Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work.The voice did not figure as (...) a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object. Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels--the linguistics of the voice, the metaphysics of the voice, the ethics of the voice, the paradoxical relation between the voice and the body, the politics of the voice--and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause. (shrink)

The paper takes as the starting point a dense and notorious quote by Lacan where he takes up in a single gesture three concepts of ancient philosophy, tyche, clinamen and den. The contention is that all three aim at the status of the object, although by different means and in different philosophical contexts, and the paper tries to spell out some crucial points concerning each. Tyche, usually translated as chance and put into an opposition with automaton, requires a reading of (...) some passages of Aristotle’s Physics where Lacan took it from, and an account of the problem of repetition in psychoanalysis. Clinamen, the swerve, stemming from Epicure and Lucretius, requires a condensed reading of the tradition which took it up, from Cicero to Hegel, Marx, Deleuze and Badiou, pinpointing the dilemmas and contradictions of this tradition. Den, stemming from Democritus who coined this neologism, brings up an entity which is neither being nor nothing, neither one nor zero nor multiple. It is perhaps the best evocation, at the dawn of philosophy, of what Lacan would call object a, and it allows to sidestep the difficulties and the pitfalls presented by the other two notions. The paper tries to pin down the minimal requirement for the Lacanian theory with the irreducible and incommensurable (non)relation of ‘minus one’ and den. (shrink)

Članek poskuša ob Machereyevi knjigi pokazati, da je naslovna alternativa slabo zastavljena. Macherey zoperstavlja Heglovo strategijo, temelječo na univerzalnem subjektu, negaciji negacije in teologiji, in Spinozov radikalno anti-teleološki postopek ter ob problemih geometrične metode, atributov in determinacije kot negacije razkriva slepe pege Heglovega branja Spinoze. Avtor pa skuša nasprotno pokazati, da je pri tem podoba Hegla zvedena na nekaj počeznih preprostih formul, da se mora sama analiza Spinoze, kljub upravičeni kritiki Heglovih spregledov, zaplesti v notranja protislovja ter da je naposled (...) najboljša alternativa heglovskim zablodam Hegel sam. (shrink)

Tekst razvija idejo interpasivnosti, novega koncepta, oblikovanega po modelu interaktivnosti in ki pokriva vrsto pojavov, v katerih subjekt delegira svojo pasivnost in užitek na drugo osebo ali stvar. Izhodišče je tekst, ki gaje leta 1874 napisal Villiers de 1'Isle-Adam in ki nemara lahko velja za rojstno mesto te ideje. Ta tekst razvija pojem la claque, in predlaga njegovo razširitev, tako da bi ga pretvorili v mehanični aparat. Pričujoči tekst skuša pokazati, daje ta claque mogoče vzeti za vzorec za delovanje želje (...) in njene inherentne interaktivnosti, medtem ko leži ključ do interpasivnosti v neki dimenziji, ki se inherentno razlikuje od želje in seji zoperstavlja, in ki jo je Freud zakoličil kot nagon. Medtem ko se želja vzdržuje skozi svojo nenehno nezadovoljenost, pa je nagon vselej zadovoljen, subjektu priskrbi užitek, pred katerim ga želja skuša obvarovati. Psihoanalizo je tako mogoče dojeti kot proces, ki vodi od struktur želje k strukturam nagona. (shrink)

Izhajajoč iz dveh slavnih Kantovih tekstov skuša pričujoči spis pokazati na notranjo zvezo med avtonomijo uma in subjektivno svobodo na eni strani ter nujnim pokoravanjem arbitrarni avtoriteti na drugi. V Kantovem načrtu za organizacijo Univerze se ta povezanost kaže kot delitev na zgornje in spodnje fakultete, pri čemer se morajo prve podrejati samovoljnim ukazom zunanje oblasti, druga pa naj se ravna le po načelih uma. Obe plati spadata skupaj v skladu s Kantovim paradoksnim stališčem, da samo omejitev osvobaja, medtem ko (...) bi neposredno sovpadanje obojega privedlo do nevarnosti totalitarizma. Toda ta bistvena zveza med umom in ne-umno arbitrarnostjo naposled meri drugam: subjekt, ki si v svoji radikalni avtonomiji in samoopredelitvi postavlja svoj lastni notranji Zakon, je prav v svojem jedru soočen z radikalno heteronomijo. Moralni Zakon, kategorični imperativ, subjekta šele zares oropa njegove iluzorne avtonomije, konec koncev je še manj umno utemeljen kot njegov objektivni protipol. Od subjekta zahteva nemogoče, ne da se ga zadovoljiti, a prav skozi to nemožnost, skozi to bistveno nezadovoljnost vznikne subjekt razsvetljenstva. Zadnji del skuša pokazati, kako Fou-caultova reaktualizacija kantovske pozicije zatre njene radikalne konsekvence. Foucault zvaja Kantovega subjekta na pred-kantovsko etično držo in tako zgreši tisto zastavitev subjektivnosti, ki je položena v temelje psihoanalize. (shrink)

Michel Foucault (1926-1984) is considered one of the most important thinkers of the second half of the 20th century. In French philosophy, as a companion of structuralism and critical theory, he outlined his own theoretical field. The purpose of the present work is to prepare for the reading of Foucault texts, which are mostly translated into Slovene.

