Alfred Hitchcock's Vertigo skilfully continues to stimulate different views of it – hence the volume of writing – different ways of viewing it, different ways of being a viewer of it . One purpose of the piece is to provide a little caution to those students coming to study Vertigo , and Spectatorship, for the first time: not to presume that the film, and by association any film, has one type of spectator. It is through examining various responses (...) to it – rather than presenting one view of it – that we can see perspicaciously that Vertigo has a special capacity for teaching us about the complexity of film spectatorship. This is possibly because Vertigo is so concerned to make the act of viewing an active part of viewing it. (shrink)

This paper is an attempt to identify the source of Deleuzian thought, that is, the "plane" or "image" from which it unfolds despite its many twists and turns. This, I believe, is immanence. The thread of immanence appears most clearly in What Is Philosophy? but can be shown to have been at work from the very start. But immanence is not just the plane of Deleuzian thought. It is also, and above all, that of philosophy itself, especially in its difference (...) from religion and onto-theology. This in turn means that, following Spinoza and his univocal ontology, Deleuzian thought can be seen as completing or realizing the conditions of philosophy itself. (shrink)

Reading philosophy through the lens of Alfred Hitchcock's Vertigo, Andrea Cavalletti shows why, for two centuries, major philosophers have come to think of vertigo as intrinsically part of philosophy itself. In doing so, Cavalletti brings out the vertiginous nature of identity.

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo . Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include: memory, loss, memorialisation, and creativity mimetic or representational art and art as magic the nature of romantic love gender, sexual (...) objectification, and identity looking, "the gaze", and voyeurism film and psychoanalysis fantasy, illusion, and reality the phenomenology of colour. Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo , and an ideal resource for students of film and philosophy. (shrink)

Una marcada singularidad se halla asociada al judaísmo desde sus orígenes. Pueblo configurado por lo histórico, sin embargo, la propia historia judía acoge en su seno unas fuerzas que desdibujan la continuidad y restan substancia a la mecánica sucesión temporal de la cronología. Junto a la historia, el tiempo y la cronología, encontramos la irrupción y el desbordamiento de estados temporales alternativos, vivencias paradójicas de la propia existencia colectiva en el tiempo. La Edad Media y la península Ibérica verán manifestarse (...) todas ellas en una asombrosa ceremonia del desbordamiento del espíritu humano. (shrink)

The aim of this paper is to analyze some basic aspects of Nietzsche’s thought by tracing them back to the idea of Amor Fati, understood as the matrix from which they spring and the keystone to their pattern. The freedom-necessity duality is analyzed, posing the crucial question of why Amor Fati is for Nietzsche a call to radically face the problem of responsibility.

This article explores the politics and culture of Creole cosmopolitanism, which emerged in the French post-slavery colonies. It argues that Creole cosmopolitanism offers a framework to imagine oneself in the world. As a form of resistance to the French assimilative project, to absolutist ethnicisms and to abstract universalism, Creole cosmopolitanism imagines a world of trans-local solidarities, a way of being-in-the-world that acknowledges difference and diversity.

Writing remains. One could argue that it is precisely because of this uncanny and unpredictable survival that inscription holds an inextricable influence on culture. Deconstructive theory posits this as the ‘biodegradability’ of writing — that culture consumes writing's intended meaning, employing it as fuel for its own survival. In this article, I argue for Michel Houellebecq's awareness of this survival, suggesting that his texts stage their — and their author's — own biodegradability to interweave truth and fiction. Particularly, he utilizes (...) the ‘untranslatability’ of the proper name — its brief resistance to cultural biodegradability — to intercept and write into the future inscription is tied to. This draws attention to the vital paradox of proper names, and suggests that their untranslatability forces every reader to conjure different, contradicting and often ‘out-of-sync’ histories. Houellebecq's names, which necessitate an interminable coining, gesture to the inevitable translation of finitude. (shrink)

In this essay, Giovanbattista Tusa suggests that we are currently witnessing a mutation, which disrupts the mythical imaginary that had confined viruses, climate change, and atmospheric turbulences to an immutable background in the all-too-human narrative of the struggle against nature. I argue that the incapacity of translating this mutation in cultural and social terms, and the repression of this traumatic experience, are the cause of the perturbation that haunts our time. Disorientation pervades philosophy when the entire imaginary to which it (...) had anchored its power to change the world seems to dissolve in the air, when what was silent and distant turns out to be vibrant, more familiar to us than any known proximity. Precisely for this reason, philosophy must rediscover its ability to inhabit times and spaces different from those oriented by the hegemony of capitalist progress, with its correlate of regular catastrophic emergencies and calculated risk. In this essay, Giovanbattista Tusa aims to present a perspective in which, instead of coming back straightforwardly ‘down to earth’, philosophy accepts inhabiting the fluctuating disorientation of its own time, itself populated by intermittent and uncertain opportunities of experiencing differently the past and the future—to encounter different relationships with the times that change. (shrink)

