By Joan Copjec
Winner within the 2003 AAUP ebook, Jacket, and magazine festival within the Scholarly Illustrated category.
Jacques Lacan claimed that his conception of female sexuality, together with the notorious proposition, "the lady doesn't exist," constituted a revision of his prior paintings on "the ethics of psychoanalysis." In Imagine There's No Woman, Joan Copjec indicates how Freud's ragtag, approximately incoherent thought of sublimation used to be refashioned via Lacan to turn into the major time period in his ethics. to track the hyperlink among female being and Lacan's ethics of sublimation, Copjec argues, one needs to take the unfavorable proposition concerning the woman's life no longer as simply one other nominalist denunciation of thought's illusions in regards to the lifestyles of universals, yet as acceptance of the facility of suggestion, which posits and provides start to the adaptation of gadgets from themselves. whereas the relativist place at the moment dominant insists at the distinction among my perspectives and another's, Lacan insists in this distinction in the item I see. the preferred place fuels the disaffection with which we regard a global in a nation of decomposition, while the Lacanian replacement urges our funding in an international that awaits our invention.
within the book's first half, Copjec explores confident acts of invention/sublimation: Antigone's burial of her brother, the silhouettes through the younger black artist Kara Walker, Cindy Sherman's Untitled movie Stills, and Stella Dallas's ultimate gesture towards her daughter within the famous melodrama. within the moment half, the focal point shifts to sublimation's adversary, the cruelly uncreative superego, as Copjec analyzes Kant's notion of radical evil, envy's corruption of liberal calls for for equality and justice, and the adaptation among sublimation and perversion. keeping her specialise in inventive texts, she weaves her arguments via discussions of Pasolini's Salo, the movie noir vintage Laura, and the Zapruder movie of the Kennedy assassination.
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99–101). This small exchange goes to the heart of the matter: the singular truth of Antigone’s love for her brother must have a universal destiny, must be openly declared. The proclamation of love occurs in a passage that has struck several critics as so strange as to provoke the wish that it would one day be found to be an interpolation: “If my husband had died, I could have had another, and a child by another man, if I had lost the first, but with my mother and father in Hades below, I could never have another brother” (ll.
Until this point it is possible to think simply that the maternal Thing is lost for want of a signifier, that is to say, that the fault lies with the signifiers. Representation fails, by its very nature, to capture the being of the Thing, which is thus inaccessible to the former. A Kantian analogy would thus suggest itself: the Ding-component of the Nebenmensch is to the Vorstellungen-component as the noumenal Thing-in-itself is to the idea we have of it, its phenomenal appearance. This would make the two components of the Nebenmensch a psychoanalytical endorsement of the philosophical separation of thinking and being: as we gain access to language and thus thought, we lose our access to that being which is the maternal Thing.
Yet its judgment will remain incomprehensible to cultural theorists who continue to misrecognize bodily finitude as the sobering fact that confounds our Romantic pretensions. For these theorists—for whom limits are almost always celebrated, insofar as they are supposed to restrict the expansionism of political modernism and its notions of universalism and will (this is only slightly a caricature)—the body is the limit, par excellence, that which puts an end to any claim to transcendence. What Badiou is here proposing, however, is that our idea of bodily finitude assumes a point of transcendence.