The philosophical study of trauma involves considering this concept in a circle of apparently abstract examples, commenting on it from the perspectives of ontology, metaphysics, aesthetics, and ethics. The difficulty with trauma is not simply that it stands as a subject for disciplines of a different kind and intentionality, but that it is inherently bound to resist all theoretical reasoning at all. This notion is not so much contradictory as actively negative in relation to the usual application of theoretical apparatus (...) to it and its like. But the further one deals with trauma, even if one is not a metaphysician, even if one is at its mercy, the more clearly one realizes that thought cannot deny itself for the sake of earthly pain, no matter how much it may feel the urge to accomplish this self-overcoming, that it will remain itself even in the analysis of trauma, i. e., a movement from fact to essence. And accordingly, the trauma will be abstracted and revealed from paradoxical and formal sides, in its otherness and ambiguity. (shrink)

Andrei Platonov is known mainly for his larger works, often perceived as a surrealistic critic of revolutionary utopia and the building of communism. This makes it all the more interesting to consi...

Thomas Mann’s famous novella “Death in Venice” is more than social critics or metaphor of artistic search for means. Its ambiguous poetry of forbidden longing offers a game we play ever since, a drama of strange, dreamlike romance unfolding itself in a highly troublesome atmosphere of ordinary life succumbing to the oncoming devastation and catastrophe of the outer world that inexplicably links with the wishes of a soul. This plot became a focus of ideas, a web of meanings covering more (...) and more areas of mentality and imagination while living on. One of the latter writers rarely compared to Mann, a popular American author Stephen King, master of macabre fantasy, suddenly shows some extraordinary level of coincidence of his works’ throughout motives/invariants with those of the European classic. The answers both of them are chasing after lie in the mysterious character of the Whole of the world denying any isolate and solid sense, medium lands of affection and connection, Gordian knots of disastrous dialectics interweaving will and passivity, creation and destruction. Why dark fantasy (that King embodies) constantly insists on destroying, erasing the entire world for the sake of some bittersweet heroic pathos upon its ruin, as before Mann unleashes the epidemics to his story’s bourgeois backgrounds to celebrate the phantom love of his characters? Why does Beauty transgress the borders of subjectivity very much like Death does the borders of physicality, and they both lead us to the same revelation of some great apophatic quasi-Platonian chora at the core of our being where everything is born and we are all one? (shrink)

Gorky’s story “Man,” as the title already makes evident, is a hymn of praise to man as the driving force of history, its main character, the source of all its meanings. However, man is...

Evil and the fear coming along with it — either the fear to become its victim or its agent — is haunting mankind’s consciousness since the dawn of time. The powerful instinctive rejection that evil causes is only natural, and yet it prevents us from cognizing it and, thus, from building more effective defenses against it. Art sublimes the direct blow of our anxiety by transforming evil into symbolic and metaphorical figures which we can imaginably deal with and even accept (...) them, making them specifically interesting and even attractive. Along with artistic indulgence we strengthen the sense of metaphysical control over evil: Eventually shaping evil as a notion and an aggregative image we confirm to ourselves that we do have the ability to rise to the transcendent height of considering the Being as a Whole (or to the phenomenological essential insight), by doing so putting aside the limitations that conditio humana with its partiality and practical trivia lays upon us. Then again, presenting evil as an aesthetic phenomenon we design the kind of a virtual playground where we model it, counteract it and through this, finally establish our moral intuition on a new proven basis. Why is it so needed and reviving for us to create and use these psychological machines, not to mention the catharsis element they bring us, show some works of a prominent modern author Stephen King, the explorer of the theme of evil in the field of pop-culture. (shrink)