The paper is focused on Genesis 1 – 3 where the primordial man [adàm] is created ‎and he was given the proper name Adam [adàm]. ‎ In Hebrew man and Adam are the same word, spelled the same way – [adàm]. ‎Different translations of Genesis 1-3 use for the first time the proper name Adam in ‎different places versions Gen 2:25; The German Luther ‎Bible Gen 3:8; Some English Protestant versions Gen 3:17; Bulgarian Protestant and many ‎English Protestant versions Gen (...) 3:20-21). The paper decodes the phenomenon by ‎studying the Hebrew original and several semiotic views on common and proper names ‎‎. Through these opinions the ‎important question “Who wrote the Bible?” is discussed. The analysis interfaces the new ‎linguistic relativity theory.‎ Four layers of symbolism are decoded: 1. The man became Adam; 2. The two men in ‎Gen 1:27 and in Gen 2:7 man [adàm] ‎is made by earth, ground [adamà]; 3. The two men in the New Testament ; 4. Edom, Adam and cultural discourses in both Testaments.‎. (shrink)

This thesis offers a comparison of documentary case studies to explore how moments from reality are recorded and how future representations of them can offer or instigate a parallax to create a new or different way of understanding the occurrence of such moments and how they have been remembered. I postulate that this shift in perspective offers an interaction with reality through a reconfiguration of the Real of these moments. The study will consider this assertion in relation to Žižek’s and (...) Baudrillard’s reflections on the Real as being an excessive moment unable to be assimilated and the veiled encapsulation of what lies beyond the Image-Event. After exploring the use of images from reality, my thesis will go on to consider the processes of recollecting and communicating past occurrences to highlight the potential that documenting and revisiting past memories – re-collecting them – can actively impact and evolve the trajectory of personal histories. Utilising LaCapra’s notion of the working through traumatic memories enables my investigation to plot a course which considers the memory narratives of my case studies as subject to a, ‘continual process of retranslation’ and, as such, explores the subjectivity of the Real of occurrences. (shrink)

Following a series of textual gestures which suggest that Schelling is the culmination of the German Idealist tradition, this essay is an attempt to articulate the ambiguity of the Hegel-Schelling relationship in Slavoj Žižek's work and its productive potential. Characterizing his own dialectical materialism again and again as Hegelian, but never a Schellingian project, Žižek often belies the central role played by late Schelling of the Freiheitsschrift and the Weltalter in the self-unfolding logic of the tradition. But why is there (...) such an oscillation? Describing the Grundlogik of German Idealism as the radical ontological incompletion of reality announced by the abyss of freedom of the Kantian subject, Žižek's own philosophy suggests that neither Hegel nor Schelling were able of themselves to fully articulate the consequences of the deadlock of freedom. Yet, what I argue is that it is only by an implicit retroactive reconstruction of the inner logic of post-Kantian philosophy, an aprés-coup unearthing of philosophical possibilities hidden within these two thinkers made possible by psychoanalysis, that Žižek is able to present his reading of the radical nature of subjectivity in German Idealism. By unpacking this latent reconstruction I will not only demonstrate the consistency and comprehensiveness that a Žižekian reading of the history of German Idealism can display but also the complex intertwining of Schellingian ontology and Hegelian logic at the core of Žižek's own parallax ontology. (shrink)

The chapter discusses Quentin Meillassoux's recent interpretation and critique of Heidegger's philosophical position, which he describes as "strong correlationism." It emphasizes the fact that Meillassoux situates Heidegger in the post-Kantian tradition of transcendental idealism that he defines in terms of a focus on the correlation between being and thinking. It is argued that Meillassoux's "speculative" attempt to overcome the Kantian philosophical framework in the name of absolute contingency should be understood as a further development and dialectical overcoming of its ultimate (...) contemporary form, the Heideggerian philosophy of finitude. (shrink)

