What is tragedy? This work argues that it is, at once, art and science -- an absorbing art and precisely observed empirical inquiry into human psychology, whose subject matter is the dilemma of manhood under democracy. The author expands discussion of the idea of the tragic to include music drama in general and the operas of Verdi in particular, and explores the indispensable contribution of tragedy to an understanding of personal and political psychology through discussion of: the political theory of structural injustice resting on the suppression of voice (underlying evils like racism, sexism, and homophobia), a developmental psychology of gender (drawing on the work of Carol Gilligan -- the Harvard Project on Women's Psychology, Boy's Development and the Culture of Manhood), and an interpretation of tragic art (including the expressive role of music in it). Exploration of the tragic impact of patriarchy on democratic voice is at the heart of the power and appeal of Verdi's innovations in musical voice. At its core is a complex psychic geography of patriarchal practices imposed on personal and political relationships (parents to children, siblings to one another, and adult men and women). Such practices -- fundamental to the family, politics, and religion -- enforce demands by forms of physical and psychological violence directed by men and women at anyone who deviates from its demands. Verdi's tragic musical drama speaks of an emotional loss that literally cannot under patriarchy be spoken, namely, what the author calls the tragedy of patriarchy -- a divided psychology that lives in the tension between patriarchal practices and democratic principles, and between the psychological demands of patriarchy and democratic manhood.

Transhumanism is a recent movement that extols man’s right to shape his own evolution, by maximizing the use of scientific technologies, to enhance human physical and intellectual potential. While the name is new, the idea has long been a popular theme of science fiction, featured in such films as 2001: A Space Odyssey, Blade Runner, the Terminator series, and more recently, The Matrix, Limitless, Her and Transcendence. However, as its adherents hint at in their own publications, transhumanism is an occult project, rooted in Rosicrucianism and Freemasonry, and derived from the Kabbalah, which asserts that humanity is evolving intellectually, towards a point in time when man will become God. Modeled on the medieval legend of the Golem and Frankenstein, they believe man will be able to create life itself, in the form of living machines, or artificial intelligence. Spearheaded by the Cybernetics Group, the project resulted in both the development of the modern computer and MK-Ultra, the CIA’s “mind-control” program. MK-Ultra promoted the “mind-expanding” potential of psychedelic drugs, to shape the counterculture of the 1960s, based on the notion that the shamans of ancient times used psychoactive substances, equated with the “apple” of the Tree of Knowledge. And, as revealed in the movie Lucy, through the use of “smart drugs,” and what transhumanists call “mind uploading,” man will be able to merge with the Internet, which is envisioned as the end-point of Kabbalistic evolution, the formation of a collective consciousness, or Global Brain. That awaited moment is what Ray Kurzweil, a director of engineering at Google, refers to as The Singularly. By accumulating the total of human knowledge, and providing access to every aspect of human activity, the Internet will supposedly achieve omniscience, becoming the “God” of occultism, or the Masonic All-Seeing Eye of the reverse side of the American dollar bill.