Wolfgang Schirmacher’s formulation of *Homo Generator* relies on a sense of the human subject that can be traced back to Martin Heidegger’s that we are at our most authentic when we are not identical to ourselves, or, i…

Ingmar Bergman's middle years -- from the late 1950s to the early 1970s -- were a period of great creativity, but also of irreparable destruction on a private and artistic level. This paper takes stock of a film immedia…

Answering to the claim that our contemporary era has lost a connection to the domain of the sacred René Girard held that, contra Sigmund Freud, the myth of Oedipus was not primarily a story of patricide, but a hidden na…

In murals depicting prominent figures as martyrs AFK has reconnected the emerging form of street-art to art's ability to maintain our relation to the sacred. Cannily drawing on ambiguities concerning victimhood, pleasur…

Knut Hamsun's late life was characterised by a sequence of betrayals, most notably his support for the Nazi occupation of Norway. This paper investigates how Hamsun utilised these acts of treachery to mount a unique def…

The present article reconnects two of Ingmar Bergman's films from the mid '60s to notions of anxiety, alienation and creativity. Shame, a film set in a village ravaged by war, provides the viewer with three senses of tr…