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Perversion and method. Žižek’s ‘Platonic Love’ for Film, Dialectics of Exemplification and the Catastrophe of Psychoanalysis in the Cinematic Discourse of Philosophy

dc.contributor.editorJovanov, Rastko
dc.creatorMikulić, Borislav
dc.description.abstractThe article discusses the relation between the paradigmatic status of film and use of film analogies in the psychoanalytic discourse on society and culture by Slavoj Žižek, which represents the very ground of his philosophical discourse in general. In the first part, starting with a recent discussion by different English and American scholars on controversial aspects of Slavoj Žižek’s activity in academia and on a broader public scene, the paper discusses on some parallel examples and inherent motivators of the form-content controversy in philosophy and pop-culture as well as Žižek’s interpretation of his position. In the second part, the article discusses Žižek’s sporadic meta-reflection on exemplification and provides arguments for the thesis that, in Žižek, on the ground of his ontology of the virtual, one encounters a double conception of ‘inherence’ (paradigmatic and analogical) between instance and principle, its consequence is a shift in the use of film examples from analogy of objects to analogy of analyses, which invents a typical conflict between the metonymic and metaphorical evasion of discourse. On this background, the article reexamines the general contention against Žižek of a ‘virtual totalitarianism’ without contingency of meaning and sense, and points to the position of the subject without discourse as another ground for the condition of analysis of truth. In the third part, the paper analyses and evaluates Žižek’s own understanding of his cinematographic illustrations and his peculiar, performing and self-referential, method of resolving the epistemological problem of film interpretation through imaginary identification or ‘empathy’ with film objects. In the fourth part, the paper discusses the apparent asymmetry between Žižek’s application of psychoanalytic doctrines onto film criticism, on one side, and, on the other, his little elaborated apotheosis of so-called ‘cinematic materialism’. It is argued that this asymmetry ultimately causes what Žižek rejects in principle: a substitution of materialism and contingency of truth-search for a holism of sense. Consequently this seems to turn the psychoanalytic discourse on cinematography into a hermeneutic one.eng
dc.format24 1 (2013) 381-422
dc.sourceFilozofija i društvo/Philosophy and Societymul
dc.subjectacademic correctness
dc.subjectakademska korektnost
dc.subject‘sublime’ exemplifications
dc.subject‘sublimna’ egzemplifikacija
dc.subjectparadigmatic vs analogical transference
dc.subjectparadigmatski i analogijski prijenos
dc.subjectholism of sense
dc.subjectholizam značenja
dc.subjecttotalitarianism of discourse
dc.subjecttotalitarizam diskursa
dc.subjectcontingency of subject
dc.subjectkontingencija subjekta
dc.subjectcinematic materialism
dc.subjectkinematički materijalizam
dc.subjectkraj psihoanalize
dc.subjectend of psychoanalysis
dc.titlePerverzija i metoda. Žižekova „platonska ljubav“ za film, dijalektika egzemplifikacije i katastrofa psihoanalize u kinematičkom diskursu filozofijesr
dc.titlePerversion and method. Žižek’s ‘Platonic Love’ for Film, Dialectics of Exemplification and the Catastrophe of Psychoanalysis in the Cinematic Discourse of Philosophyeng
dcterms.abstractМикулић, Борислав; Перверзија и метода. Жижекова „платонска љубав“ за филм, дијалектика егземплификације и катастрофа психоанализе у кинематичком дискурсу филозофије;

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