By Mladen Dolar
Plutarch tells the tale of a guy who plucked a nightingale and discovering yet little to devour exclaimed: "You are only a voice and not anything more." Plucking the feathers of which means that conceal the voice, dismantling the physique from which the voice turns out to emanate, resisting the Sirens' track of fascination with the voice, focusing on "the voice and not anything more": this is often the tricky activity that thinker Mladen Dolar relentlessly pursues during this seminal work.The voice didn't determine as an important philosophical subject till the Sixties, while Derrida and Lacan individually proposed it as a important theoretical main issue. In A Voice and not anything extra Dolar is going past Derrida's proposal of "phonocentrism" and revives and develops Lacan's declare that the voice is among the paramount embodiments of the psychoanalytic item (objet a). Dolar proposes that, except the 2 usually understood makes use of of the voice as a automobile of that means and as a resource of aesthetic admiration, there's a 3rd point of knowing: the voice as an item that may be visible because the lever of suggestion. He investigates the thing voice on a couple of diverse levels--the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation among the voice and the physique, the politics of the voice--and he scrutinizes the makes use of of the voice in Freud and Kafka. With this foundational paintings, Dolar provides us a philosophically grounded concept of the voice as a Lacanian object-cause.
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Additional info for A Voice and Nothing More
Lacan developed T H E P L AC E O F T H E M I R R O R P H A S E I N L A CA N ’ S W O R K 31 the connection between recognition, judgement, and logic in his 1946 paper on “Logical time” (Écrits, 1966, pp. 161–175). However, the connection between these terms and the mirror dynamic is not developed until the third phase of Lacan’s work, from the 1960s onwards. This is because, from the late 1940s onwards, in the second period of his work, Lacan is becoming interested in the role of language as structure, modelled on the discipline of structural linguistics, in throwing light on the nature of the Freudian unconscious, and of unconscious processes.
He had first been alerted to the mirror phenomenon through the writings of his friend, the psychologist Henri Wallon. ” his surprise each time his look happens to encounter his image, and Preyer notes that at the thirty-fifth week, he eagerly extends his hand towards his image. […] The reality attributed to the image is in fact so complete that, between the forty-first and forty-fourth week, not only does Preyer’s child laugh and extend his arms toward it every time he sees it, but Darwin’s child looks at his mirror-image every time he is called by name.
By the early 1970s this is re-posed in terms of the status of the relationship between the subjection of each one to the unity of an all, and the limiting of this universe of an all, through the existence of an “at least one” not subjected to this all, and therefore an exception. As Lacan has noted, Freud discovered in his clinical work that the omnipresent factor in the psyche of neurotics, which indicated their relationship to potency and identity, could be perfectly ciphered in the ancient symbol of the phallus.