Although the desire to be free from God springs from humanity’s wish to enjoy pleasure without restraint, Lacan observes that humans remain neurotic and unhappy. That is because the prevailing “dead of God” form of atheism relies on the denial of a father/god, a negation that inadvertently replicates the logic of religion. Lacan, by contrast, grounds his atheism in a theory of pleasure that recognizes the role of “unpleasure” in breaking the tedium of easy, unlimited gratification. Turning to Greek tragedy, (...) Lacan shows how the ancient world used the gods as creators of “unpleasure” to generate human _jouissance_. The figure of Antigone, in particular, shows how the divine function can fulfill “the true formula of atheism,” which is not “God is dead,” but rather, Lacan affirms, that “_God is unconscious_.”. (shrink)

Pairing together the Coen brothers film A Serious Man with the philosophy of Friedrich Nietzsche, this paper looks at questions about morality, illusion, and the influence of Jewish thought on contemporary ethics. Beginning with a reading of Nietzsche that locates his discussion of the Jews within its properhistorical context, it traces the beginnings of the “morality meme,” the notion of a universal moral reward that, Nietzsche argues, arises during the Deuteronomistperiod of Jewish history. The second part of the paper looks (...) at how A Serious Man also engages in an interrogation of this moralistic overcoding of the universe, with a particular emphasis on how these questions upset Larry Gopnik’s views of both science and religion. The essay then concludes with a look at the poisonous effects of the “morality meme,” showing in particular how it has influenced the psychology of anti-Semitism. Rather than a rejection of Jewishness, the paper concludes that in A Serious Man the Coen brothers engage in a careful but loving criticism of their own culture that requires them to distance themselves from the problematic effects of its religious morality. (shrink)