Over the course of the nineteenth century, transatlantic intellectuals slowly revised theological anthropology, or the doctrine of humanity seen in light of the divine. Gradually, elite discourse deposed humanity from its lofty estate and centering it within a naturalistic account wherein likeness to animal fauna became the central evaluative lens. Durst argues that theological anthropologies across the disciplines increasingly shifted focus away from classic confessional themes such as the soul and the image of God, and toward the methods of natural theology and intuitionism. This occurred in the form of challenges to theology in biology, phrenology, transcendentalism, anti-theology, Christian socialism, intuitionism, and religious experience. The human soul and human sinfulness also found a revised articulation in terms increasingly shaped by the cultural authority of science. An ascendant subjective approach to human nature emerged whereby religious experiences, not theological claims to truth, assumed prominence as the central measures of religious life.

The Nonhuman in American Literary Naturalism responds to a need to expand and refine the connections among nonhuman studies and American literary naturalism and to productively expand the scholarly discourse surrounding this vital movement in American literary history. This collection focuses on that which becomes visible when the human subject is skirted, or moved off-center: in other words, the representation of nonhuman animals and other vital or inert species, things, entities, cityscapes and seascapes, that play an important part in American literary naturalism. Informed by animal studies, ecocriticism, posthumanism, new materialism, and other recent theoretical perspectives, the essays in this collection discuss early naturalist texts as well as more recent naturalistic-oriented authors.

This is the first volume to focus on the diverse permutations of international surrealist cinema after the canonical interwar period. The collection features eleven original contributions by prominent scholars such as Tom Gunning, Michael Löwy, Gavin Parkinson and Michael Richardson, alongside other leading and emerging researchers. An introductory chapter offers a historical overview as well as a theoretical framework for specific methodological approaches. The collection demonstrates that renowned figures such as Leonora Carrington, Maya Deren, Alejandro Jodorowsky and Jan Švankmajer took part in shaping a vibrant and distinctive surrealist film culture following the Second World War. Addressing highly influential films and directors related to international surrealism during the second half of the twentieth century, it expands the purview of both surrealism and film studies by situating surrealism as a major force in postwar cinema.

From the earliest times, societies have been seduced by the temptation of unitary thinking. Recognizing the vulnerability of existence, people and cultures privilege regimes that confer authority on a single entity, a sovereign ruler, a transcendental deity, or an Event, which they embrace with unquestioned devotion. Such obsessions precipitate contempt for the worldliness of real bodies in real time and refusal of responsibility and agency. In The Perils of the One, Stathis Gourgouris offers a philosophical anthropology that confronts the legacy of “monarchical thinking”: the desire to subjugate oneself to unitary principles and structures, whether political, moral, theological, or secular. In wide-ranging essays that are at once poetic and polemical, intellectual and passionate, Gourgouris reads across politics and theology, literary and art criticism, psychoanalysis and feminism in a critique of both political theology and the metaphysics of secularism. He engages with a range of figures from the Apostle Paul and Trinitarian theologians, to La Boétie, Schmitt, and Freud, to contemporary thinkers such as Clastres, Said, Castoriadis, Žižek, Butler, and Irigaray. At once a broad perspective on human history and a detailed examination of our present moment, The Perils of the One offers glimpses of what a counterpolitics of autonomy would look like from anarchic subjectivities that refuse external ideals, resist the allure of command and obedience, and embrace otherness.

Reconsiders exceptionalism between aesthetics and politics Here, Arne De Boever proposes the notion of aesthetic exceptionalism to describe the widespread belief that art and artists are exceptional. Against Aesthetic Exceptionalism challenges that belief by focusing on the sovereign artist as genius, as well as the original artwork as the foundation of the art market. Engaging with sculpture, conceptual artwork, and painting by emerging and established artists, De Boever proposes a worldly, democratic notion of unexceptional art as an antidote to the problems of aesthetic exceptionalism. Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead

Standing at the edge of life's abyss, we seek meaningful order. We commonly find this 'symbolic immortality' in religion, civilization, state and nation. What happens, however, when the nation itself appears mortal? The Mortality and Morality of Nations seeks to answer this question, theoretically and empirically. It argues that mortality makes morality, and right makes might; the nation's sense of a looming abyss informs its quest for a higher moral ground, which, if reached, can bolster its vitality. The book investigates nationalism's promise of moral immortality and its limitations via three case studies: French Canadians, Israeli Jews, and Afrikaners. All three have been insecure about the validity of their identity or the viability of their polity, or both. They have sought partial redress in existential self-legitimation: by the nation, of the nation and for the nation's very existence.