This article reconstructs and evaluates a debate between Pippin and Žižek over the proper interpretation of Hitchcock’s Vertigo, in relation to Hegel’s concept of reconciliation. Both Pippin and Žižek agree that Vertigo exemplifies Hegelian reconciliation: Scottie exhibits Hegel’s reconciliatory “negation of negation” when he realizes that his lost love Madeleine had really been Judy all along, thereby losing his original loss. Yet Pippin and Žižek disagree on the precise significance of the concept of reconciliation both for the film (...) and for the contemporary world. Žižek argues for a revolutionary reading of reconciliation in Vertigo: we learn from reconciliation that we must make a revolutionary break from the present world, in order to bring about a wholly new world. Pippin argues for a reformist reading of reconciliation in Vertigo: we learn from reconciliation that we must find the “traces of reason” latent in the present world, in order to gradually reform it for the better. Ultimately, I argue that Žižek’s reading offers the more authentically Hegelian approach to interpreting Hitchcock’s Vertigo. But if nothing else, the Pippin-Žižek debate demonstrates the profound intellectual fecundity of the intersections between film and philosophy for understanding our current historical moment. (shrink)

One of the terminological constants in the philosophical work of Gilles Deleuze is the word 'immanence', and it has therefore become a foothold for those wishing to understand exactly what 'Deleuzian philosophy' is. Deleuze's philosophy of immanence is held to be fundamentally characterised by its opposition to all philosophies of 'transcendence'. On that basis, it is widely believed that Deleuze's project is premised on a return to a materialist metaphysics. Christian Kerslake argues that such an interpretation is fundamentally misconceived, and (...) has led to misunderstandings of Deleuze's philosophy, which is rather one of the latest heirs to the post-Kantian tradition of thought about immanence. This will be the first book to assess Deleuze's relationship to Kantian epistemology and post-Kantian philosophy, and will attempt to make Deleuze's philosophy intelligible to students working within that tradition. But it also attempts to reconstruct our image of the post-Kantian tradition, isolating a lineage that takes shape in the work of Schelling and Wronski, and which is developed in the twentieth century by Bergson, Warrain and Deleuze. (shrink)

My interest is the kind of philosophical vertigo that is a theme of Cavell’s work on scepticism. This describes the anxiety that is elicited via philosophical engagement with certain kinds of sceptical questions. There is a standing puzzle about this notion of vertigo, however, forcefully pressed, for example, by McDowell. Why should a resolution of the sceptical problem, one that putatively completely undercuts the motivation for scepticism in that domain, nonetheless generate vertigo in this sense? I aim (...) to resolve the puzzle, in a way that I believe underwrites this Cavellian notion, via consideration of Wittgenstein’s remarks on the structure of rational evaluation in his final notebooks, published as On Certainty. (shrink)

On the surface, The Philosophical Hitchcock: Vertigo and the Anxieties of Unknowingness, is a close reading of Alfred Hitchcock’s 1958 masterpiece Vertigo. This, however, is a book by Robert B. Pippin, one of our most penetrating and creative philosophers, and so it is also much more. Even as he provides detailed readings of each scene in the film, and its story of obsession and fantasy, Pippin reflects more broadly on the modern world depicted in Hitchcock’s films. Hitchcock’s characters, (...) Pippin shows us, repeatedly face problems and dangers rooted in our general failure to understand others—or even ourselves—very well, or to make effective use of what little we do understand. Vertigo, with its impersonations, deceptions, and fantasies, embodies a general, common struggle for mutual understanding in the late modern social world of ever more complex dependencies. By treating this problem through a filmed fictional narrative, rather than discursively, Pippin argues, Hitchcock is able to help us see the systematic and deep mutual misunderstanding and self-deceit that we are subject to when we try to establish the knowledge necessary for love, trust, and commitment, and what it might be to live in such a state of unknowingness. A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings. (shrink)

This article examines William Rothman’s recent essay on Vertigo , ‘Scottie’s Dream, Judy’s Plan, Madeleine’s Revenge’, and particularly his suggestion that in a crucial scene towards the end of the film the character Judy deliberately puts on jewellery in order that Scottie becomes aware that she was the actress who played Madeleine. We look at why Rothman was previously unable to see this in the film, why Judy is unable directly to tell Scottie and why for Rothman a deep (...) truth of the film is this inability of Judy to tell Scottie. In order to address these issues, this article looks at art historian Michael Fried’s notion of “absorption”, and particularly that interpretation of it offered by Lacanian cultural theorist Joan Copjec in ‘The Invention of Crying and the Antitheatrics of the Act’ in her collection Imagine There’s No Woman: Ethics and Sublimation. (shrink)

