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A Voice and Nothing More (Short Circuits) ペーパーバック – 2006/2/3
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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." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work.
The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.
- 本の長さ224ページ
- 言語英語
- 出版社The MIT Press
- 発売日2006/2/3
- 対象読者年齢18 歳以上
- 寸法13.74 x 1.42 x 20.47 cm
- ISBN-100262541874
- ISBN-13978-0262541879
商品の説明
レビュー
The most telling, even thrilling, passages in this exacting book emphasize the intricate knitting together of body and soul in the voice...Though A Voice and Nothing More is driven throughout by ardent and formidable intelligence, Dolar is, like George Meridith's A Later Alexandrian, mad for the kind of 'mystic wryness' that Lacanian theory so amply allows. Indeed, the last words of his book make it clear that he regards the mysteries of the voice as a kind of royal road to the Secret Doctrine of Psychoanalysis.
—Steven Connor, Bookforum—著者について
登録情報
- 出版社 : The MIT Press (2006/2/3)
- 発売日 : 2006/2/3
- 言語 : 英語
- ペーパーバック : 224ページ
- ISBN-10 : 0262541874
- ISBN-13 : 978-0262541879
- 対象読者年齢 : 18 歳以上
- 寸法 : 13.74 x 1.42 x 20.47 cm
- Amazon 売れ筋ランキング: - 331,445位洋書 (洋書の売れ筋ランキングを見る)
- - 365位Philosophy Criticism
- - 12,817位Nonfiction Philosophy
- カスタマーレビュー:
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However, if you are expecting a long commentary on the voice in Lacan or a spectacular application of Lacanian theory to film and other cultural phenomena, then you will be shocked. Dolar is a serious philosopher, and his book reflects that. What he attempts to do is isolate the voice as an object unto itself. What he needs to do this is psychoanalytic theory. Therefore, while psychoanalysis is very important, it is usually in the background informing his discussion of the voice in linguistics, politics, ethics, etc.
The first 3 chapters are an attempt to distill the voice as an object of philosophical reflection. If language is a chain of signifiers, then the voice is the invisible but material string that holds it together. But what does that mean?--this is what Dolar attempts to answer in these three chapters.
The next two chapters examine the voice in moral philosophy and political philosophy. These are very interesting discussions. What do we mean when we say "the voice of reason" or "the voice of conscience"? What do we mean when we enjoin others to "have a voice in the political process"? Especially if the voice is an object unto itself, which has rarely been thought through?--Dolar answers these questions in these chapters.
The last two chapters are reflections on the voice in psychoanalysis and the work of Kafka. The discussion of Freud is logical. But why Kafka? It is never made clear.
I have only two major quarrels with this book. One is its style. Dolar's style is highly idiosynchratic, and he rarely gets to his thesis. So often pages of analysis will go by without a framework from which to make sense of them. I am not quite sure his style is successful. But this is a matter of taste, and every reader will have to determine that for themselves. Two is only slightly less petty. Chapter 5 ends with Freud's very important thesis that government, psychoanalysis, and education are the three impossible occupations. Dolar covers the voice in the first and second of the impossible occupations. But he totally overlooks education. Instead he writes that "a book with many long chapters" would be needed to address the voice in education. Really? So, only one chapter is needed to tackle the voice in politics, one chapter is need for the voice in psychoanalysis, but a long book is necessary for education? On top of that, Dolar makes many references throughout the book to education, from Pythagoras' pedagogy of the voice, to criticisms of the university system. But somehow we are to believe that he does not include a chapter on education because he so highly esteems it that he refuses to patronize education with one chapter? Somehow I don't believe this. And his comment about a long book seems like a cop out. Especially, since a natural fit exists with Jacques Ranciere's book The Ignorant Schoolmaster. It seems that the pedagogical voice is the voice of ignorance or silence as such. It is curious that no book that seriously deals with psychoanalysis and education exists. Is education so mundane a topic that psychoanalytic theorists refuse to deal with it? I would argue it is just as, if not more, important than film. It is high time that a book that takes Freud's dictum of the impossible occupations serious be written. Dolar should have written a chapter on the voice in education, plain and simple.