If it is characteristic of obsessional neurosis that an object can be an object of desire only insofar as it is impossible object, this impossibility is also traced at the basis of any desire. The obsessional however specializes in setting things up "so that the object of his desire becomes the signifier of this impossibility". By aiming at or erasing the desire of the other, the obsessional depreciates his own desire. Žižek provides us with a rather classic version of this (...) when describing the place of Gustave Courbet’s L’Origine du Monde in the history of modernity. This paper considers Žižek’s reading alongside a painting by Chilean artist Juan Davila, which I shall argue presents a quite different approach to the writing of modernity: one that is not based on an erasure of feminine jouissance. (shrink)

In _The Preparation of the Novel_, a collection of lectures delivered at a defining moment in Roland Barthes's career, the critic spoke of his struggle to discover a different way of writing and a new approach to life. _The Neutral_ preceded this work, containing Barthes's challenge to the classic oppositions of Western thought and his effort to establish new pathways of meaning. _How to Live Together_ predates both of these achievements, a series of lectures exploring solitude and the degree of (...) contact necessary for individuals to exist and create at their own pace. A distinct project that sets the tone for his subsequent lectures, _How to Live Together_ is a key introduction to Barthes's pedagogical methods and critical worldview. In this work, Barthes focuses on the concept of "idiorrhythmy," a productive form of living together in which one recognizes and respects the individual rhythms of the other. He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Émile Zola's _Pot-Bouille_, set in a Parisian apartment building; Thomas Mann's _The Magic Mountain_, which takes place in a sanatorium; André Gide's _La Séquestrée de Poitiers_, based on the true story of a woman confined to her bedroom; Daniel Defoe's _Robinson Crusoe_, about a castaway on a remote island; and Pallidius's _Lausiac History_, detailing the ascetic lives of the desert fathers. As with his previous lecture books, _How to Live Together_ exemplifies Barthes's singular approach to teaching, in which he invites his audience to investigate with him -- or for him -- and wholly incorporates his listeners into his discoveries. Rich with playful observations and suggestive prose, _How to Live Together_ orients English-speaking readers to the full power of Barthes's intellectual adventures. (shrink)

This article argues for a definition of translation as a form of writing under constraint. Quite straightforwardly, the translator must write the original text again in a language other than the one in which it was originally composed. Both inhibiting and enabling, that restriction is also translation's resource, ensuring its distinctiveness as a writing practice and providing the key to its unique transformative possibilities. Like lipogrammatical writing, translation is inaugurated by its constraint. The article explores the affinity between translation and (...) the lipogram with reference to Georges Perec's La Disparition, where the prohibition of the letter e initiates a peculiarly inventive kind of writing. Peculiarly inventive, because the effects generated by writing without a given letter of the alphabet, or by writing a given text again in another, altogether different, language, are essentially unprogrammable: we do not know what is going to happen. (shrink)

Introduction to Kant's Anthropology From a Pragmatic Point of View Michel Foucaulttranslated and with an introduction by Arianna BoveThis introduction and commentary to Kant's least discussed work, Anthropology from a Pragmatic Point of View, is the dissertation that Michel Foucault presented in 1961 as his doctoral thesis. It has remained unpublished, in any language, until now. In his exegesis and critical interpretation of Kant's Anthropology, Foucault raises the question of the relation between psychology and anthropology, and how they are affected (...) by time. Though a Kantian "critique of the anthropological slumber," Foucault warns against the dangers of treating psychology as a new metaphysics, explores the possibilities of studying man empirically, and reflects on the nature of time, art and technique, self-perception, and language. Extending Kant's suggestion that any empirical knowledge of man is inextricably tied up with language, Foucault asserts that man is a world citizen insofar as he speaks. For both Kant and Foucault, anthropology concerns not the human animal or self-consciousness but, rather, involves the questioning of the limits of human knowledge and concrete existence. This long-unknown text is a valuable contribution not only to a scholarly appreciation of Kant's work but as the first outline of what would later become Foucault's own frame of reference within the history of philosophy. It is thus a definitive statement of Foucault's relation to Kant as well as Foucault's relation to the critical tradition of philosophy. By going to the heart of the debate on structuralist anthropology and the status of the human sciences in relation to finitude, Foucault also creates something of a prologue to his foundational The Order of Things.Michel Foucault is widely considered to be one of the most important academic voices of the twentieth century and has proven influential across disciplines. (shrink)