The thought of the psychoanalytical thinker, Jacques Lacan, is examined in this paper with a view to ascertaining the place and function of the so-called imaginary in it, the symbolic as well as the 'real'. The extent to which the imaginary or realm of images is construed by Lacan as being the order of identification and a (spurious) sense of unity of the ego or self, is contrasted with the symbolic (or linguistic) order as that of the subject and of (...) desire, in fact, of the subject of desire. The place and meaning of the enigmatic third register in Lacan's thought, namely the 'real', is also addressed in relation to the question of desire. Furthermore, the question is raised, where philosophy in its traditional sense belongs – to the Lacanian register of the imaginary or to that of the symbolic. S. Afr. J. Philos. Vol.23(1) 2004: 1–19. (shrink)

Joan Copjec has shown that modernity is privy to a notion of immortality all its own – one that differs fundamentally from any counterpart entertained in Greek antiquity or the Christian Middle Ages. She points to Blumenberg and Lefort as thinkers who have construed this concept in its modern guise in different ways, and ultimately opts for Lefort's paradoxical understanding of immortality as the ‘transcending of time, within time' before elaborating on a corresponding notion in Lacan's work. It can be (...) shown that Nietzsche, too, provides a distinctly modern conception of ‘immortality', articulated in relation to his notions of affirmation, singularity and eternal recurrence. In brief, this amounts to his claim that, to affirm even one single part or event in one's life entails affirming it in its entirety, and, in so doing – given the interconnectedness of events – affirming all that has ever existed. Moreover, once anything has existed, it is in a certain sense, for Nietzsche, necessary despite its temporal singularity. Therefore, to be able to rise to the task of affirming certain actions or experiences in one's own life, bestows on it not merely this kind of necessary singularity, but what he thought of as ‘eternal recurrence' – the (ethical) affirmation of the desire to embrace one's own, and together with it, all of existence ‘eternally', over and over. This, it is argued, may be understood as Nietzsche's distinctive contribution to a specifically modern notion of immortality: the ability of an individual to live in such a way that his or her singular ‘place' in society is ensured, necessarily there, even after his or her death. South African Journal of Philosophy Vol. 26 (1) 2007: pp. 70-84. (shrink)

This article focuses in a comparative manner on the thought of Merleau-Ponty and Lyotard with a view to lending sup port to Busch's claim, that 'existentialism' preceded poststructuralism and postmodernism as far as criticism of certain features of modern philosophy are concerned. Attention is first given to Lyotard's critique of artificial intelligence, especially in so far as it displays a dependence on and development of insights on the part of Merleau-Ponty's phenomenological-existential understanding of human embodiment and the specificity of human (...) perception. The focus then shifts to Merleau-Ponty in order to demonstrate the remarkable extent to which his understanding of human embodiment and related issues such as perception and creativity, paved the way for the work of, among others, Lyotard, and anticipated the critique of artificial intelligence on the part of the latter. S. Afr. J. Philos. Vol.21(1) 2002: 45-62. (shrink)

This paper addresses the question of evil from an ethical and discourse-analytical perspective, taking Joan Copjec's commentary on Kant's notion of ‘radical evil' and its relation to human freedom as its point of departure. Specifically, Copjec's argument, that for Kant (and, one may add, for Lacan) the subject is always ‘in excess of itself', provides an important foil for, or corrective to what may seem to be the upshot of Foucault's notion of discourse (its heuristic value notwithstanding). The latter entails (...) that, insofar as the subject is ineluctably discursively constructed, its actions could be understood as being ‘determined' by the discursive structure of (its) subjectivity. That is, the subject as agent may seem to lack volitional freedom in the sense that it is merely an instrument of a certain discourse by which it is ‘spoken'. However, Kant's idea of ‘radical evil', it is further argued, presupposes that the subject is free, in other words, that it always exceeds itself. In Foucault's terms, this would mean that the subject of discourse is able to adopt a counter-discursive position – something Foucault sometimes seems to make room for. What Kant calls ‘radical evil' may be understood as something that occurs in the world through human agency, in the face of the possibility of an alternative course of action; that is, it is chosen – even if we only know this in retrospect through the phenomenon of guilt. If, in contrast, it is understood as being ‘diabolical' in the sense of being unavoidably and irresistibly part and parcel of human ‘nature', no one could condemn it in moral terms. This line of thinking is fleshed out, or given concrete significance by means of a discourse-analysis of documents pertaining to the so-called ‘ripper-rapist' (criminal) case in Port Elizabeth, South Africa, in the mid-1990s. S. Afr. J. Philos. Vol.22(4) 2003: 328-347. (shrink)

The present paper is an investigation into the links between Gadamer's conception of the mode of being of art in terms of 'play', and related models in the thought of some of his philosophical precursors, notably Kant and Heidegger. Due attention is given to the shift, in Gadamer's work, to a less subject-oriented approach to art, compared to those of Kant and Schiller, and the extent to which his own views were shaped by Heidegger's move away from subjectivism is emphasized. (...) The place of the concept of 'tradition' in Gadamer's work is also examined with a view to casting light on his own appropriation of the (art-)philosophical tradition. Lastly, an interpretation of a specific instance of innovative art practice (the multi- installation, Body II – Sublimation, which was exhibited at this year's KKNK at Oudtshoorn, South Africa) is attempted in light of what the investigation into 'art as play' and the role of tradition has yielded. S. Afr. J. Philos. Vol.21(4) 2002: 242-257. (shrink)

