements that the myth of racial democracy has definitively died. Accordingly, I theorize the myth of racial democracy as a paradoxically undead myth and (...) ask what it is about the form of this peculiar myth that allows it to survive its own repeated death. Drawing on Roland Barthes’ theory of myth, I show how the celebration of racial mixture, or mestiçagem, functions as a mythological signifier of racial democracy that operates beneath and beyond the level of conscious thought, activating powerful affects and desires even in those who ostensibly know better. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly touched (...) upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

Jacques Lacan coined the term “subjective destitution” to describe the concluding moment of a psychoanalytic treatment. This concept can also usefully be applied to art and to politics. In art, subjective destitution can be defined as a passage from being-towardsdeath to undeadness, in other words to the position of the living dead – this passage takes place between Shostakovich’s 14th symphony and his final symphony, the 15th. In politics, subjective destitution designates the passage of a political subject to a radical (...) de-subjectivization, to becoming an object of a political cause. (shrink)

Social Constructivism and the Philosophy of Science by Andre Kukla The Social Construction of What? by Ian Hacking.

The laboratory creation scene in Branagh’s film is brilliant….Even more frenzied and overwrought than Whale’s, Branagh’s creation scene is filmed with dozens of quick cuts, each shot full of movement across the frame. Victor races along his attic hall, cape flying before he discards it to appear bare-chested and vigorous. While pulleys move, bottles clank, and blue volts of electricity rise in glass Tesla tubes, the naked body on the gurney is raised into a copper vat. Electric eels dispense their (...) powerful shocks, a brown sac-like bellows "breathes" air or heat, and finally Victor stares close-up at the Creature’s eyes. The eyes are seen through a porthole in the vat: this, our first glimpse of the monster occurs nearly an hour into the film. "Live, live, live, live...." Victor chants, then "YES!" (much in the old Colin Clive mode) as it opens its eyes briefly. Nothing more occurs, though, and Victor walks away in despair; but, like us, he is brought suddenly to attention by a sharp and surprising snap of the monster’s fingers, which we also see close-up through a porthole (in a clear allusion to the Karloff monster’s birth scene). The next sequence drives home the fact that this is a real birth scene, as the vat is smashed open (the "water breaks") and Victor lifts out his huge new "baby," smacking its chest to clear its lungs. We watch an extended scene of birth struggle while Victor works to "deliver" his huge, naked, and hairless "baby" by lifting it out of the slime. Giving birth is not only very hard labor here; it’s messy, too. (shrink)

This paper examines the relationship between medical technology and liminal states of “undeath” as presented in “The Facts in the Case of M. Valdemar” and the real-life case of Jahi McMath, who was maintained on life support for over four years following a diagnosis of brain death. Through this juxtaposition, “Valdemar” comes to function as a modern fable, an uneasy herald of medical technology’s potential to create liminal states between life and death. The ability to transgress these boundaries bears a (...) cost, however: both Valdemar and Jahi McMath lose the autonomy to direct their respective narratives. Yet, their utterances “from beyond the grave” highlight the precarious nature of their position and the ethical concerns therein. Poe’s literary performance of “undeath” therefore serves to caution real-life cases in which life support is used to sustain an individual reported to be brain-dead. Such application of life-sustaining technology complicates the fundamental binary of life/death, allowing its subjects to resist textual closure. Even as Poe’s work represents an imaginative interrogation of the scientific enterprise, this nineteenth-century story holds a mirror to contemporary medical practice, inviting a reconsideration of the ethics, language, and power relations surrounding the fraught relationship between death and medical technology. (shrink)

Memorialization in the form of the architectural statue can suggest that our stance towards the past is concrete while memorials in the form of repeated social activity represent reconciliation with the past as a continual process. Enacted memorials suggest that reconciliation with the past is not itself a thing of the past. Each generation must grapple with its inherited memories, guilt, and grief and self-consciously take its own stance towards that which came before it. This article considers Dominik Smole’s post (...) World War II rewrite of Antigona as an enacted memorial within the context of socialist Yugoslavia. The practice of restaging Antigona in Slovenia may be seen as the practice of meta-memorialization, which routinely returns to the past while openly weighing the dangers of awakening the unburied dead against the dangers of letting the unaddressed conflicts of the past sleep. (shrink)

Summary: This is a provocative book for those who have closely aligned themselves with a specific research or pedagogical paradigm. The underlying theme of the book is to encourage multiple approaches to educational research that will inform practice... Although the book is more about eclecticism than constructivism, it can serve as a basis for many discussions on educational research as it is and where it should go.

