Lorraine Markotic

This article seeks to demonstrate the importance of the philosophical work of Mary O'Brien. It does so by showing how O'Brien's work counters Heidegger's strict differentiation between the ancient Greek metaphysics of presence and modern technological thinking. O'Brien's ideas indicate two critical lacunae in Heidegger's interpretation of the ancient Greeks: the latter's attempt to secure paternity and their overlooking of birth as a form of unconcealment. According to O'Brien, the way in which we understand and experience human reproduction influences both our sense of self and our sense of continuity. According to Heidegger, the way in which things are brought forth or unconcealed is fundamental to our being-in-the-world. Neither O'Brien nor Heidegger lived to see the current advancements in reproductive technology, but both would consider them significant and meaningful beyond their social, political, and even ethical implications. Furthermore, recent reproductive technology draws attention to birth as revealing—although as increasingly Enframed. Rapid changes in reproduction may reveal Enframing as Enframing, and also show that technology is not something that we can simply master. But for this to occur, we must take into account the radical critique and rethinking of Heidegger's philosophy implied by O'Brien's thought

In various—often even opposing—ways, embodiment has always been crucial for feminism. Carla Lam’s important book addresses the fact that new reproductive technologies increasingly disembody reproduction for women; simply put, these technologies render women’s experience more akin to that of men. Birth becomes not only technologically mediated, but reproduction can now be taken out of the female body. This has both practical and theoretical implications. It is critical, therefore, that feminists both reflect upon the ramifications of NRTs and, at the same time, consider how NRTs influence our understandings and experiences of reproduction—and of embodiment. Embodiment is changing, not just at the...

This paper argues that Pan's Labyrinth illustrates the potential for a rebirth of tragedy through the Dionysian. The film exemplifies the healing capacity that Nietzsche saw in Greek tragedy. Tragedy protects us from, and provides a response to, the terror and absurdity of existence. Pan's Labyrinth depicts the horrors of Spanish fascism and the pointless fight against it, represents these, and renders them bearable. The film is a healing image after a glance into the abyss of Spanish fascism. Pan's Labyrinth is a Dionysian film and it is also about the Dionysian. In The Birth of Tragedy out of the Spirit of Music, Nietzsche shows how the Dionysian elements of Greek tragedy—music and dance—gradually elicited Apollonian features—image and story. Pan's Labyrinth is dazzlingly, resplendently visual, and its narrative is compelling. Nevertheless, it is fundamentally Dionysian. The film provides an Apollonian representation—not a repression—of the Dionysian; furthermore, it remains true to the spirit of music in its portrayal of the non-conceptual.