The philosophical essays collected here are predicated on the conviction that we live in a time when all-encompassing philosophical systems can no longer be seriously entertained as a true reflection of extant reality. Instead, an indefinite number of perspectives on - or discursive appropriations of - what is thought of as 'reality' are possible. Sometimes they diverge and sometimes they intersect in surprising ways, as these essays show. While the belief in an all-inclusive philosophical system is rejected, the author shows (...) that every perspective displays a coherence and illuminating power of its own.<BR> The collection is divided into two parts. The first considers philosophy, the individual and society, covering themes including the deleterious effects of capitalism on natural ecosystems, the modern conception of 'immortality' in Nietzsche's thought, Lacan's provocative interpretation of capitalist discourse, the current status of the humanities in universities, individual autonomy, the meaning of 'identification', global 'terrorism', and Plato's philosophical self-subversion. The second part gathers together perspectives on the arts and society, with the author arguing that reflections on cinema, architecture and music never isolate these arts from social concerns, but demonstrate their interconnectedness. (shrink)

This paper addresses the question regarding the relation between capitalism and nature, on the one hand, and that of the continued existence of life, including humankind, on earth in light of the disturbing evidence that has emerged since the early 1970s, concerning massive environmental degradation, on the other. It is argued that the evidence of such destruction is there for every one to see; what is less obvious – in fact, mostly ignored or denied – is the connection between capital (...) as a process which either grows, or dies, and the devastating effect of such uncontrollable growth on geo-ecology (where a distinction is made between ecology and environment in terms of the relations of interdependence by which the former is characterised). Ironically, as far back as 1972 the ‘Club of Rome' warned against the dangers of ‘unlimited growth'. The paper draws substantially, but not exclusively, on the work of Joel Kovel, who argues in favour of what he terms eco-socialism as the best kind of alternative to capitalism. Needless to say, this entails an understanding of the latter, in an encompassing sense as a state of being, instead of in a narrow economistic sense. It also requires that one should distinguish clearly between a mechanistic conception of nature (the Cartesian) that seems to legitimize its exploitation for human use and eventual degradation, on the one hand, and another (Kantian) conception which makes room for the inscrutability of a natural purposiveness that transcends human cognition. S. Afr. J. Philos. Vol.24(2) 2005: 121-136. (shrink)

The essays assembled in this volume focus on philosophical questions regarding various aspects of communication.

The essays brought together in this volume are written from the dual perspectives of philosophy and psychoanalytic theory.

This collection of philosophical essays addresses important issues in the arts, encompassing painting, sculpture, photography, film and architecture.

The present paper is a reading of Jean-Pierre Jeunet’s recent film, A Very Long Engagement, mainly through the lenses of Jacques Lacan’s psychoanalytical theory of the human subject—particularly his notion of the subject’s desire, which constitutes every human subject as a singular being. Moreover, for Lacan the subject faces the task of taking up his or her desire as a prerequisite for truly ethical action. The character of Mathilde in Jeunet’s film, it is argued, may be seen as being paradigmatic (...) in this respect, insofar as she acts in accordance with her desire. This is demonstrated with reference to the narrative structure of Jeunet’s film. (shrink)

Is there a significant difference between Plato's texts and what is known as 'Platonism', that is, the philosophical tradition that claims Plato as its progenitor? Focusing on the Symposium, an attempt is made here to show that, far from merely fitting neatly into the categories of Platonism—with its neat distinction between the super-sensible and the sensible—Plato's own text is a complex, tension-filled terrain of countervailing forces. In the Symposium this tension obtains between the perceptive insights, on the one hand, into (...) the nature of love and beauty, as well as the bond between them, and the metaphysical leap, on the other hand, from the experiential world to a supposedly accessible, but by definition super-sensible, experience-transcending realm. It is argued that, instead of being content with the philosophical illumination of the ambivalent human condition—something consummately achieved by mytho-poetic and quasi-phenomenohgical means—Plato turns to a putatively attainable, transcendent source of metaphysical reassurance which, moreover, displays all the trappings of an ideological construct. This is demonstrated by mapping Plato's lover's vision of 'absolute beauty' on to what Jacques Lacan has characterized as the unconscious structural quasi-condition of all religious and ideological illusion. (shrink)

Steven Spielberg’s AI – Artificial Intelligence, and Alex Proyas’s neo-noir, I, Robot, may both be understood as attempts to answer the question: ‘What conditions doesartificial intelligence research have to satisfy before it can justly claim to have producedsomething which truly simulates a human being?’1I would like to show that, farfrom construing this question simply in terms of intelligence, the films in questiondemonstrate that far more than this is at stake, and each articulates the ‘more’ in different,but related, terms. Moreover, contrary (...) to what viewers may suspect, neither film claimsthat the achievement of this goal is actualisable; rather, it posits a goal for artificialintelligence research by which it could measure its progress.2. (shrink)