Abstract

ABSTRACT This paper argues for the contemporary relevance of melancholy as something different than depression or a state of mental illness. Instead, through examples of a literary, philosophical, and artistic nature, it is shown that melancholy functions as a force-field – a topos where the finite and the infinite, the earthly and the heavenly, the physical and the spiritual come together and meet in huge tension. By means of an exploration of the historical notion of melancholy and a revisit of Dürer’s Melencolia I (1514), coupled to a much more recent example, Lars von Trier’s film melancholia (DK/se/fr/de 2011), this paper shows how the melancholic motif continues to play an essential role in our contemporary society. The melancholic is described as a person who lives a life on the border: who intuits the point where two worlds meet and who longs for a revelation of the beyond – an apocalypse (literally: ‘an uncovering’). It is this longing – a nostalgia for being – that increasingly pervades our contemporary world, a world that represses the heterogeneous through numerous social and political conditions. The study of melancholy here undertaken therefore provides a valuable contribution to the understanding of melancholy in our (post-) modern time.