The moment one imitates something, it sticks, it marks the imitator, there is no innocent imitation. Imitation necessarily affects the one who imitates, for better or for worse, and the making of a simple copy of something necessarily affects the original. This is perhaps the briefest way to describe Plato?s concerns about the nature of mimesis in the Republic. The purpose of this paper is to give a brief account of looking at the mysterious magic powers of mimesis and of (...) attempts to counteract them. The topic is massive, so the paper will concentrate on a few perspectives, starting with the theatrical parable of St. Genesius, leading to Pascal and to Althusser?s theory of ideology, then scrutinizing the ways in which modernity tried to disentangle itself from mimesis. What is the real of the mimetic spell which has so vastly ramified aesthetic and political consequences? The paper proposes a defense of mimesis, claiming that modernity, by relegating the traditional art to the past of mimesis and representation, thereby maintained a disavowed kernel of mimesis at its core. nema. (shrink)

The paper pursues the thread of nothing through the work of Samuel Beckett. Beckett started off, in one of his first texts, "Whoroscope", by taking a shot at Descartes and his cogito, but one could read Beckett’s subsequent work as his own elaboration of cogito: the gradual total reduction of all redundancy, the reduction of language and the reduction of the body, his "heroes" becoming reduced to the pure point of enunciation, constantly on the verge of disappearance, but nevertheless persisting. (...) The nothingness towards which this process seemingly drives finally emerges as a loop of the "unnullable least". Hence the double meaning of the title: in Beckett’s universe nothing ever changes, but at the same time it appears that nothing has changed in the process of reduction, so that his work can be read as the strongest antidote to nihilism. (shrink)

Avtor skuša pokazati nezadostnost Althusserjevega pojma interpelacije in zagovarja psihoanalitični koncept subjekta. Ta subjekt vznika natanko tam, kjer interpelacija spodleti in temelji na delu ireduktibilne eksteriornosti v samem jedru konstruirane interiornosti, je ostanek, ki ne more preiti v simbolni red in ki je ne-zamisljiv znotraj althusserjanske perspektive. Avtor ilustrira svoje stališče z več zgledi, ki segajo od melodramatskih zapletov do funkcioniranja transfera v psihoanalizi in od heglovskega pojma duha do »stalinističnega načina subjektivacije«, in zaključuje, da je vsaka ideologija nemožno prizadevanje, (...) da bi se spoprijeli s tem ostankom in da bi združili interiorno in eksteriorno, da pa je njeno pravo gorivo — užitek, ki ga izmikajoče nudi ta ostanek — tudi njena eksplozivna moč. (shrink)

No começo havia Saussure, mais ou menos daí parte nossa história. Para serpreciso, ela começa muito antes – talvez tenha de fato “desde sempre” começado –, maspedimos licença para tomar como nosso ponto de partida provisório essa dóxa de algummodo duvidosa de nossos tempos.O giro saussuriano tem, obviamente, muito a ver com a voz. Se tomarmos, comseriedade, a natureza negativa do signo linguístico, seu valor puramente diferencial eopositivo, então a voz – como o terreno supostamente natural da fala, sua substânciaaparentemente (...) positiva, seu firme substrato – deve ser colocada em questão. A voz deveser descartada com cuidado como fonte de uma blindagem imaginária que tem, até estemomento, impedido a linguística de descobrir as determinações estruturais quepossibilitam a espinhosa transubstanciação da voz em signo linguístico. A voz é oobstáculo do qual teríamos de nos livrar a fim de dar início a uma nova ciência dalinguagem. (shrink)

O SKOPOSTIIn o nekaterih z njo povezanih rečehTema in variacijeKAZALOINTRODUKCIJATEMAPRVA VARIACIJA: Asket in potrošnikDRUGA VARIACIJA: Iztrebki in ljubezenTRETJA VARIACIJA: Obresti in viceČETRTA VARIACIJA: Kuga in fantazmePETA VARIACIJA: Zlato in svinecŠESTA VARIACIJA: Antonio in ShylockSEDMA VARIACIJA: Funt mesa in hčiOSMA VARIACIJA: Milost in užitekDEVETA VARIACIJA: Duša in nadjazDESETA VARIACIJA: Les non-dupes errentENAJSTA VARIACIJA: JewgreekBibliografija.

The paper takes up the problem of tactility, the sense of touch, as a philosophical problem largely neglected by the philosophical tradition. It tries to show how touch immediately raises some basic philosphical concepts, the notion of inner/outer, subject/object, of difference, of the ways to conceive the limit, of appearance/the thing itself, the basic problem of counting (it takes two to touch), etc. It analyses the classical text on touching by Aristotle in De anima, trying to show how the notion (...) of the limit necessarily becomes complicated the moment one tries to grasp it. Then it pits the Aristotelian notion of flesh as the medium of touch against the modern conception of flesh in Merleau-Ponty, arguing that Merleau-Ponty tries to strategically circumvent the notion of the difference, the lack and the cut. Finally it considers the way that Freud, in Totem and Taboo, posits the prohibition on touching as the elementary social injunction instituting the social, thus posing a concept of touch with coincides with the cut in which 'the object touch' emerges. From there it procedes to an account of the analytic situation which is based on the prohibition of touch (as well as severing all other senses) in combination with the injunction to speech, thus establishing a framework for a reinvention of touch in a paradoxical, roundabout way. (shrink)

Teater -- Ime -- Glas -- Komadi -- Slovenske reči -- Vizualno -- Was ist Kunst -- Koda.

In the contemporary world, voices are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. In The Voice as Something More, Martha Feldman and Judith T. Zeitlin tackle these paradoxes with a bold and rigorous collection of essays that look at voice as both object of desire and material object. Using Mladen Dolar’s influential A Voice and Nothing More as a reference point, The Voice as Something More reorients (...) Dolar’s psychoanalytic analysis around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice. Ending with a new essay by Dolar that offers reflections on these vocal aesthetics and paradoxes, this authoritative, multidisciplinary collection, ranging from Europe and the Americas to East Asia, from classics and music to film and literature, will serve as an essential entry point for scholars and students who are thinking toward materiality. (shrink)