This study critically examines the intense scholarly interest in violence of recent decades. Consequently, the thesis' main objective is to is to answer two questions in particular: why violence? and why now? 

First and foremost, this objective is pursued through three separate but interrelated studies. Prior to these, the thesis sets out to affirm the importance of Marquis de Sade and Michel Foucault in thinking violence. First, it is in the literary works of the Marquis de Sade, rather than in Machiavelli or Hobbes, that we find the first traces of a conceptual understanding of violence. Second, drawing on de Sade, it is Foucault who provides the fertile ground from which the field of contemporary violence studies basically springs – in spite of the fact that he himself never devoted any special studies to violence, nor actually developed a specific concept of violence. 

Part 1, “Literature”, provides a brief overview of the contemporary study of violence as well as a discussion of two thoroughly influential texts in the field: Hannah Arendt’s On Violence (1970) and Giorgio Agamben’s “On the Limits of Violence” (1970). This part surveys the questions of violence specifically posed within the field, with the further purpose of identifying and dissecting common tropes and recurring arguments important to its formation. I make the claim that two notions in particular are utilized to construct violence as a new field of knowledge: the notion of technology and the notion of history. 

Part 2, “Experience”, consists of a historical interlude in which one of the objectives is to put the hypothesis of the presumably transhistorical and immutable nature of human violence to the test. This is achieved by a close reading of the philosophical texts of Plato as well as the histories of Herodotus and Thucydides. In this part I argue that, in a strict sense, there is no true concept of violence as such in classical Greek antiquity. Instead, we find a multiplicity of embryonic “pre-concepts” that, unlike the various concepts of today, are thought entirely on the basis of relations, rather than on the basis of the objects of violence. The question of violence in classical Greece is, in short, approached in terms of who? rather than what? – pointing toward a promising possibility still open for exploration today. 

Part 3, “Concepts”, returns to the European discussions of the 1960s and 1970s investigated in part 1, but rather than examining the questions of immediate concern in the respective texts of the period, I approach today’s heightened interest in violence in light of a set of overarching problems, such as the risk of atomic annihilation, political unrest, the fear of propaganda, and brain washing. By way of these problems, I show that, running counter to the philosophical sources on which it draws, the contemporary concept of violence achieves a surreptitious re- institution of the substantial and autonomous subject otherwise believed to be dead. 

In conclusion, the paradoxical function of the contemporary concept of violence is thus to allow for the return of the kind of subject relentlessly attacked by the radical European thought of the 1960s and 1970s, the same thought which allowed for the invention of the concept in the first place. In this sense our age, in which, it would appear, “everything is violence”, is also an age where a kind of “bia-centrism” provides us, paradoxically, with the last conceptual stronghold for substantial subjects and stable identities. 

Caves, images, and symbols are recurring topics in the work of Mats Rosengren, from his reading of Plato in his dissertation Psychagōgia – Konsten att leda själar, to his investigation of the world of paleolithic cave art in Cave Art, Perception and Knowledge.

While other philosophers might have descended into the cave with the aim of guiding visitors back up into the blinding light of eternal truths, Rosengren seems to be at home in the underworld. Instead of dismissing the paintings that adorn its walls as merely shadowy copies or distorted images, or claiming that the truth of these pictures is readily available to us, Mats Rosengren invites any traveler joining him to understand them as different forms of sensemaking, forms which at first might appear foreign, but that, upon closer inspection, reveal themselves in all their complexity.

In this volume, the contributors take on some of the key themes found in Rosengren’s work, mirroring the stylistic, generic, and topical range that characterizes it. The volume is titled “Shadows in the Cave”, signaling a focus not on eternal truth, but – alluding to Plato – on the shadowplay of our human caves.