By Kevin S. Decker, Jason T. Eberl
Philosophy and house trip are characterised through an analogous basic objective: exploration. a vital consultant for either philosophers and Trekkers, celebrity Trek and Philosophy combines a philosophical spirit of inquiry with the cherished tv and picture sequence to think about questions not just concerning the medical clients of interstellar go back and forth but additionally the inward trip to check the human . The expansive subject matters diversity from the probabilities for conversation between assorted cultural backgrounds to questions on the stoic temperament exhibited through Vulcans to Ferengi enterprise practices. in particular selected to wreck new floor in exploring the philosophical dimensions of superstar Trek, those articles boldly cross the place no thinker has long past prior to.
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Extra resources for Star Trek and Philosophy: The Wrath of Kant (Popular Culture and Philosophy Series)
Does this soft shell suffer a reversal of roles, turning into an inanimate destiny while it witnesses the inorganic carapace become an animated purpose? Does the natural metamorphose into the artificial and the artifice transform into the wild? These questions, pressing in an unprecedented way, find their troubling response in the history and psychology of the mummy. THE MUMMY AS MACHINE No wonder the mummy is melancholy. It is a manifestation of the sad insight, keen in the minds of the Egyptians of antiquity, that organic THE MUMMY 35 blooms become sweetest in the throes of death.
These are the disturbing paradoxes of melancholy magicians who craft sacred statues. Though desirous of life, they are in love with death. Though hungry for the currents of spirit, they are obsessed with stone. FREUDIAN MELANCHOLIA AND NARCISSISM If Ficino’s Hermetic melancholia points to the hopeful longing behind Kleist’s puppets, Freud’s psychology of sadness reveals the reverse: a neurotic love of death that fixates on wooden folks. 22 In “Mourning and Melancholia” (1917), Freud argues that melancholy, like mourning, is based on the loss of a beloved entity—a real lover, an ideal condition.
Freudian melancholics, like the sad souls of Ficino, long to heal their lacerations by reconnecting to some pristine concord. However, in contrast to Hermetic melancholics who quest for union with the divine, Freud’s despondent patients become angry at the source of their loss. Incorporating this source into their own beings, they come to loathe those parts of themselves that love the lost person or state. If they should try to recover this state or person through creating artificial copies— automatons resembling their lovers or statues that look like Adam— these melancholics will hate the unnatural forms as much as they love them, will view these forms as monsters as much as miracles.