This book traces the concept of melancholy in Walter Benjamin's early writings. Rather than focusing on the overtly melancholic subject matter of Benjamin's work or the unhappy circumstances of his own fate, Ferber considers the concept's implications for his philosophy. Informed by Heidegger's discussion of moods and their importance for philosophical thought, she contends that a melancholic mood is the organizing principle or structure of Benjamin's early metaphysics and ontology. Her novel analysis of Benjamin's arguments about theater and language features a discussion of the Trauerspiel book that is amongst the first in English to scrutinize the baroque plays themselves. Philosophy and Melancholy also contributes to the history of philosophy by establishing a strong relationship between Benjamin and other philosophers, including Leibniz, Kant, Husserl, and Heidegger.

Saturn and Melancholy remains an iconic text in art history, intellectual history, and the study of culture, despite being long out of print in English. Rooted in the tradition established by Aby Warburg and the Warburg Library, this book has deeply influenced understandings of the interrelations between the humanities disciplines since its first publication in English in 1964. This new edition makes the original English text available for the first time in decades. Saturn and Melancholy offers an unparalleled inquiry into the origin and development of the philosophical and medical theories on which the ancient conception of the temperaments was based and discusses their connections to astrological and religious ideas. It also traces representations of melancholy in literature and the arts up to the sixteenth century, culminating in a landmark analysis of Dürer's most famous engraving, Melencolia I. This edition features Raymond Klibansky's additional introduction and bibliographical amendments for the German edition, as well as translations of source material and 155 original illustrations. An essay on the complex publication history of this pathbreaking project - which almost did not see the light of day - covers more than eighty years, including its more recent heritage. Making new a classic book that has been out of print for over four decades, this expanded edition presents fresh insights about Saturn and Melancholy and its legacy as a precursor to modern interdisciplinary studies.

Americans are addicted to happiness. When we're not popping pills, we leaf through scientific studies that take for granted our quest for happiness, or read self-help books by everyone from armchair philosophers and clinical psychologists to the Dalai Lama on how to achieve a trouble-free life: Stumbling on Happiness; Authentic Happiness: Using the New Positive Psychology to Realize Your Potential for Lasting Fulfillment; The Art of Happiness: A Handbook for Living. The titles themselves draw a stark portrait of the war on melancholy. More than any other generation, Americans of today believe in the transformative power of positive thinking. But who says we're supposed to be happy? Where does it say that in the Bible, or in the Constitution? In Against Happiness, the scholar Eric G. Wilson argues that melancholia is necessary to any thriving culture, that it is the muse of great literature, painting, music, and innovation—and that it is the force underlying original insights. Francisco Goya, Emily Dickinson, Marcel Proust, and Abraham Lincoln were all confirmed melancholics. So enough Prozac-ing of our brains. Let's embrace our depressive sides as the wellspring of creativity. What most people take for contentment, Wilson argues, is living death, and what the majority takes for depression is a vital force. In Against Happiness: In Praise of Melancholy, Wilson suggests it would be better to relish the blues that make humans people.

Scottish philosopher David Hume claimed that false philosophy leads either to melancholy over the groundlessness of common opinion or delirium over transcending it--while true philosophy leads to wisdom. Here Donald Livingston traces this distinction through all of Hume's writings and reveals its relevance for contemporary discussion.

Melancholy is rightly taken to be a central topic of concern in early modern culture, and it continues to generate scholarly interest among historians of medicine, literature, psychiatry and religion. This book considerably furthers our understanding of the issue by examining the extensive discussions of melancholy in seventeenth- and eighteenth- century religious and moral philosophical publications, many of which have received only scant attention from modern scholars. Arguing that melancholy was considered by many to be as much a 'disease of the soul' as a condition originating in bodily disorder, Dr. Schmidt reveals how insights and techniques developed in the context of ancient philosophical and early Christian discussions of the good of the soul were applied by a variety of early modern authorities to the treatment of melancholy. The book also explores ways in which various diagnostic and therapeutic languages shaped the experience and expression of melancholy and situates the melancholic experience in a series of broader discourses, including the language of religious despair dominating English Calvinism, the late Renaissance concern with the government of the passions, and eighteenth-century debates surrounding politeness and material consumption. In addition, it explores how the shifting languages of early modern melancholy altered and enabled certain perceptions of gender. As a study in intellectual history, Melancholy and the Care of the Soul offers new insights into a wide variety of early modern texts, including literary representations and medical works, and critically engages with a broad range of current scholarship in addressing some of the central interpretive issues in the history of early modern medicine, psychiatry, religion and culture.

Spanning 24 centuries, this anthology collects over thirty selections of important Western writing about melancholy and its related conditions by philosophers, doctors, religious and literary figures, and modern psychologists. Truly interdisciplinary, it is the first such anthology. As it traces Western attitudes, it reveals a conversation across centuries and continents as the authors interpret, respond, and build on each other's work. Editor Jennifer Radden provides an extensive, in-depth introduction that draws links and parallels between the selections, and reveals the ambiguous relationship between these historical accounts of melancholy and today's psychiatric views on depression. This important new collection is also beautifully illustrated with depictions of melancholy from Western fine art.

The Melancholy Science is Gillian Rose’s investigation into Theodor Adorno’s work and legacy. Rose uncovers the unity discernable among the many fragments of Adorno’s oeuvre, and argues that his influence has been to turn Marxism into a search for style. The attempts of Adorno, Lukács and Benjamin to develop a Marxist theory of culture centred on the concept of reification are contrasted, and the ways in which the concept of reification has come to be misused are exposed. Adorno’s continuation for his own time of the Marxist critique of philosophy is traced through his writings on Hegel, Kierkegaard, Husserl and Heidegger. His opposition to the separation of philosophy and sociology is shown by examination of his critique of Durkheim and Weber, and of his contributions to the dispute over positivism, his critique of empirical social research and his own empirical sociology. Gillian Rose shows Adorno’s most important contribution to be his founding of a Marxist aesthetic that offers a sociology of culture, as demonstrated in his essays on Kafka, Mann, Beckett, Brecht and Schönberg. Finally, Adorno’s ‘Melancholy Science’ is revealed to offer a ‘sociology of illusion’ that rivals both structural Marxism and phenomenological sociology as well as the subsequent work of the Frankfurt School.