Peter Sloterdijk maintains that modern institutions and their fundamental ethos, namely self-discipline, training and the orientation to achievement, can be traced back to spiritual self-mastery and ancient ascetic models, exemplified in Christian monastic life. This article examines the bases of this claim and argues that Sloterdijk’s theory empties ascetic formations of their concrete content and removes them from their historical context. The ambition to derive the main features of modern society from a single matrix necessarily produces abstractions and self-serving definitions (...) with very little explanatory value. (shrink)

Jim Jarmusch's Dead Man is a modern myth. Like many ancient myths it seems to have the structure of a rite of passage analysed by van Gennep into three stages: separation, marginal existence and reintegration. Separation is precipitated by a traumatic event and the marginal state is characterized by extraordinary experiences and feats. However, Jarmusch's tale does not quite fit the ancient initiation pattern since the last stage, reintegration, is at least prima facie missing. This already undermines the social function (...) of initiation and warps the significance of the myth. The modern town of ?Machine?, where the marginal existence of Blake is sealed, looms in the background of the story of his final journey to the world of spirits whence he had come. But Blake cannot quite embrace the story in which he plays the protagonist. The story is cobbled together by the Native American called ?Nobody.? Blake sceptically resigns himself to his fate. Why does Blake do this? Jarmusch manipulates the generic structure of the initiation tale in order to say something culturally significant about the possibility of living a meaningful life in a world dominated by the machine. In other words, he tells a modern myth. What does his tale say? (shrink)