意识形态的魔力与主体的祛魅——哲学视域中的《法兰西阶级斗争》和《雾月十八日》

《1848年至1850年的法兰西阶级斗争》和《路易.波拿巴的雾月十八日》在马克思哲学思想的发展过程中起到极为重要的推动作用。在这两个文本中,马克思打破了市民社会决定国家的单向模式,详细分析了政治国家对市民社会的反作用,进一步完善了历史唯物主义的基本原理。在此基础上,马克思看到,无产阶级并不像他在《德意志意识形态》中预言的那样,彻底摆脱了资产阶级国家意识形态的束缚,成为共产主义革命的真正代言人,相反,他们却陷入到资产阶级意识形态和金钱拜物教的漩涡之中。但马克思认为,这种束缚是暂时的,随着资本主义经济危机的爆发,工人必然会冲破意识形态和拜物教的牢笼,上升为自为的革命阶级。与《德意志意识形态》相比,这两个文本无疑在主体向度上深化了马克思的历史唯物主义。     

The Magic Background of Modern Anti-Semitism by Adolf Leschnitzer

A range of joyful emotions may be woven into the therapeutic group process for older persons. Experiencing joy is a powerful healing factor because it helps reduce the pain of losses inherent in the aging process, restores self-confidence and hope, and renews an investment in living. This paper identifies ten facets of joy which can help develop a therapeutic group climate. Examples from the authors' practice illustrate conceptual approaches.     

道教太乙派及其道法考

唐宋之际,随着道教的兴盛与发展,出现许多新的道派,如洞渊派、北帝派、神霄派、清微派、天心派、太乙派、东华派、净明派等。他们多以雷法为用,济世度人,安邦护国,具有广泛的社会影响力。这里,仅就太乙派的历史、沿革、道法而论。一、由冯佑、刘浩然肇始的太乙派冯佑,平生好道,     

Magic vs. enchantment

This paper draws on a distinction by J. R. R. Tolkien between Magic (an exercise of the will to change something in the world) and Enchantment (the creation of and entering into a secondary world). After elaborating this contrast and some of its consequences—one of which is to illuminate the common ground between science and what is usually thought of as magic, as distinct (in both cases) from art—I suggest some complications and refinements, including a third category, Glamour. I then discuss contemporary modernist magic, including Weberian ‘disenchantment’ which, 1 argue, is actually central to the triumph of the former. One consequence of that triumph is to place an historically unique emphasis upon enchantment as a source of resistance and possibly re‐enchantment. I then take a closer look at wonder, as the hallmark of enchantment, and at the special relationship between wonder and nature, before concluding with some suggestions for how to recognise genuine contemporary re‐enchantment.     

The Orthodox Church and Commercial Fortune-Telling and Magic in Russia

Abstract

Based on field work in St Petersburg and supplemented by a range of other sources and material, the article examines the vibrant and visible market for commercial fortune-telling and magic in postsoviet Russia and its relationship with the Moscow Patriarchate. It opens with an estimate of the relative strength of belief in the occult and in Orthodoxy, noting that though large numbers claim to be Orthodox, many do not commit to a Christian life or even to the basic tenets of the Orthodox faith. Others mix Orthodox and heterodox religious attitudes eclectically. Belief in magic and fortune-telling is strongest among members of these two large groups, which indicates a magico-religious mindset that perceives their personal troubles as externally caused. Examining the placatory attitude of magic specialists to the Russian Orthodox Church, I argue that, given the overlap with services offered by the Church (rituals to cure alcoholism and addiction, for example), magic specialists are in direct competition with the Patriarchate. Combating their influence has been hampered by a series of factors. Teaching Orthodox believers to distinguish between magic and religion is made more difficult by the Patriarchate's own promotion of wonder-working sites and shrines. Furthermore, its campaign against occultism has until recently paid scant attention to everyday magic and fortune-telling, concentrating instead on external evil in the form of cults and sects. Where it did turn its attention in this direction, it tended to brand magic and fortune-telling as demonic, a characterisation likely to be effective only with those who believe in the devil. Recently, there are indications of a change of tack, but it is unclear how successful the new campaign will be.     

Abracadabra Tongue: Poetry Magic

The author has known that poetry is magic since she was a child. However when she sat down to write about it she went blank, confronted by the taboo against magic in our rationalistic culture. In the way of Jungian magic she is helped by dream figures. The Muslim Solomon takes her on a flying carpet journey which reveals the magic of poetic influence: how Hafiz influenced Goethe influenced Lorca influenced her, which is how Persian mysticism found its way into her poetry. She tells the story of her development as a poet, how she learned fermentation magic—the difficult and often painful process required by poetic vision and revision in which grapes must be crushed, favorite phrases and metaphors must be ruthlessly smashed. The Queen of Sheba, another dream figure, shows up to tell her version of the story of her relationship with Solomon. She reveals the dark, fierce, and lusty lineage of her “old black magic” and how it has made its way into the author's poetry.     

Magic and the aesthetic illusion

The aesthetic illusion is the subjective experience that the content of a work of art is reality. It has an intrinsic relation to magic, an intrapsychic maneuver oriented toward modification and control of the extraspyschic world, principally through ego functioning. Magic is ontogenetically and culturally archaic, expresses the omnipotence inherent in primary narcissism, and operates according to the logic of the primary process. Magic is a constituent of all ego functioning, usually latent in later development. It may persist as an archaic feature or may be evoked regressively in global or circumscribed ways. It causes a general disinhibition of instincts and impulses attended by a sense of confidence, exhiliration, and exuberance. The aesthetic illusion is a combination of illusions: (1) that the daydream embodied by the work of art is the beholder's own, the artist being ignored, and (2) that the artistically described protagonist is a real person with a real "world." The first illusion arises through the beholder's emotional-instinctual gratification from his or her own fantasy-memory constellations; the second comes about because the beholder, by taking the protagonist as proxy, mobilizes the subjective experience of the imaginary protagonist's "reality." The first illusion is necessary for the second to take place; the second establishes the aesthetic illusion proper. Both illusions are instances of magic. Accordingly, the aesthetic illusion is accompanied by a heady experience of excitement and euphoria. The relation among the aesthetic illusion, magic, and enthusiasm is illustrated by an analytic case, J. D. Salinger's "The Laughing Man," Woody Allen's Play It Again, Sam, Don Quixote, and the medieval Cult of the Saints.     

The Experience of Underemployment

The authors conducted an exploratory study of male college graduates who experienced underemployment to discover significant events occurring during this experience and the feelings attached to those events.