The Inhuman

Om postmodernismen og en videreudvikling af forfatterens teorier med eksempler fra filosofi og malerkunst

Beauty versus beasts. In the wake of a devastating biological disaster, the United States east of the Mississippi River has been abandoned. Now called the Feral Zone, a reference to the virus that turned millions of people into bloodthirsty savages, the entire area is off-limits. The punishment for violating the border is death.Lane McEvoy can't imagine why anyone would risk it. She's grown up in the shadow of the great wall separating east from west, and she's curious about what's on the other side - but not that curious. Life in the west is safe, comfortable . . . sanitized. Which is just how she likes it.But Lane gets the shock of her life when she learns that someone close to her has crossed into the Feral Zone. And she has little choice but to follow. Lane travels east, risking life and limb and her very DNA, completely unprepared for what she finds in the ruins of civilization . . . and afraid to learn whether her humanity will prove her greatest strength or a fatal weakness.

At the origin of this volume, a simple question: what to make of that surprisingly monotonous series of statements produced by our societies and our philosophers that all converge in one theme - the importance of difference? To clarify the meaning of the difference at stake here, we have tried to rephrase it in terms of the two major and mutually competing paradigms provided by the history of phenomenology only to find both of them equally unable to accommodate this difference without violence. Neither the ethical nor the ontological approach can account for a subject that insists on playing a part of its own rather than following the script provided for it by either Being or the Good. What appears to be, from a Heideggerian or Levinasian perspective, an unwillingness to open up to what offers to deliver us from the condition of subjectivity is analysed in these pages as a structure in its own right. Far from being the wilful, indifferent and irresponsive being its critics have portrayed it to be, the so-called 'postmodern' subject is essentially finite, not even able to assume the transcendence to which it owes its singularity. This inability is not a lack - it points instead to a certain unthought shared by both Heidegger and Levinas which sets the terms for a discussion no longer our own. Instead of blaming Heidegger for underdeveloping 'being-with', we should rather stress that his account of mineness may be, in the light of contemporary philosophy, what stands most in need of revision. And, instead of hailing Levinas as the critic whose stress on the alterity of the Other corrects Heidegger's existential solipsism, the problems into which Levinas runs in defining that alterity call for a different diagnosis and a corresponding change in the course that phenomenology has taken since. Instead of preoccupying itself with the invisible, we should focus on the structures of visibility that protect us from its terror. The result? An account of difference that is neither ontological nor ethical, but 'mè-ontological', and that can help us understand some of the problems our societies have come to face (racism, sexism, multiculturalism, pluralism). And, in the wake of this, an unexpected defence of what is at stake in postmodernism and in the question it has refused to take lightly: who are we? Finally, an homage to Arendt and Lyotard who, if read through each other's lenses, give an exact articulation to the question with which our age struggles: how to think the 'human condition' once one realizes that there is an 'inhuman' side to it which, instead of being its mere negation, turns out to be that without which it would come to lose its humanity?

Ashley Woodward demonstrates what a new generation of scholars are just discovering: that Lyotard's incisive work is essential for current debates in the humanities. Lyotard's ideas about the arts and the confrontations between humanist traditions and cutting-edge sciences and technologies are today known as 'posthumanism'. Woodward presents a series of studies to explain Lyotard's specific interventions in information theory, new media arts and the changing nature of the human. He assesses their relevance and impact in relation to a number of important contemporary thinkers including Bernard Stiegler, Luciano Floridi, Quentin Meillassoux and Paul Virilio.

In revealing the source of the ideology of whiteness in the imagination, Cassuto turns to images of blackness in American literature and culture from 1622 to 1865, examining such texts as Swallow Barn, Uncle Tom's Cabin, Typee, and Moby Dick.

Employs a critical Afrocentric reading of Western constructions of knowledge so as to overcome the dehumanizing tendencies of modernity. Winner of the 2015 Best Scholarly Book Award presented by the Diopian Institute for Scholarly Advancement Afrocentricity is the most intellectually dominant idea in the African world, one that is having a growing impact on social science discourse. This paradigm, philosophically rooted in African cultures and values, fundamentally challenges major epistemological traditions in Western thought, such as modernism and postmodernism, Marxism, existentialism, feminism, and postcolonialism. In The Demise of the Inhuman, Ana Monteiro-Ferreira reviews what Molefi Kete Asante has called the “infrastructures of dominance and privilege,” arguing that Western concepts such as individualism, colonialism, race and ethnicity, universalism, and progress, are insufficient to overcome various forms of oppression. Afrocentricity, she argues, can help lead us beyond Western structures of thought that have held sway since the early fifteenth century, towards a new epistemological framework that will enable a more human humanity. Ana Monteiro-Ferreira is Assistant Professor of Africology and African American Studies at Eastern Michigan University.

Reprint of the original, first published in 1881.

A master storyteller and unrivaled visionary, Clive Barker has mixed the real and unreal with the horrible and wonderful in more than twenty years of fantastic fiction. The Inhuman Condition is a masterwork of surrealistic terror, recounting tragedy with pragmatism, inspiring panic more than dread and evoking equal parts revulsion and delight.