The undead have been evoked in philosophical hypotheses regarding consciousness, but such discussions often come across as abstract academic exercises, inapplicable to personal experience. Movie zombies illuminate these somewhat opaque philosophical debates via storytelling devices – narrative, characterization, dialogue and so forth – which approach experience and consciousness in an instinctively accessible manner. This chapter focuses on a particular strand of the subgenre: transition narratives, in which human protagonists gradually turn into zombies. Transition stories typically centralize social relationships; affiliations (...) and interactions with other beings that give her (human) life meaning. These narratives routinely posit that consciousness and sociosexuality are intertwined aspects of experience that distinguish human from zombie, foregrounding a core romantic coupling and charting its decline as the protagonist transforms into a flesh-eating monster. These notions are explored via an indicative case study: Pretty Dead (2013). The film brings two views on the self – intuitive and empirical – into direct conflict, questioning their compatibility. The protagonist’s sociosexual decline is employed to illustrate that a) there is a troubling disjuncture between rationalist-theoretical conceptions of selfhood and selfhood as it is experienced in the real, social realm, and b) there is a natural bridge between personal, introspective self-knowledge and external social selfhood. By depicting a form of selfhood that defies rationalist logic (zom-being), transitional zombie films not only animate philosophical debates about consciousness, but also challenge their viewers to develop new conceptual (theoretical and imaginative) vocabularies via which to describe and engage with both selfhood and sociosexuality. (shrink)

Resumo Giorgio Agamben tece a genealogia da “vida nua”, no percurso que vai do homo sacer ao Muselmann, do primeiro paradigma da política ocidental à fabricação do morto-vivo, em Auschwitz, como vida insacrificável e impunemente matável. Judith Butler segue argumento semelhante, ao desenvolver o conceito de “vida precária”, com o qual problematiza a separação entre vulnerabilidade universal e formas de produção da precariedade, a distinção entre vidas cujas perdas importam e as indignas de pranto e luto. A finalidade deste artigo (...) consiste em aproximar as concepções dos dois autores, sob a hipótese de que, em ambos, trata-se da fabricação de vidas matáveis, sobre as quais pesa a proibição do luto.Giorgio Agamben weaves the genealogy of “naked Life”, on the path that goes from Homo sacer to Muselmann, from the first paradigm of Western politics to the manufacture of the undead in Auschwitz, as an unexpendable and unpunishable killing life. Judith Butler follows similar argument in developing the concept of “precarious life”, with which problematizes the separation between universal vulnerability and forms of production of precariousness, the distinction between lives whose losses matter and the unworthy of weeping and Mourning. The purpose of this article is to approximate the conceptions of the two authors, under the assumption that in both it is the manufacture of killing lives, on which it weighs the prohibition of grief. (shrink)

Genetic determinism is the idea that many significant human characteristics are rendered inevitable by the presence of certain genes. The psychologist Susan Oyama has famously compared arguing against genetic determinism to battling the undead. Oyama suggests that genetic determinism is inherent in the way we currently represent genes and what genes do. As long as genes are represented as containing information about how the organism will develop, they will continue to be regarded as determining causes no matter how much (...) evidence exists to the contrary. Philip Kitcher has strongly disputed Oyama’s diagnosis, arguing that the conventional ‘interactionist’ perspective on development is the correct framework for understanding the role of the genes in development. While acknowledging the legitimacy of many of Kitcher’s observations, I believe that Oyama’s view is substantially correct. In this paper I provide several lines of support for support the Oyama diagnosis. (shrink)