The relation of Wittgenstein’s later philosophy to skepticism seems to be ambiguous, since he rejects radical skepticism but also highlights the groundlessness of our beliefs. In this paper, I am going to discuss Wittgenstein’s hinge propositions in this respect. Against the usual view, I will show that they do not function as a contextualist or foundationalist refutation of skepticism. What is more, they also do not confirm skepticism. In contrast, I will argue that following Wittgenstein skepticism is neither false nor (...) true, but still has a point, which can be elucidated with Stanley Cavell’s concept of a truth of skepticism. This concept roughly states that we can not know about the existence of the world and the others, but that we have to acknowledge them. With the help of Wittgenstein, I am going to clarify this position. The key idea is that the problem of skepticism can be understood as a metaphorical way of presenting the finiteness of the human condition and that vertiginous skeptical irritations lead to an adequate human self-understanding in this respect. (shrink)

This paper critically explores Nuno Venturinha’s discussion of the Wittgensteinian notion of epistemic vertigo in the context of the radical sceptical problematic, at least as that notion has been recently articulated by Duncan Pritchard.

The relation of Wittgenstein’s later philosophy to skepticism seems to be ambiguous, since he rejects radical skepticism but also highlights the groundlessness of our beliefs. In this paper, I am going to discuss Wittgenstein’s hinge propositions in this respect. Against the usual view, I will show that they do not function as a contextualist or foundationalist refutation of skepticism. What is more, they also do not confirm skepticism. In contrast, I will argue that following Wittgenstein skepticism is neither false nor (...) true, but still has a point, which can be elucidated with Stanley Cavell’s concept of a truth of skepticism. This concept roughly states that we can not know about the existence of the world and the others, but that we have to acknowledge them. With the help of Wittgenstein, I am going to clarify this position. The key idea is that the problem of skepticism can be understood as a metaphorical way of presenting the finiteness of the human condition and that vertiginous skeptical irritations lead to an adequate human self-understanding in this respect. (shrink)

Whether extrovertive, introvertive, or some further hybrid, the process of the soul touching the fullness of its divine origins is itself undergoing transformation in the twenty-first-century cultural matrices of Israel. A remarkable exemplar of devotional Hebrew cultures can be found within the hybrid networks of haredi worlds in Israel today. R. Yitzhaq Maier Morgenstern, author of Yam ha-okhmah, Netiv ayyim, and De'i okhmah le-nafshekha, is arguably the most innovative mystical voice in Israel. Why are his works resonating so strongly both (...) inside and outside their haredi communities of origin? How is his innovative thinking affecting the devotional praxis of Devekut both inside and outside the unfolding Hasidic networks? This exploration of mystical apperception through Devekut builds upon studies of Garb, Huss, and Meir, while challenging the idea that Morgenstern's expanding impact is solely a function of his mystical-magical charisma and hypernomian spiritual practice. This study argues that it is Morgenstern's hybridized thinking through key theoretical issues in Kabbalah and Hasidism as they apply to the lived practice of a devotional life of Devekut that will likely remain his strongest innovation and contribution to contemporary Jewish mysticism. (shrink)

O que surge de uma descrição fenomenológica das experiências de tontura e vertigem para uma teoria fenomenológica geral da constituição do mundo? O que surge dessa contribuição para o projeto geral de uma fenomenologia da dor? Neste artigo, tentamos responder a ambas as perguntas, mostrando as suas ligações íntimas. Para isto, será necessário fazer uma descrição fenomenológica de ambos os fenómenos que permita mostrar as possíveis limitações de respetiva determinação clínica, recentemente estabelecidas por autores como Bisdorff, Von Brevern, Lempert e (...) Newman-‑Toker. Através de sucessivas descrições fenomenológicas da experiência de vertigem e tontura, tentaremos mostrar a importância do eixo da verticalidade na teoria fenomenológica da constituição do mundo, bem como a sua relação com o eixo da horizontalidade. (shrink)

The aim of this article is to investigate the Habermasian way of problematizing the European political situation through consideration of the conceptual framework within which he develops his proposal. I begin by clarifying various conceptual difficulties that emerge when thinking about politics within the European Union. I then focus on the concept of popular sovereignty as procedure, which Habermas develops in Between Facts and Norms against the historical backdrop of the nation state. In the debate regarding European constitutionalization, the concept (...) of popular sovereignty as procedure first assumes a critical function against proponents of the no demos thesis. More recently, Habermas has advanced a concept of shared/divided sovereignty, which becomes indispensable when we consider Europe as a democratic federation. The conclusions hereby drawn disclose two problematic aspects of Habermas’s recent proposal. Respectively, these concern the viability of his approach and the questionable plausibility of this proposed federation’s ability to uphold democracy in terms of self-determination. (shrink)

: The key concept is "vertigo of secularization." It relates to the fears that societies experience when understanding the need to ground their political orders as separated from religion. The erosion of values produces vertigos around the world. We need to understand better these kinds of processes because only by doing so can we keep that fear and violence from taking precedence over the hard working tasks of building up a global political community.