Four concepts of politics follow from an attempt to view the established order, its structural workings: actions and inactions, as more or less authentic politics by starting from Slavoj Žižek’s theory of authentic Political Act. In short Žižek’s theory is viewed from a slightly different angle in an attempt to approach more general theory of politics. When analysing political antagonisms, Žižek has suggested looking for the third term. Viewing an antagonism from both of its viewpoints suggest, however, that instead of (...) one position more, two conceptual positions more may be formulated. These two positions are proposed to be viewed as acts of both corresponding sides. What is called ‘Politics of revolution’ in the proposed schema suggests ‘prefer not to politics’ and what is called ‘Politics of maintenance’ suggests ‘prefer to politics’. Furthermore, a proposal to conceptually divide the politics of the established order in two is made in order to clarify the relation of found objects to their origins. Thus two respective conservatisms are identified: conservatism of ‘relics old particular all’ and conservatism of ‘relics of objects which might have saved the world’. In this context any re-Acts of these relics would fit the category of ‘Politics of maintenance’ and repressing these relics would fit the category of active maintenance through ‘prefer to politics’. Another conclusion is that in analysing the political antagonism of two, one could look for, not only for the third but for the fourth term as well. (shrink)

¿Cómo es posible encontrar una constante en una obra que tiene en la ruptura su principal argumento? Una primera línea se puede percibir en el trabajo de Žižek sobre una política del goce cuya trayectoria circula desde el deseo a la pulsión. Desde una investigación muy orientada en el problema del sujeto, en el carácter sintomático del mismo, Žižek se ha desplazado hacia un análisis de la relación entre el objeto a y la pulsión en el marco del capitalismo actual. (...) En conexión con esta problemática se encuentra una segunda línea que tiene como punto central el trabajo crítico sobre las relaciones entre economía y política; frente al desafío que supone hoy en día la circulación espontánea del capital y el abandono del ámbito económico por parte de la teoría política. Por un lado nos encontramos con los dos sentidos del término escatología, el económico y el teológico-político, que convergen en la noción de exceso, sea de la pulsión o sea del objeto a. Al mismo tiempo, Žižek considera que no es posible traducir la atención sobre el exceso capitalista y su propia revolución inmanente en términos de dominación política.Ambas secuencias se encuentran, en definitiva, íntimamente vinculadas en la crítica de la economía política del discurso que Žižek lleva a cabo. La introducción del término paralaje puede servir como alternativa para entender la oscilación permanente que se produce en su obra entre síntoma y escatología. Una opción para leer a Žižek en función de sus incesantes desplazamientos, comenzando por el más fundamental: la paralaje entre lectura y escritura. (shrink)

In answering the question “who is the subject of music,” we argue that it is a subject of excess and emergence, and we rely on the definition and development of these terms by Žižek and Björk. Such a subject is movement and activity; it exceeds the experiences, objects, others and symbolic order that make it who it is; and it emerges through desire and drive, and resonance and animation. We open with a brief discussion of Žižek’s subject of excess, which (...) we then relate to his approach to subjectivity in music. After an analysis of Björk’s music, centered on the piece “Black Lake” and from a perspective informed by Žižek’s account of subjectivity, we shift our attention to Björk’s thoughts on music in order to find elements that allow for the development of a subject of emergence. While the elements of excess and emergence are present in both accounts of the subject, Žižek’s and Björk’s respective focus on one of these concepts allow us to develop a fuller picture of subjectivity, particularly but not exclusively as it is engaged with in musical activities. (shrink)

Even though Slavoj Žižek has written many words about music without really saying much about it, his work nevertheless contains much that for the philosophically minded musicologist, or for the musically minded philosopher, can stimulate thinking. For the author of this article, for example, some of the ideas presented in Žižek’s 2006 The Parallax View have stimulated thinking about the possibilities of taking a comparable approach—that is, a metaphorically ‘parallax’ approach that involves considering an object of attention alternately from more (...) than one perspective—not just to music but to sounds in general. Along with summarizing Žižek’s views on music per se, “Focused Listening: The Aesthetics of Parallax” explores various ways in which persons in the presence of a single ‘sound object’ might listen to, and thus perceive and hear, that sonic phenomenon. (shrink)