_Sustaining Loss_ explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the (...) work of art is the haunting of the present by the endless suffering of what is dead but still has claims over the living. The book asserts that modern aesthetics holds the key to unlocking the tortured relation of modernity to the past it is perpetually leaving behind. As the capacity to withstand the inescapable force of a past that is dead for us becomes the supreme test for a fully modern, fully secular philosophy, aesthetics moves to the center of philosophical reflection. But, the author argues, this secular philosophical orientation can be sustained only if aesthetic theory remains oriented by intimate contact with modernist works of art. _Sustaining Loss_ examines not only Kant, Hegel, and Freud, but also the contemporary artists Gerhard Richter and Ilya Kabakov, whose art turns fruitfully against art's own past. To live as a modern, the author asserts, is to live with the dead past that modernist art ceaselessly disgorges. Overall, the book aims to articulate an aesthetic theory suitable to the task of living in a time when, in Flannery O'Connor's words, "The blind don't see and the lame don't walk, and what's dead stays that way.". (shrink)

In this paper, Eric Santner’s theory of political flesh is appreciated in its relation to philosophy of religion and Christian theology. In the first part of the paper, Santner’s speculative concept is brought into conversation with the debate on embodiment, incarnation, and a hermeneutics of the flesh. Santner’s conception of the flesh is shown to follow a logic of excarnation, or rather disincorporation, and thus to be at odds with contemporary harmonistic theories of embodiment that attempt to think body and (...) spirit together without rupture. In contrast, the relevance of Santner’s theory lies precisely in its antagonistic reading of the dynamics that constitute human embodied being – a dimension overlooked by most recent theories of embodiment. The second part of the article develops a reading of Protestantism as a “religion of the flesh” in line with Santner’s argument. In doing so, it is shown that the Protestant narrative of self-modernization and progress (Hegel’s “religion of freedom”) can be subverted by the conception of the flesh brought into play by Santner, revealing a much more ambivalent history of Protestantism. In a re-reading of the theologies of Karl Barth, Friedrich Schleiermacher, and John Calvin, it is shown that the Protestant understanding of the church can be made transparent to a figure of the undead that is virulent in it, namely the undead flesh of Jesus Christ. In the end, the question is raised whether this figure of an “undead” Christ might not be interpreted as a paradoxological intervention in the sense of Eric Santner. (shrink)

Nowadays references to the afterlife-angels strumming harps, demons brandishing pitchforks, God enthroned on heavenly clouds-are more often encountered in New Yorker cartoons than in serious Christian theological reflection. Speculation about death and its sequel seems to embarrass many theologians; however, as Greg Garrett shows in Entertaining Judgment, popular culture in the U.S. has found rich ground for creative expression in the search for answers to the question: What lies in store for us after we die? The lyrics of Madonna, Los (...) Lonely Boys, and Sean Combs; the plotlines of TV's Lost, South Park, and The Walking Dead; the implied theology in films such as The Dark Knight, Ghost, and Field of Dreams; the heavenly half-light of Thomas Kinkade's popular paintings; the ghosts, shades, and after-life way-stations in Harry Potter; and the characters, situations, and locations in the Hunger Games saga all speak to our hopes and fears about what comes next. In a rich survey of literature and popular media, Garrett compares cultural accounts of death and the afterlife with those found in scripture. Denizens of the imagined afterlife, whether in heaven, hell, on earth, or in purgatory, speak to what awaits us, at once shaping and reflecting our deeply held-if often somewhat nebulous-beliefs. They show us what rewards and punishments we might expect, offer us divine assistance, and even diabolically attack us. Ultimately, we are drawn to these stories of heaven, hell, and purgatory--and to stories about death and the undead--not only because they entertain us, but because they help us to create meaning and to learn about ourselves, our world, and, perhaps, the next world. Garrett's deft analysis sheds new light on what popular culture can tell us about the startlingly sharp divide between what modern people profess to believe and what they truly hope and expect to find after death--and how they use those stories to help them understand this life. (shrink)

