A Voice and Nothing More by Mladen Dolar

By Mladen Dolar

Plutarch tells the tale of a guy who plucked a nightingale and discovering yet little to consume exclaimed: "You are only a voice and not anything more." Plucking the feathers of that means that disguise the voice, dismantling the physique from which the voice turns out to emanate, resisting the Sirens' music of fascination with the voice, focusing on "the voice and not anything more": this can be the tricky activity that thinker Mladen Dolar relentlessly pursues during this seminal work.The voice didn't determine as a big philosophical subject until eventually the Sixties, while Derrida and Lacan individually proposed it as a primary theoretical difficulty. In A Voice and not anything extra Dolar is going past Derrida's proposal 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 car 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 noticeable because the lever of suggestion. He investigates the item voice on a few assorted 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 thought of the voice as a Lacanian object-cause.

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W e are concerned w i t h a more savage and less availing account than that, w h i c h has the image being a remainder i n the absence of the object. F o r what is crucial to the definition of Scottie's image is the role that is played by loss rather than absence, i n relation to the image. " Indeed I have no idea what a l o s t image" might be. But i f we start w i t h Scottie's typi­ u cal act of d i v i d i n g an image from an object, or an image of an image from an image, and so o n , we can see that he w o r k s w i t h i n the field of images that have been cut out of objects.

Strangely, this p r o d u c e s t h e effect o f a n o e d i p a l i d e n t i f i c a t i o n , as i f h e a n d M a d e l e i n e a r e j o i n e d t o g e t h e r b y t h e r e ­ markable b u t ultimately contingent link o f hair. T h i s type of identi­ T H E INSISTENCE O F T H E IMAGE 17 fication tends to g r o u n d itself i n the past, and often psychoanalytic interpretation colludes w i t h this. But the real relation is that the "past" is a field of effects whose origin is fully w i t h i n the present.

In the second film he is c o m p e l l e d to resurrect the "image" by mortifying an object i n a m a d labor that seems frequently i m p l a u s i b l e , even t h o u g h the audience k n o w that Madeleine and J u d y share one and the same body, that of K i m N o v a k . The desperate fashioning of Madeleine out of J u d y acts itself out at the level of object, as a tragedy for her. She is erased i n the name of r e p r o d u c i n g Madeleine, w h o yet was no one else. She is trapped i n a story that can be neither undone nor abandoned.

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