THE GOLEM LEGEND AND THE ENIGMA OF FACEBOOK

We are easily misguided as to the true nature of Facebook, and tend to treat it simply as a powerful technological instrument in the service of human intentions. We can, however, gain a better picture of it through recourse to the Jewish tradition of the golem, an image of human beings, created by them in a re-enactment of their own creation by God. It turns into a magic servant in modernity with an inherent dynamic running between its human and its subhuman characteristics. This dynamic is the main cause behind its becoming uncontrollable. In like manner, what is subhuman in Facebook serves its masters and functions under their total control, but also empowers Facebook's increasingly human operation, an algorithm-based capability which raises growing doubts about what counts as human. Facebook implies the crisis of humanity which coincides with the “death of God,” that is, the obsolescence of the idea of a divine creator.     

CREATORS AND CREATURES: THE CREATION ACCOUNT IN GENESIS AND THE IDEA OF THE ARTIFICIAL HUMANOID

Science fiction, this article argues, provides an imaginative domain which can offer a unique understanding of the interaction between science and religion. Such an interaction is particularly present in the idea of the artificial humanoid as brought to life in Mary Shelley's Frankenstein and the recent television series Westworld. Both revolve around the theme of a moral relation between scientist creator and humanoid creature in accord with a norm that first took shape in the biblical account of God's creation of the first human beings. At the same time, these works of fiction cast light on the contrast between the biblical account and the Mesopotamian myths of creation. In the manner of Frankenstein and Westworld, science fiction can integrate the perspective of science with that of the biblical tradition.     

Higher Pantheism

Romantic sensibility and political necessity led Humphry Davy, Britain's most prominent scientist in the first quarter of the nineteenth century, to pantheism: nature worship, involving for him a fervent belief in the immortality of the soul. Rapt with a vision of sublimity, from mountain tops or balloons, men of science in succeeding generations also found in pantheism a reason for their vocation and a way of making sense of their world. It should be seen as an alternative both to active participation in church life (like Faraday's) and to a gritty agnosticism (like Huxley's), indicating again how subtle and complex relationships were between science and religion in the nineteenth century.     

Bioterrorism, Embryonic Stem Cells, and Frankenstein

The stem cell controversy raises a fundamental question for humankind. Does science have a right to pursue knowledge whatever the cost? Our Enlightenment culture says yes. However, human history and literature are sending warning signals. Ethical issues impact the “knowledge for its own sake” imperative, and must be addressed.     

GOLEMS IN THE BIOTECH CENTURY

The legend of the golem, the creation of life through mystical and magical means, is the most famous postbiblical Jewish legend. After noting recent references to the golem legend in fiction, film, art, and scientific literature, I outline three stages of the development of the legend, including its relationship to the story of Frankenstein. I apply teachings about the golem in classical Jewish religious literature to implications of the legend for ethical issues relating to bioengineering, reproductive biotechnology, robotics, artificial intelligence, artificial life, and corporate ethics. The golem legend emerges as a source of prudent guidance through the minefield of ethical and spiritual problems emerging from current and expected developments in biotechnology.     

Frank in mind: a journey to self

Abstract

This paper describes two years’ intensive psychotherapy with an 11 year old boy I shall call Lou, who as a result of traumatic experiences in his early life, struggled to integrate a robust sense of self and in particular to find accord with a sense of himself as male. The impact of maternal depression, paternal gender dysphoria and domestic violence are discussed in relation to this young boy’s capacity to resolve the ordinary Oedipal challenge and find narcissistic value in a male body image to consolidate his gender identity. Concomitant difficulties with separation from his mother and aggression towards himself and others significantly impacted his ability to manage in a mainstream school environment and he was excluded at the time the therapy began. A clinical narrative is presented which illustrates Lou’s journey in psychotherapy, where he began to engage and allow links to be made. He sought to understand his position in a world that did not make sense to him, to face a hitherto ‘unthinkable’ past and to integrate disparate aspects of himself including a male gender identity. Notably Lou’s creation of ‘Frank’ constructed from dead, lost and reanimated objects is described and the actual and symbolic functions of this therapy object are discussed in relation to his internal development and the progress of the work. Parallels are drawn with Mary Shelley’s novel Frankenstein, where the creature strives for psychological birth and understanding. Lou and I struggled in the paradox of the themes of his narrative; a male/female father; potency and castration; corruption and repair and how to be a boy, held and helped in part through the paternal function of a female therapist.     

The Restitution of Primary Identification Psychoanalysis

The paper discusses different well-known imagined monsters. Starting with the fairy tale and the films on The Beauty and the Beast (La Belle et la Bête), hidden meanings from several psychodynamically valid perspectives are proposed with the aim of finding out what makes this story so popular and everlasting. Projected demons or impulses in Maurice Sendak's Where the Wild Things Are are discussed as well as Mary Shelley’s Frankenstein and his monster who are presented and connected to facts in this author’s life. In the summary links to psychoanalytic thinking are proposed.     

Why did Mary Shelley Write Frankenstein?

Mary Shelley’s novel “Frankenstein; or, the Modern Prometheus” is presented here as her encoded image of unconscious emotions too painful for her waking personality to deal with. Her innovative image of man-made life is taken as emerging from the confrontation of her hopes for secure love with painful events in her life with Percy Shelley. This paper proposes that her novel served as a waking expression of unconscious feelings of hurt in reaction to Percy. The monster’s role is here decoded as her way to consciously process the idea that parts of her relation to Percy were so hurtful as to deform it into a miscreant. It is further proposed that the losses and frustrations of her earliest years inclined her to accept Percy’s violations in the hope of the secure love she longed for. The answer offered to this paper’s title accounts for why “Frankenstein” is taken to refer to the unnamed monster and not its creator.Anthony F. Badalamenti is a research scientist in psychiatry. He has a private practice in psychoanalysis and works at quantifying psychiatric research with Columbia University Psychiatric Institute, The Nathan Kline Institute and The University of New England. He holds PhDs in mathematics from Brooklyn Polytechnic Institute and in systems from Bell Telephone Laboratories. He is a member of the Society for Psychoanalytic Psychotherapy, from whom he received a distinguished research award, the American Mathematical Society, the Society for General Systems Research and the New York Academy of Sciences. He has published over 60 papers in psychiatric research.     

Re‐building Sodom and Gomorrah: the monstrosity of queer desire in the horror film

In Skin Shows, her study of gothic horror, Judith Halberstam argues that ‘[m]onsters are meaning machines’. Narratives about monsters create meaning by defining the border between normal and monstrous desire. This essay offers a close reading of horror films from three very different periods of the genre's history— Frankenstein, Bride of Frankenstein, The Haunting, and Scream—to demonstrate how these films represent queer desire as monstrous, disruptive and violent. Reading these cinematic representations alongside Christian discourses of sodomy demonstrates that the study of religion and the study of popular culture can inform each other, that theological meaning can be found in the artifacts of popular culture and that these artefacts can only be fully understood by attending to their theological meanings. The essay concludes with suggestions regarding how such artifacts can be engaged to support queer political projects.