We offer an overview of what we take to be the main themes in Annalisa Coliva’s book, Moore and Wittgenstein: Scepticism, Certainty and Common Sense. In particular, we focus on the ‘framework reading’ that she offers of Wittgenstein’s On Certainty and its anti-sceptical implications. While broadly agreeing with the proposal that Coliva puts forward on this score, we do suggest one important supplementation to the view—viz., that this way of dealing with radical scepticism needs to be augmented with an account (...) of the meta-sceptical problem which this proposal generates, which we call epistemic vertigo. (shrink)

Resumen La figura femenina en el arte cinematográfico ha sido mostrada mediante arquetipos y cumpliendo distintas funciones. Nos proponemos en este estudio analizar los personajes femeninos por medio de la narrativa audiovisual en dos películas emblemáticas de la cinematografía de Hitchcock: Recuerda y Vértigo, en las que la mujer se contempla como empoderada, pero también sometida, llegando a una negación de su propia identidad. Consideramos que la forma del tratamiento de la mujer en el cine de dicha época radica en (...) la situación social de la misma, sufriendo un tratamiento discriminatorio, que es admitido por los personajes femeninos justificándolo en un enamoramiento, que anula la propia personalidad. Abstract The female figure in cinematographic art has been shown through archetypes and performing different functions. We propose in this study to analyze female characters through the audiovisual narrative in two emblematic films of Hitchcock’s cinematography: Spellbound and Vertigo, in which women are seen as empowered, but also subjected to a denial of their own identity. We consider that the treatment of women in the cinema of that time lies in the social situation of the same, suffering a discriminatory treatment, which is admitted by the female characters justifying it in a crush, which annuls the own personality. (shrink)

While the initial reception of Alfred Hitchcock's Vertigo was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil, to Brian De Palma's Obsession, and David Lynch's Mulholland Dr.. What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is (...) also a shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination that churns them out. Douglas Gordon's Feature Film, D.N. Rodowick's The Wanderers, and Lynn Hershman's VertiGhost are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs, themes and strategies ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated. (shrink)

The Ohlone, the original settlers of the San Francisco region, were violently dispossessed by successive colonial regimes, first Spanish, then US American. The colonial trauma was written out of history, and by the 20th century anthropologists pronounced the Ohlone to be ‘extinct’. In this article, I explore how the dispossession of the Ohlone haunt one of the greatest movies of all time: Alfred Hitchcock’s Vertigo (1958). Although Vertigo is one of the most-analysed films ever, no one has noticed (...) that Carlotta Valdes – the dispossessed woman who comes back from the dead to take possession of the living – would have been Native American. A hauntological reading reveals Vertigo as an unwitting witness of colonial dispossession. (shrink)

The development of Vertigo’s main characters provides a detailed illustration of the dialectics of despair as analysed in Kierkegaard’s The Sickness unto Death, in particular of the so-called ‘masculine’ and ‘feminine’ types of failed selfhood. This article shows the relation of selfhood and despair to dizziness both in Kierkegaard’s work and in Hitchcock’s film, and it examines the religious subtext of Vertigo. The dramatis personae of Judy and Scottie are analysed by applying Kierkegaard’s phenomenology of despair. They display (...) a variety of failures to relate to their selves, like unconscious and conscious despair, possibility’s despair, despair over the earthly and despair of the eternal. Moreover, they epitomize the gendered types of despair as depicted in The Sickness unto Death: losing one’s self in relation to someone and obsessively striving for self-assertion at the cost of others. (shrink)

A partir de la Melancolía de Lucas Cranach de 1532, se indaga el linaje cartesiano de los vértigos de incertidumbre que sufre Antoine Roquentin, el protagonista de La náusea satreana. Se aborda en estas páginas cierto síndrome consistente en la dificultad de discernimiento entre cuanto sucede fuera de la conciencia y cuanto no es más que representación mental, para sostener que es esta ambigüedad la condición de posibilidad de la conciencia moderna, la de una conciencia sostenida en su misma contingencia.