The idea of America's special place in history has been a guiding light for centuries. With thoughtful insight, John D. Wilsey traces the concept of exceptionalism, including its theological meaning and implications for civil religion. This careful history considers not only the abuses of the idea but how it can also point to constructive civil engagement and human flourishing.

Explores concepts that bring together the thinking of Spinoza and Marx. Karl Marx was a fiery revolutionary theorist who heralded the imminent demise of capitalism, while Spinoza was a contemplative philosopher who preached rational understanding and voiced skepticism about open rebellion. Spinoza criticized all teleological ideas as anthropomorphic fantasies, while Marxism came to be associated expressly with teleological historical development. Why, then, were socialists of the German nineteenth century consistently drawn to Spinoza as their philosophical guide? Tracie Matysik shows how the metaphorical meeting of Spinoza and Marx arose out of an intellectual conundrum around the meaning of activity. How is it, exactly, that humans can be fully determined creatures but also able to change their world? To address this paradox, many revolutionary theorists came to think of activity in the sense of Spinoza—as relating. Matysik follows these Spinozist-socialist intellectual experiments as they unfolded across the nineteenth century, drawing lessons from them that will be meaningful for the contemporary world.

Race Matters, Animal Matters challenges one of the grand narratives of African American studies: that African Americans rejected racist associations of blackness and animality through a disassociation from animality. Analyzing canonical texts written by Frederick Douglass, Charles Chesnutt, Ida B. Wells, and James Weldon Johnson alongside slaughterhouse lithographs, hunting photography, and sheep “husbandry” manuals, Lindgren Johnson argues instead for a critical African American tradition that at pivotal moments reconsiders and recuperates discourses of animality weaponized against both African Americans and animals. Johnson articulates a theory of “fugitive humanism” in which these texts fl ee both white and human exceptionalism, even as they move within and seek out a (revised) humanist space. The focus, for example, is not on how African Americans shake off animal associations in demanding recognition of their humanity, but on how they hold fast to animality and animals in making such a move, revising “the human” itself as they go and undermining the binaries that helped to produce racial and animal injustices. Fugitive humanism reveals how an interspecies ethics develops in these African American responses to violent dehumanization. Illuminating those moments in which the African American canon exceeds human exceptionalism, Race Matters, Animal Matters ultimately shows how these black engagements with animals and animality are not subsequent to efforts for racial justice — a mere extension of the abolitionist or antilynching movements— but, to the contrary, are integral to those efforts. This black- authored temporality challenges widely accepted humanist approaches to the relationship between racial and animal justice as it anticipates and even critiques the valuable insights that animal studies and posthumanism have to offer in our current moment.

Of the approximately 38,500 deaths by suicide in the U.S. annually, about two percent--between 750 and 800--are murder-suicides. The horror of murder-suicides looms large in the public consciousness--they are reported in the media with more frequency and far more sensationalism than most suicides, and yet we have little understanding of this grave form of violence. In The Perversion of Virtue, leading suicide researcher Thomas Joiner explores the nature of murder-suicide and offers a unique new theory to explain this nearly unexplainable act: that murder-suicides always involve the wrongheaded invocation of one of four interpersonal virtues: mercy, justice, duty, and glory. The parent who murders his child and then himself seeks to save his child from a fatherless life of hardship; the wife who murders her husband and then herself seeks to right the wrongs he committed against her, and so on. Murder-suicides involve the gross misperception of when and how these four virtues should be applied. Drawing from extensive research as well as real examples from the media, Joiner meticulously examines, deconstructs, and finally rebuilds our understanding of murder-suicide in such a way that brings tragic reason to what may seem an unfathomable act of violence. Along the way, he dispels some of the most enduring myths of suicide--for instance, that suicide is usually an impulsive act (it is almost always pre-meditated), or that alcohol or drugs are involved in most suicides (usually they are not). Sure to be controversial, this book seeks to make sense of one of the most difficult-to-comprehend types of violence in modern society, shedding new light that will ultimately lead to better understanding and even prevention.