This article offers a reading of the “transcendental” character of Alain Badiou’s and Giorgio Agamben’s ontologies. While neither Badiou nor Agamben are “transcendental” philosophers in the Kantian sense, this article argues that their respective projects of ontology both recover aspects of the “classical” conception of the transcendentals. Not unlike how pre-modern philosophers conceived of oneness, truth and goodness as transcendental properties of all things, both Badiou’s and Agamben’s ontologies present various structures which can be universally predicated of all being. However, (...) as opposed to the essentialist or even theological tendencies of traditional metaphysics, Badiou’s and Agamben’s ontologies are committedly “inessential” and atheistic at their very core. By replacing the divine names of the one, the true and the good in traditional metaphysics with a new yet quasi-classical transcendental notion of “the void” as a universal predicate of all beings, Badiou’s and Agamben’s works may be regarded as projects that go beyond both the pre-Kantian “theological” and the post-Kantian “subjective” conceptions of transcendental philosophy, thereby marking a new development in the history of western metaphysics. (shrink)

One of the more superficially perplexing features of Lacan’s notion of objet petit a is the fact that he simultaneously characterizes it as both non-specularizable (i.e., incapable of being captured in spatio-temporal representations) and specular (i.e., incarnated in visible avatars). This assignment of the apparently contradictory attributes of visibility and invisibility to object a is a reflection of this object’s strange position at the intersection of transcendental and empirical dimensions. Indeed, this object, which Lacan holds up as his central psychoanalytic (...) discovery, raises important philosophical questions about the transcendental-empirical distinction, arguably short-circuiting in interesting, productive ways this dichotomy and many of its permutations. This article seeks to achieve two aims: one, to clarify how and why Lacan situates object a between the specular and the non-specular; and, two, to extract from the results of this clarification a preliminary sketch of a post-Lacanian transcendentalism that is also thoroughly materialist. (shrink)

This article argues that a transcendental materialist conception of subjectivity can move us beyond the orthodox idealist theories that dominate progressive thought in advanced consumer-capitalism. This position can shed new light on current forms of subjectivity that seem to prefer life in consumer culture's surrogate social world rather than active participation in cultural and political resistance and transformation, which requires far more than simply 'transcending the norm'. The rebirth of creative political subjectivity is impossible unless the subject is prepared to (...) risk a traumatic encounter with the Real, the fundamental indeterminacy that exists not in the ideal-symbolic but the material realm, and prepared to reject liberal-postmodernist identity politics to participate in the construction of a coherent alternative ideology. (shrink)

“Laughing at Finitude” interprets Slavoj Žižek’s intellectual project as responding to a challenge left by Being and Time. Setting out from discussions of Heidegger’s book in The Parallax View and The Ticklish Subject, the essay exfoliates Žižek’s response to the Heideggerian version of a “philosophy of finitude”—both finding the central insight of Žižek’s work in Heidegger’s radical proposal for “anticipatory resoluteness” and developing Žižek’s critique of Being and Time as indicating Heidegger’s retreat from that proposal within the very book where (...) it appears. Žižek reads Being and Time’s existential thematic as proposing a radical subjectivism and, unlike other Heidegger-critics, praises this aspect of the project. Indeed, Žižek claims that the weakness of Being and Time as a whole is that it is insufficiently radical in its subjectivism. For him, Heidegger is a thinker of ambiguous value, one who develops a program from whose own demands he hides. “Laughing at Finitude” both articulates this accusation of self-deception in Heidegger and examines the imperatives necessary to avoid it, for a dialectical shift from the “tragic” voice in existential treatments of finitude and for a revolutionary collectivist re-conception of social “Mitsein.” It suggests, in the process, Žižek’s own intellectual itinerary. (shrink)

This dissertation reassesses the complex philosophical relationship between Sartre and psychoanalysis. Most scholarship on this topic focuses on Sartre’s criticisms of the unconscious as anathema both to his conception of the human psyche as devoid of any hidden depths or mental compartments and, correlatively, his account of human freedom. Many philosophers conclude that there is little common ground between Sartrean existentialism and psychoanalytic theory. I argue, on the contrary, that by shifting the emphasis from concerns about the nature of the (...) unconscious to questions about the role of imagination in psychical life, we can see that Sartre and Freudian-Lacanian psychoanalytic theory develop strikingly similar accounts of human subjectivity. After establishing the historical background of Sartre’s career-long engagement with psychoanalysis, I demonstrate the proximity of Sartre and Lacan on the nature of unconscious thought. I proceed to develop the claim that there is a homology between the concept of unconscious fantasy in psychoanalysis and the concept of the imaginary in Sartre’s philosophical corpus. Despite the concept of fantasy being one of the more structuralist-inspired aspects of Lacan’s metapsychology, I show that Sartre’s concept of the imaginary is likewise a structural feature of the psyche, one which establishes the coordinates within which the subject engages with the world. For Sartre, Freud, and Lacan fantasies form the core of subjectivity, giving form to the basic patterns of one’s character. Taken together, these three thinkers furnish a nuanced view of fantasy/the imaginary. On the one hand it is determining insofar as it is responsible for many of the psychopathologies met with in psychoanalysis. On the other hand, it is liberating insofar as the agency of the subject is implicated in the formation of fantasy. I thereby show that Sartre does not fit the caricatured picture of a radical voluntarist that is often attributed to him and that psychoanalysis can accommodate a conception of human freedom. (shrink)

