The power of the woman and the truth of Islam

What is Islam – this disturbing, radical excess that represents the East to the West, and the West to the East? Let me begin with the relationship of Islam to Judaism and Christianity, the two other religions of the book. As the religion of genealogy, of the succession of generations, Judaism is the patriarchal religion par excellence. In Christianity, when the Son dies on the cross, the Father also dies (as Hegel maintained) – which[ …]

Notes on a Poetic‐Military Complex

[Abstract:] The predominance of religiously (or ethnically) justified violence can be accounted for by the very fact that we live in an era that perceives itself as post‐ideological. Since great public causes can no longer be used to incite mass violence, that is, since our hegemonic ideology calls on us to enjoy life and to realise our Selves, it is difficult for the majority to overcome their revulsion at torturing and killing another human being.[ …]

Josephine le sinthome

[…] Josephine “is thus the vehicle for the collectivity’s affirmation of itself: she reflects their collective identity back to them;” she is needed because “only the intervention of art and the theme of the great artist could make it possible to grasp the essential anonymity of the people, who have no feeling for art, no reverence for the artist.” […] Josephine is treated as a celebrity, but not fetishized—her admirers are well aware that there[ …]

Guilty Pleasures

Abstract: Zizek presents several motion pictures that he enjoys, including Topaz (1969), Top Hat (1935), Cossacks of the Kuban (1949), The Black Cat (1934), and Freddy vs. Jason (2003). He believes that these motion pictures, although considered as insignificant commercial trash, political propaganda, artistic failures, or, in the best case, charming commercial films not to be taken seriously, are to be taken seriously. The problem is that I never feel guilty about enjoying films that[ …]

Why is Wagner Worth Saving?

[Appared in Journal of Philosophy and Scripture, 2004, Vol. 2, No. 1. pdf.] With Romanticism, music changes its role: it is no longer a mere accompaniment of the message delivered in speech, it contains/renders a message of its own, “deeper” than the one delivered in words. It was Rousseau who first clearly articulated this expressive potential of music as such, when he claimed that, instead of merely imitating the affective features of verbal speech, music[ …]