“Being dragged into the orbit of Webster’s mind is like entering the Magic Mountain: you go in as a visitor, and stay as a patient”
— Tom Mcarthy, author of Remainder and Satin Island
“Jamieson Webster’s new work reflects upon that aspect of hysteria—or conversion disorder—that has eluded the attention of most commentators: the indifference of the subject at the very moment that the symptom is most clearly enacted. This point of departure allows Webster to think about what the body contains but also what traverses the body at a level that is prior to speech, that is perhaps the condition of speech itself. This incisive and unsettling meditation gives us a form of psychoanalytic writing that tracks the transference as bodily transformation and impasse. It is written in and for our times, when the courage and difficulty of the slow labor of psychoanalysis provides a perspective that eludes the certitudes of dogma and the exhilarations of false promises. Webster’s book asks us to stay within the domain of difficult exchange where what registers and shifts at the level of the body lets us know more about what we can expect of life and what our own living carries of the lives of others. Beautifully written, theoretically brave, and disturbing in all the best ways”.
— Judith Butler, Maxine Elliot Professor of Comparative Literature and Critical Theory, University of California, Berkeley
https://cup.columbia.edu/book/conversion-disorder/9780231184083
From the book:
Conversion disorder—a psychiatric term that names the enigmatic transformation of psychic energy into bodily manifestations—offers a way to rethink the present. With so many people suffering from unexplained bodily symptoms; with so many seeking recourse to pharmacological treatments or bodily modification; with young men and women seemingly willing to direct violence toward anybody, including themselves—a radical disordering in culture insists on the level of the body.
Part memoir, part clinical case, part theoretical investigation, this book searches for the body. Is it a psychopathological entity; a crossroads for the cultural, political, and biological in the form of care; or the foundation of psychoanalytic work on the question of sexuality? Jamieson Webster traces conversion’s shifting meanings—in religious, economic, and even chemical processes—revisiting the work of thinkers as diverse as Benjamin, Foucault, Agamben, and Lacan. She provides an intimate account of her own conversion from patient to psychoanalyst, as well as her continuing struggle to apprehend the complexities of the patient’s body. When listening to dreams, symptoms, worries, or sexual impasses, the body becomes a defining trope that belies a vulnerable and urgent wish for transformation. Conversion Disorder names what is singular about the entanglement of the fractured body and the social world in order to imagine what kind of cure is possible.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Ferenczi Center.
According to a pervasive and widespread literature, we came, whether we want it or not, to surround our existences with all sorts of narratives: retrospective interpretations of what came before us and how we were born, anticipative stories about what is to come and what we should expect, and, most of all, restless attempts to describe what our present is made of so that we know how to make sense of it. First-person narratives occupy a central position amongst these varieties of narratives, as they give each of us a chance to provide meaning to our lives and achieve some kind of self-understanding.
Taking a resolutely opposite stance, Sartre (in)famously declared through the voice of the main character of his novel La Nausée that stories cannot but betray the lives they claim to describe, and necessarily fail to be faithful to the very experiencing of life that constitutes its specific grain and texture. In which sense is this failure a failure? In which sense must we consider it a failure, if narratives are the privileged device we use to make sense of existences in general, and ours in particular? Wouldn’t it be both tragic and ironical, from that perspective, that we live our lives in a way that remains impervious to our attempts to bring some meaning over our existence, and that first-person narratives should be regarded as fundamentally inadequate to account for life as we live it?
This paper will address these questions in light of the definition of ‘tragic irony’ that Richard Moran draws from his interpretation of Sartre, understanding tragedy as a clash between forms of significance displayed by incompatible perspectives. We will examine in particular the problem raised by first-person narratives, which conflate the seemingly incompatible perspectives of the narrator and of the character of the story. I will argue that Moran’s view fails to show in which sense the failure of first-person narratives are also, according to Sartre, the condition of their success, and that the irony of life might rely first and foremost on its ability to succeed even when and where it fails. After all, isn’t it the most ironical of it all that Sartre, notwithstanding his harsh critique of the fundamental inadequacy of life narratives, ended his literary career with the publication of his most acclaimed autobiography?
Bio:
Pierre-Jean Renaudie is Assistant Professor of philosophy (phenomenology and contemporary German philosophy) at the University of Lyon. He is the author of a book on Husserl’s theory of knowledge (Husserl et les categories. Langage, pensée et perception, Paris, Vrin, 2015), co-edited a book on phenomenology of matter (Phénoménologies de la matière, with C.V. Spaak, Paris, CNRS Editions, 2020) and published many articles, in French and in English, on the phenomenological tradition and its connection with contemporary issues in philosophy of mind. He is a member of the Institut de recherches philosophiques de Lyon (IRPHIL) and an associate member of the Husserl Archives in Paris.
The COVID-19 pandemic is said to be a once-in-a-century incident, and it brought to us a sense of crisis at various levels. What is a crisis, though? Can any unnerving moment or period be called a crisis, or are there different dimensions of a crisis to which we need to be attentive? Is solidarity possible after experiencing a crisis like Covid-19? Can Buddhism make any contribution to facilitating solidarity? This presentation explores the meaning and nature of a crisis and our responses to it by drawing on modern Korean political thinker Pak Ch’iu’s (1909–1949) analysis of crisis and feminist-Buddhist thinker Kim Iryŏp’s (1896–1971) Buddhist philosophy. By doing so, this presentation considers what social, political, existential, and even religious meaning we can draw from our experience of crises, and what questions these insights present to us.
With responses from Karsten Struhl (John Jay College of Criminal Justice, CUNY)
Presented by THE COLUMBIA SOCIETY FOR COMPARATIVE PHILOSOPHY
RSVP is required for dinner. If you would like to participate in our dinner, a $30 fee is required. Please contact Lucilla at lm3335@columbia.edu for further information.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.
We are embarking on an innovative adaptation of J.P. Sartre’s timeless masterpiece, “No Exit.” Infused with elements inspired by Plato’s Dialogues, our play aims to explore the depths of existentialism, dark absurdity, and musical comedy while delving into the realms of speech and movement improvisation.
Through this innovative production, we aim to challenge and provoke audiences, encouraging deep introspection and dialogue about our existence and the choices we make. We believe that the combination of Sartre’s piercing insights and Plato’s philosophical foundations will create a unique theatrical experience that will resonate with both enthusiasts of classic literature and fans of contemporary performance art.