My aim is to show how Žižek's political philosophy is informed and made possible by his reading of German Idealism, thus establishing an intrinsic relationship between Žižek's politics and ontology, by focusing on the problematic of “political imagination.” First, we will see to what degree Žižek's interpretation of the Schellingian logic of the Grund lays the foundation for his own appropriation of Marx's analysis of capital and this theorization of the sociopolitical deadlock we find ourselves in. Next, I will show (...) how his reading of Hegel's concept of tarrying with the negative allows him to establish the possibility of a way out of this deadlock while simultaneously giving him resources to rethink orthodox Hegelian-Marxist interpretations of the philosophy of history and the very nature of the communist struggle. In the last section, I will demonstrate how it is the Schellingian-inspired concept of ontological catastrophe, which is implicitly at work in the former as that which guarantees the always formally possible capacity for political imagination and thus the condition of the possibility of an authentically political act. (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)

I argue that Žižek's Less Than Nothing: Hegel and the Shadow of Dialectical Materialism presents us with a radically original variety of metaphysics both in terms of Žižek's own intellectual development and the history of philosophy. Rather than being concerned with the study of being qua being, Less Than Nothing proclaims that we ought to investigate nothing qua nothing inasmuch as contemporary physics demonstrates that the more we analyze reality the more we find a void, this latter now in matter (...) of fact exhibiting the traits of ultimate reality rather than the order of the perceived universe. Before arriving at this, however, I demonstrate how Žižek is led to contemporary physics in order to overcome inherent limitations in his own previous metaphysics of Hegelian inspiration. If thinking substance as subject imposes upon us the recognition that substance as a self-articulating totality of necessity is an illusion, subject being nothing but a synonymous for its constitutive tension with itself, if we are to explain how this weakly structured nature does not collapse upon itself we must go further. In this manner, Less Than Nothing outlines one way in which we must step beyond Hegel to find new metaphysical solutions for impasses that have emerged out of thinking the obscure ground of the psychoanalytic subject. (shrink)

In the appendix of his latest book, Incontinence of the Void, Žižek presents an account of how, according to his dialectical materialism, love can overcome death. This article situates Žižek ’s argument in the context of his ontology and his theory of the subject to explicate how Žižek arrives at this position: one that appears, on the surface, to be inconsistent with a staunch materialist and atheistic stance. Building on Žižek ’s references to Kierkegaard in this appendix, I will furthermore (...) argue that the figure of the Knight of Faith from Kierkegaard’s Fear and Trembling can be as another instantiation of the revolutionary subject of the act. This figure can be said to participate in a type of love that overcomes death insofar as its attachment to objects of desire embodies the acephalous, undead drive that is not reducible to ontic or symbolic structures of reality. (shrink)

We are beholden to the postmodernists for their unwavering fidelity to Virginia Woolf’s legacy and the resultant popularity it continues to enjoy. This should no longer be the case. As postmodernism’s import is increasingly outflanked by the enterprises of Slavoj Žižek, Alain Badiou, and the resuscitated Hegel, we ought to rescue Woolf not only from the poststructuralists, but also from herself. I claim that another reading of Woolf is overdue, one which breaks with the general consensus. Such a reading is (...) not a disproving of the latter, but rather an illumination of its concealed underside which it vehemently disavows. I use the philosophy of Slavoj Žižek to illuminate this underside in Woolf’s Orlando, and demonstrate how Woolf shares more with Hegel and Descartes than Deleuze and his disciples. Rather than reading Woolf as a champion of connection, affectivity, and desire, we ought to read her as a writer of abstraction, negativity, and failure. (shrink)

It would make a wonderful musical study – perhaps someone has already done it – to compare the various operatic and instrumental versions of the famous myth of Orpheus and Eurydice. [...] We know all too well the anxiety question par excellence, the disquieting “ Che vuoi? ” traversing our symbolically embedded lives. So, let me indulge a bit in this uncanny zone and ask: “ Che vogliamo? ”, what is our goal with this issue? Why did we start this (...) project? To be honest, I’m more than uncomfortable with this question, as it pushes me dangerously close to the awkward regions of the Lacanian “ Moi, la vérité, je parle ”. Nevertheless, for the greater good let me play this role for a little while and do my best to outline an answer. (shrink)