Most current readings try to update Hegel's thought by pruning back his grandiose claims to “absolute knowing.” Comay and Ruda invert this deflationary gesture by inflating what seems to be most trivial: the absolute is grasped only in the minutiae of its most mundane appearances. Taking subtitles as their point of departure, the thirty-two contributors to this unique collection consider translation, foreignness, and otherness in film culture. Sylwia Chrostowska describes what happens, in the the 1970 Italian film Investigation of a Citizen Above Suspicion, when a corrupt official investigates himself. For humanity—still needed in the "posthuman" century—is at the core of Freud's theory: "Reading Freud today," Flieger writes, "reminds us of the complications of the Sphinx's riddle, the enigma that Oedipus only thought he solved: the question of what it is to be human. This challenges every cliché about the Hegelian dialectic as a machine of uninterrupted teleological progress. The editors of this volume argue that reading critical theory—understood in the broadest sense, including but not limited to the Frankfurt School—can help designers do what they want to do; can teach wisdom itself; can provoke; and can introduce new ways of seeing.
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." And a “truly obscene” version of the famous “aristocrats” joke has the family offering a short course in Hegelian thought rather than a display of unspeakables.
New essays by Natasha Ginwala's and such transdisciplinary feminist thinkers as Astrida Neimanis and Eva Hayward transcend individual artistic positions and ask questions that lie at the core of TBA21's program. In Is Oedipus Online? Lacan’s writings are notorious for their complexity and idiosyncratic style and An Introductory Dictionary of Lacanian Psychoanalysis will be invaluable for reading in every discipline where his influence is felt.
Žižek's Jokes contains every joke cited, paraphrased, or narrated in Žižek's work in English (including some in unpublished manuscripts), including different versions of the same joke that make different points in different contexts. : „W obronie przegranych spraw” (2009), „Kruchego absolutu” (2009) i „Od tragedii do farsy” (2011). The dialectical movement is, rather, structured by intermittency, interruption, hesitation, blockage, abruption, and random, unpredictable change—a rhythm that displays all the vicissitudes of the Freudian drive. Jokes and humor in avant-garde and contemporary art, as discussed by writers and artists ranging from Freud and Picasso to Andrea Fraser, the Guerilla Girls, and Slavoj Žižek. What the figure of the Sophist represented for Plato, Hamlet has represented for modern philosophers. “A serious and good philosophical work could be written consisting entirely of jokes.”—Ludwig Wittgenstein. Though the encounter with psychoanalysis deeply marked Deleuze's work, we are yet to have a critical account of the very different postures he adopted toward psychoanalysis, and especially Lacanian theory, throughout his career.
It generates nonsequiturs and produces explanations. The Dash is organized around a pair of seemingly innocuous details. Restoring Nietzsche to a Nietzschean context—examining the definitive element that animates his work. Žižek has long been interested in the emancipatory potential offered by Christian theology. It interrupts and prolongs. Lacanian psychoanalysis considers fantasy to be an indispensable “screen” for our interaction with the outside world; Nusselder argues that, at the mental level, computer screens and other human-computer interfaces incorporate this function of fantasy: they mediate the real and the virtual. Looking back at the century from this vantage point, Parvulescu revisits four of its most challenging projects: modernism, the philosophical avant-gardes, feminism, and cinema. In The Shortest Shadow, Alenka Zupančič counters the currently fashionable appropriation of Nietzsche as a philosopher who was "ahead of his time" but whose time has finally come—the rather patronizing reduction of his often extraordinary statements to mere opinions that we can "share." The essays, interviews, and visuals include a collaboration by Russell Banks and Atom Egoyan, which uses quotations from Banks's novel The Sweet Hereafter as subtitles for publicity stills from Egoyan's film of the book; three early film reviews by Jorge Luis Borges; an interview with filmmaker Claire Denis about a scene in her film Friday Night that should not have been subtitled; and Eric Cazdyn's reading of the running subtitles on CNN's post-9/11 newscasts as a representation of new global realities. Novelist Camilla Gibb portrays, in "Things Collapse," the terrifying effects of a "separating sickness" of unknown origin, which perhaps exists only in the fears of the population it strikes. She has published writings on such contemporary artists as Ricky Swallow, Magnus Von Plessen, and David Noonan. She sets out to uncover an archive of laughter, inviting us to follow its rhythms and listen to its tones.
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