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 that means that hide the voice, dismantling the physique from which the voice turns out to emanate, resisting the Sirens' tune of fascination with the voice, focusing on "the voice and not anything more": this can be the tough job that thinker Mladen Dolar relentlessly pursues during this seminal work.The voice didn't determine as an immense philosophical subject till the Nineteen Sixties, while Derrida and Lacan individually proposed it as a crucial theoretical challenge. In A Voice and not anything extra Dolar is going past Derrida's thought of "phonocentrism" and revives and develops Lacan's declare that the voice is likely one of the paramount embodiments of the psychoanalytic item (objet a). Dolar proposes that, except the 2 generally 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 realizing: the voice as an item that may be obvious because the lever of concept. He investigates the thing voice on a few varied 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 conception of the voice as a Lacanian object-cause.
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Extra resources for A Voice and Nothing More
However, the issue of diagnostic and developmental primitiveness of shame arises in the nature of its relationship to guilt. These issues played a major role in the thinking of Reich (1960) and, particularly, of Jacobson (1964). Now we turn to primitive object relations and pathological narcissism, to enrich our understanding of the ego ideal. With these additions, the meaning of shame will come into sharper focus, and I will then consider in greater detail shame's relationship to narcissism. 3 Primitive Object Relations, Early Narcissism, and Shame In the previous chapter, I reviewed some of the writing on the ego ideal and the ideal self because I believe that these constructs play a central role in the evolution of shame as affective experience.
Alluding to this work, Hartmann and Loewenstein questioned whether a distinction between shame and guilt can be made in terms of analytic psychology: "It seems unlikely to us that one can, as these authors assume, distinguish between shame and guilt in terms of outer or inner sanction" (p. 66). " Thus, in this central contribution of ego psychology, Hartmann and Loewenstein took several positions with regard to shame and its relation to the ego ideal. First of all, they indicated that early (archaic) idealizations do occur, but that these are to be distinguished from the actual ego ideal, which they positioned closer to oedipal conflicts and the development of the superego.
As I have noted elsewhere (Morrison, 1984a), " ... humiliation represents the strong experience of shame reflecting severe external shaming or shame anxiety at the hands of a highly cathected object 'a significant other' 77 (p. 488). Rothstein (1984) has made a similar point with regard to humiliation. Embarrassment is another manifestation of shame in a social context, but it differs &om humiliation in intensity and in the activity necessary for its generation. Embarrassment is a less searing, less intense form of shame that is more readily acceptable to most people and that, therefore, may more readily be acknowledged in psychotherapy or analysis.
A Voice and Nothing More by Mladen Dolar