The article analyses recent works by Giorgio Agamben and Eric Santner, who have interpreted Carl Schmitt’s ideas in the context of left-wing political theology. The article traces how the figure of the undead Muslim recurs in the various philosophers and theologians referred to by these two authors. In this way, it shows how contemporary messianic thinkers unknowingly mourned their ‘dead neighbours’, traumatic irritants from which a messianic pearl was born. In order for this pearl to glow with a miraculous (...) light (as Agamben and Santner would wish it to), modern thinking must engage in an act of neighbour-love, whereby it embraces the untimely, undead excarnations (disembodiments) of a history of typological damage. Otherwise, these traumatised and traumatising neighbours remain undead, driven by critical theories of sovereignty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 289-298 [Access article in PDF] Theory Is Dead— Like a Zombie Brian Boyd University of Auckland Theory's Empire: An Anthology of Dissent, edited by Daphne Patai and Will H. Corral; ix & 725 pp. New York: Columbia University Press, 2005. $72.50 cloth, $29.50 paper. Looking for an Argument: Critical Encounters with the New Approaches to the Criticism of Shakespeare and His Contemporaries, by Richard (...) Levin; 309 pp. Teaneck, N.J.: Fairleigh Dickinson University Press, 2003. $49.50. Are we "after Theory"? And if so, then where are we? Seven years after Post-Theory (1996) came Reading After Theory (2002) and then After Theory (2003).1 Students inducted into the mysteries of Theory by an aging professoriate can no longer feel the zeal their teachers themselves have mostly long since lost. Theory's own leaders point out its failings.2 Like Queen Anne, Theory is surely dead. Or is it?In 1982 Jonathan Culler argued that post-structuralist literary theory should be called just Theory and that Theorists should play the "central role" in intellectual life (TE, pp. 26, 215). What now sounds hubristic seemed heady in the expansionist days of Theory's empire. But less than two decades later it could be pointed out in print that "everyone knows that if you want to locate the laughingstock on your local campus these days, your best bet is to stop by the English department" (TE, p. 315).So was theory dead by this point, five years after the start of the Bad Writing Contest and three years after the Sokal hoax? Not at all. The year of the "laughingstock" remark, David Scott Kastan's Shakespeare After [End Page 289] Theory (1999) claimed that we are "after theory" "not because theory's claims have been shown to be intellectually bankrupt but because its claims have been accepted as both useful and productive." A reviewer could demur: "As formulated the claim may be overstated—it sometimes seems that Shakespeare studies is insufficiently theorized."3But that was seven years ago. Surely things are different now, ten years after the Sokal hoax? Yes and no. After Reading After Theory and After Theory, a literature professor at the top of his field, Louis Menand, can (1) bemoan the sickness of the humanities and (2) deplore the culture of conformity in their Theorized students, and at the same time still (3) offer thanks that Theory "rescued" literature departments from "the literary" and (4) urge that despite their unhealthy state the Theorized humanities should resolve not "to retrench" but "to colonize."4So again, are we after Theory or not, and where are we, if we are? Are reports of the death of Theory exaggerated? Or is Theory dead in a special way, one of the Undead, a zombie or a vampire?There have been many blows driven through the heart of Theory in the last thirty years, but if Theory is at least dying now it is not because of blows from outside but only from its own terminal internal tedium. It has "always already" been immune to criticism because it refused to listen to critical arguments, treating them as so much unfriendly fire, proof of the enemy's perfidy, all the more reason to close ranks.I described Menand as at the top of his field because he belongs to the Harvard English Department, is a star essayist for the New Yorker and a Pulitzer Prize winner, and was speaking to the 2004 MLA convention. There he wished some young Turks would stand up to challenge his generation, and tell them "You got it all wrong." But critics have been doing this cogently for decades. His generation has paid only enough heed to dismiss such criticism as proof that reactionary forces needed to be resolutely resisted.And the potential young Turks are simply too scared to speak up. Among all the many indictments of Theory collected in Theory's Empire, one of the most chilling indices of the betrayal of intellectual freedom and honesty in the Theorized humanities comes from a junior faculty... (shrink)

Between 1724 and 1760, in the frontier area of the Habsburg empire waves of a hitherto unknown epidemic disease emerged: vampirism. In remote villages of southeastern Europe, cases of unusual deaths were reported. Corpses did not decay and, according to the villagers, corporeal ghosts were haunting their relatives and depriving them of their vital force. Death occurred by no later than three to four days. The colonial administration, alarmed by the threat of an epidemic illness, dispatched military officers and physicians (...) to examine the occurrences. Soon several reports and newspaper articles circulated and made the untimely resurrection of the dead known to the perplexed public, Europe-wide. “Vampyrus Serviensis”, the Serbian vampire, became an intensively discussed phenomenon within academe, and thereby gained factual standing. My paper depicts the geopolitical context of the vampire’s origin within the Habsburg states. Secondly, it outlines the epistemological difficulties faced by observing physicians in the field. Thirdly, it delineates the scholarly debate on the apparent oxymoron of the living dead in the era of enlightened reason. Fourthly, the early history of vampirism shows that ghosts and encounters with the undead are not superstitious relics of a pre-modern past, or the Enlightenment’s other, but intimate companions of Western modernity. (shrink)

