This article focuses on the concept of the secret in Deleuze and Guattari's philosophy, with specific attention to the related concepts of becoming-woman and literature. It contrasts Deleuze and Guattari's immanent mode of reading with oedipal theories of the text and hermeneutics. Whereas Deleuze and Guattari argue for the positivity of the secret, where there is content that is not disclosed and that therefore creates lines of perception and interpretation, the oedipal mode of reading regards the secret as a (negative) (...) effect of reading. (shrink)

Just as becoming-woman is a divided concept, looking back to a seemingly redemptive figure of the feminine beyond rigid being, but also forward to a positive annihilation of fixed genders, so modernism was also a doubled movement. But modernism was a pulverisation of ‘the’ subject for the sake of a plural and multiplying point of view, and like ‘becoming-woman’, should be read as a defiant and affirmative refusal.

Antigone fascinates G. W. F. Hegel and Luce Irigaray, both of whom turn to her in their explorations and articulations of ethics. Hegel and Irigaray make these re-turns to Antigone through the double and related lenses of nature and sexual difference. This essay investigates these figures of Antigone and the accompanying ethical accounts of nature and sexual difference as a way of examining Irigaray's complex relation to and creative uses of Hegel's thought.

In Part One of Religion within the Bounds of Bare Reason, Kant repeatedly refers to a “proof” that human nature has a necessary and universal “evil propensity,” but he provides only obscure hints at its location. Interpreters have failed to identify such an argument in Part One. After examining relevant passages, summarizing recent attempts to reconstruct the argument, and explaining why these do not meet Kant's stated needs, I argue that the elusive proof must have a transcendental form (called quasi‐transcendental (...) because Kant never uses “transcendental” in Religion). With deceptive simplicity, the section titles of Part One, viewed as components in an architechtonic system of religion, constitute steps in just such a proof. (shrink)

In order to avoid the reduction of desire to demand and to produce a theory in keeping with the insights of psychoanalysis, Lacan had to move beyond Hegel’s theorization based on recognition. To do so, Lacan had to come up with a new form of object, an object irreducible to the signifier but with the power to arouse the desire of the subject. The theorization of the objet a enables Lacan to make an important advance on Hegel’s theory of desire, (...) an advance that effectively reverses the priority that Hegel establishes between the object and the Other. Despite the widespread association of Lacan with the signifier and its laws, his one great theoretical breakthrough concerns what remains absolutely irreducible to signification. My central contention in this essay is that Lacan’s theory of desire allows us to understand how singularity appears in the cinema, despite the medium’s inherent resistance to it. I examine this appearance of singularity through two filmic occasions—Sergei Eisenstein’s Battleship Potemkin and Michael Mann’s Heat. It is a medium in which recognition predominates, and yet the singularity of the objet a nonetheless emerges and animates the desire of the spectator. (shrink)

This article examines William Rothman’s recent essay on Vertigo , ‘Scottie’s Dream, Judy’s Plan, Madeleine’s Revenge’, and particularly his suggestion that in a crucial scene towards the end of the film the character Judy deliberately puts on jewellery in order that Scottie becomes aware that she was the actress who played Madeleine. We look at why Rothman was previously unable to see this in the film, why Judy is unable directly to tell Scottie and why for Rothman a deep truth (...) of the film is this inability of Judy to tell Scottie. In order to address these issues, this article looks at art historian Michael Fried’s notion of “absorption”, and particularly that interpretation of it offered by Lacanian cultural theorist Joan Copjec in ‘The Invention of Crying and the Antitheatrics of the Act’ in her collection Imagine There’s No Woman: Ethics and Sublimation. (shrink)

This essay performs a comparative reading of the themes of language, otherness and subjectivity in the work of Emmanuel Levinas and Jacques Lacan. Their focuses on the place and role of an ethical subjectivity who is profoundly affected and displaced by the (non)presence of the absolute Other provide apt philosophical material for comparison and contrast. Through a close analysis of the important philosophical and psychoanalytic themes in Levinas’ early work Totality and Infinity and Lacan’s Seminar VII: The Ethics of Psychoanalysis, (...) I demonstrate how the different articulations of alterity in both influence their separate conceptions of the possibility of ethics in relation to decentered notions of subjectivity. In reading both, I argue that Lacan’s treatment of otherness and the eccentric nature of language provides a reimaging of certain gaps in Levinas. In return, I position Levinas as being able to provide a notion of ethical community that Lacan leaves out. (shrink)

A concepção lacaniana de sujeito cindido e descentrado e suas consequências, implicada à linguagem e ao discurso, subverteu radicalmente significativa parte do campo de estudos concernentes à discursividade. Podemos inscrever a destacada Teoria do Discurso de Ernesto Laclau como um aprofundamento dessa subversão lacaniana, incorporada a uma abrangente investigação dos processos sociopolíticos e identitários. No presente artigo, promovemos uma analítica das implicações teóricas do dispositivo psicanalítico presentes em sua Teoria do Discurso a partir de três direções: (A) os pressupostos de (...) ‘irredutibilidade do sentido’ e a ‘lógica do significante’ como ponto de partida; (B) e a implicação da categoria ‘sujeito cindido e descentrado’ impostos a fundamentação do campo do discurso ‘para além das áreas da fala ou da escrita’; (C) O terceiro eixo, o mais explorado, articulamos a relação teórica entre ‘discurso, campo pulsional e o gozo (la juissance)’, repensado por Laclau nos limites e consequências do político. Por fim, propomos algumas formalizações como forma de demonstrar o jogo teórico explicitado. (shrink)

This paper critically evaluates the ways we look to children to educate us and explores how we might depart from that dynamic, exploring how a range of conceptual frameworks from historical and cultural studies and psychoanalysis might contribute to understanding the problematic of childhood, its problems and its limitations. While ‘child as educator’ may appear to reverse the typical power relations between adults and children, it is argued that this motif in fact repeats many of the same problems as any (...) claims about what children, and especially what ‘child’, is like. Specifically, the paper first reviews analyses of what is at stake in the figure of ‘child’; second, feminist engagement with the notion of ‘intersectionality’ is discussed in terms of how it might inform debates about childhood. Finally, drawing on Lacanian psychoanalytic approaches, analysis focuses on the notion of misrecognition structured in the ‘as’ connecting ‘child’ and ‘educator’. (shrink)

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)