This article tries to establish a possible dialogue between the way in which two influential contemporary theories, Roberto Esposito's biopolitical theory and Jacques Lacan's psychoanalysis, approach racism and the constitution of Otherness. After summing up key concepts in Esposito's theory, the article lays out the very deadlock in his work, represented by his assumption of racial difference or Otherness as inscribed in the bio-logical content of human life. However, by interpreting Jewishness under Nazism in terms of ‘undead’ ‘flesh without (...) body’, Esposito himself crosses paths with the psychoanalytic approach, in so far as Lacan defined the Freudian death drive using the same term. The second part of the article is thus dedicated to the articulation of the relations between primal repression, trauma and jouissance, out of which can be derived an alternative conception of biopolitics, based on the discursive constitution of Otherness, rather than on the assumption that it is a biological fact. (shrink)

Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by (...) a human, another evolutionary step had to be taken, one fostered by a literary association. This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous. (shrink)

The digital machinery that sustains video games not only directs and regulates the gamer's desire, it also »interpellates« the gamer into a specific mode of subjectivity: a pre-Oedipal not-yet-castrated subjectivity that floats in a kind of obscene immortality: when I am immersed into a game, I dwell in a universe of undeadness where no annihilation is definitive since, after every destruction, I can return to the beginning and start the game again... One should note here that this obscene immortality was (...) the stuff of fantasy long before cartoons – say, in the work of de Sade. The axiom of the philosophy of finitude is that one cannot escape finitude/mortality as the unsurpassable horizon of our existence; Lacan’s axiom is that, no matter how much one tries, one cannot escape immortality. But what if this choice is false? What if finitude and immortality, like lack and excess, also form a parallax couple, what if they are the same from a different point of view? What if immortality is an object that is a remainder/excess over finitude, what if finitude is an attempt to escape from the excess of immortality? (shrink)

In a published debate between Law and Economics avatar Judge Richard Posner and Professor Robin Malloy entitled ‘Is Law and Economics Moral?’, Malloy argued that the dominant methodology of Law and Economics is immoral. Malloy likened it to the Frankenstein Monster – an unholy, undead abomination that can go berserk despite its ostensibly benign provenience. Malloy claimed that wealth maximization applied to social discourse ‘reduces people to an human existence to imaginary variables for calculation’.

In this paper I propose that, since the mid-eighteenth century medical science has simultaneously generated and disavowed ‘undead’ bodies, suspended between life and death. Through close analysis of three examples of ‘undeath’ taken from different moments in medical history, I consider what these bodies can tell us about medicine, its history, cultural meaning, scientific status and its role in shaping ideas of embodiment, identity and death. My first example is Edgar Allan Poe’s story ‘The facts in the case of (...) M. Valdemar’ which imagines the possibility of a man mesmerised at the point of death. I read this story as a response to the rise of professional, scientific medicine in the 1840s. I then look at the recurring issue of brain death in order to consider tensions within twentieth-century medical hegemony. Finally I read the Alder Hey scandal as a reactivation of undead anxiety in response to the emergent culture of medical consumerism at the end of the twentieth century. (shrink)

Genetic determinism is the idea that many significant human characteristics are rendered inevitable by the presence of certain genes. The psychologist Susan Oyama has famously compared arguing against genetic determinism to battling the undead. Oyama suggests that genetic determinism is inherent in the way we currently represent genes and what genes do. As long as genes are represented as containing information about how the organism will develop, they will continue to be regarded as determining causes no matter how much (...) evidence exists to the contrary. Philip Kitcher has strongly disputed Oyama’s diagnosis, arguing that the conventional ‘interactionist’ perspective on development is the correct framework for understanding the role of the genes in development. While acknowledging the legitimacy of many of Kitcher’s observations, I believe that Oyama’s view is substantially correct. In this paper I provide several lines of support for support the Oyama diagnosis. (shrink)

Whenever the membranes of the egg in which the foetus emerges on its way to becoming a new-born are broken, imagine for a moment that something flies off, and that one can do it with an egg as easily as with a man, namely the hommelette, or the lamella. The lamella is something extra-flat, which moves like the amoeba. It is just a little more complicated. But it goes everywhere. And as it is something - I will tell you shortly (...) why - that is related to what the sexed being loses in sexuality, it is, like the amoeba in relation to sexed beings, immortal - because it survives any division, and scissiparous intervention. And it can turn around. Well! This is not very reassuring. But suppose it comes and envelopes your face while you are quietly asleep... I can't see how we would not join battle with a being capable of these properties. But it would not be a very convenient battle. This lamella, this organ, whose characteristic is not to exist, but which is nevertheless an organ - I can give you more details as to its zoological place - is the libido. It is the libido, qua pure life instinct, that is to say, immortal life, irrepressible life, life that has need of no organ, simplified, indestructible life. It is precisely what is subtracted from the living being by virtue of the fact that it is subject to the cycle of sexed reproduction. And it is of this that all the forms of the objet a that can be enumerated are the representatives, the equivalents. Every word has a weight here, in this deceivingly poetic description of the mythic creature called by Lacan "lamella". Lacan imagines lamella as a version of what Freud called "partial object": a weird organ which is magically autonomized, surviving without a body whose organ it should have been, like a hand that wonders around alone in early Surrealist films, or like the smile in Alice in Wonderland that persists alone, even when the Cheshire cat's body is no longer present: "'All right', said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone. 'Well! I've often seen a cat without a grin', thought Alice; 'but a grin without a cat! It's the most curious thing I ever saw in my life!'" The lamella is an entity of pure surface, without the density of a substance, an infinitely plastic object that can not only incessantly change its form, but can even transpose itself from one to another medium: imagine a "something" that is first heard as a shrilling sound, and then pops up as a monstrously distorted body. A lamella is indivisible, indestructible, and immortal - more precisely, undead in the sense this term has in horror fiction: not the sublime spiritual immortality, but the obscene immortality of the "living dead" which, after every annihilation, re-composes themselves and clumsily goes on. As Lacan puts it in his terms, lamella does not exist, it insists: it is unreal, an entity of pure semblance, a multiplicity of appearances which seem to envelop a central void - its status is purely fantasmatic. This blind indestructible insistence of the libido is what Freud called "death drive," and one should bear in mind that "death drive" is, paradoxically, the Freudian name for its very opposite, for the way immortality appears within psychoanalysis: for an uncanny excess of life, for an "undead" urge which persist beyond the cycle of life and death, of generation and corruption. This is why Freud equates death drive with the so-called "compulsion-to-repeat," an uncanny urge to repeat painful past experiences which seems to outgrow the natural limitations of the organism affected by it and to insist even beyond the organism's death - again, like the living dead in a horror film who just go on. This excess inscribes itself into the human body in the guise of a wound which makes the subject "undead," depriving him of the capacity to die : when this wound is healed, the hero can die in peace. (shrink)

In the appendix of his latest book, Incontinence of the Void, Žižek presents an account of how, according to his dialectical materialism, love can overcome death. This article situates Žižek ’s argument in the context of his ontology and his theory of the subject to explicate how Žižek arrives at this position: one that appears, on the surface, to be inconsistent with a staunch materialist and atheistic stance. Building on Žižek ’s references to Kierkegaard in this appendix, I will furthermore (...) argue that the figure of the Knight of Faith from Kierkegaard’s Fear and Trembling can be as another instantiation of the revolutionary subject of the act. This figure can be said to participate in a type of love that overcomes death insofar as its attachment to objects of desire embodies the acephalous, undead drive that is not reducible to ontic or symbolic structures of reality. (shrink)

In the wake of proclamations of the death of scientific realism, the past few years have witnessed several book-length resurrections. Like the undead, realism i s proving hard to finish off once and for all. In the preface to his book, Ilkka Niiniluoto suggests that the realism debate will never generate a consensus; it is an eternal problem of philosophy. Certainly, since the flourishing of work on the subject two decades ago, it has become clear that some disputes between (...) realists and antirealists are destined to remain unresolved due to a lack of shared assumptions. Nevertheless, there remain problems for realists to tackle if they are to demonstrate that the position is coherent. (shrink)