In Liberating Oedipus?: Psychoanalysis as Critical Theory, Dr. Filip Kovacevic demonstrates how psychoanalytic theory can join political theory in designing alternative political norms and values. Detailing the thoughts of major psychologists including Sigmund Freud, Jacques Lacan, and Alain Badiou, this book offers a new approach to traditional Lacanian theory. Kovacevic's emphasis on Lacanian psychoanalysis is especially relevant due to the modern challenges of failed globalization and the subsequent terrorist reactions. Kovacevic proves that political practice without an emancipatory psychology to guide it is potentially dangerous. Liberating Oedipus? is a critical text for scholars of political theory and those interested in the history of ideas.
This book shows how necessary ritual is to human freedom and to social processes of liberation. It aims to reflect upon the deep human longing for ritual and to interpret it in the light of our physical, social, political, sexual, moral, aesthetic, and religious existence. .
Psychoanalysis as a navigation device for the cultural maze of the twenty-first century. "Can Freud be 'updated' in the twenty-first century, or is he a venerated but outmoded genius?" asks Jerry Aline Flieger. In Is Oedipus Online? Flieger stages an encounter between psychoanalysis and the new century, testing the viability of Freud's theories in light of the emergent realities of our time. Responding to prominent critics of psychoanalysis and approaching our current preoccupations from a Freudian angle, she presents a reading of Freudian theory that coincides with and even clarifies new concepts in science and culture. Fractals, emergence, topological modeling, and other nonlinearities, for example, can be understood in light of both Freud's idea of the symptom as a nodal point and Lacan's concept of networks (rather than sequential cause and effect) that link psychic realities. At the same time, Flieger suggests how emerging paradigms in science and culture may elucidate Freud's cultural theory. Like Slavoj Zizek, editor of the Short Circuits series, Flieger shifts effortlessly from field to field, discussing psychoanalysis, millennial culture, nonlinear science, and the landscape of cyberspace. In the first half of the book, "Re-siting Oedipus," she draws on the work of Lyotard, Zizek, Deleuze, Virilio, Baudrillard, Haraway and others, to refute the assumption of Freud's outdatedness in the new century. Then, in "Freud Sitings in Millennial Theory," she recasts oedipal theory, siting/sighting/citing Freud in a twenty-first-century context. Thinking of Oedipus—decipherer of enigmas, wanderer—as a navigator or search engine allows us to see psychoanalysis as a navigation device for the cultural maze of the "bimillennial" era, and Oedipus himself as a circuit of intersubjective processes by which we become human. For humanity—still needed in the "posthuman" century—is at the core of Freud's theory: "Reading Freud today," Flieger writes, "reminds us of the complications of the Sphinx's riddle, the enigma that Oedipus only thought he solved: the question of what it is to be human. Psychoanalysis continues to pose that question at the crossroads between instincts and their vicissitudes."
It is generally agreed that Mark's Gospel was the first to have been written and that the Markan narrative created a literary form that inspired Matthew, Luke, and to a lesser extent, John to follow suit with the writing of their own gospels. But where did Mark go to find a framework that would shape his story? This question has been debated for more than two centuries. Several theories have been propounded but none without sufficient evidence to gain broad acceptance. It is the thesis of this book that Mark drew on the Greek tragedy, the most suitable literary genre of his time, to organize the oral and written traditions that he had collected. The Greek tragic genre had been created with the works of the great masters of the Fifth Century BC, and later, had been codified by Aristotle. The extraordinary points of congruence between the form of the Gospel and the canons of Greek drama are carefully explored in the Liberated Gospel. The compelling conclusion is that there is a relation of dependency whereas Mark used the form of Greek tragedy as a template without compromising the integrity of the story. As the title of the book suggests, the use of ancient tragedy by Mark served also another purpose. The Gospel was being written at a time during the early history of the church when its Judaistic faction attempted to impose the requirements of the Mosaic law on Gentile believers (as attested by Galatians and the Council of Jerusalem). By telling the very Jewish but universally relevant story of Jesus in the mode of the supreme Gentile literary genre of antiquity, Mark was proclaiming the manifesto that the gospel of Christ was not the exclusive property of a narrow ethnic group but that it belonged to all humanity.
A tight overview of the therapeutic system developed over a span of forty years. Astute readers know there is no authoritative 'Right Way', signed and sealed by the potentate of all healing. The best any writer can do is be confessional, as true to science as possible, and report on decades of clinical experience. The following chapters are written with those principles in mind. Explore and prove by your own observations...Frank Reinhardt Morris
Critique, Action, and Liberation is an original work in critical social theory that develops an approach to and method for social and political science. Drawing on the work of Habermas, Marcuse, Adorno, Offe, Marx, and David Harvey, Marsh develops an ethics and a social phenomenology of the self as communicative subject. He then advances an interpretation and critique of modernity, late capitalism, and state socialism.
This volume traces a path across the metamorphoses of tragedy and the tragic in Western cultures during the bourgeois age of nations, revolutions, and empires, roughly delimited by the French Revolution and the First World War. Its starting point is the recognition that tragedy did not die with Romanticism, as George Steiner famously argued over half a century ago, but rather mutated and dispersed, converging into a variety of unstable, productive forms both on the stage and off. In turn, the tragic as a concept and mode transformed itself under the pressure of multiple social, historical and political-ideological phenomena. This volume therefore deploys a narrative centred on hybridization extending across media, genres, demographics, faiths both religious and secular, and national boundaries. The essays also tell a story of how tragedy and the tragic offered multiple means of capturing the increasingly fragmented perception of reality and history that emerged in the 19th century. Each chapter takes a different theme as its focus: forms and media; sites of performance and circulation; communities of production and consumption; philosophy and social theory; religion, ritual and myth; politics of city and nation; society and family, and gender and sexuality.
Argentinean philosopher, theologian, and historian Enrique Dussel understands the present international order as divided into the "culture of the center" -- by which he means the ruling elite of Europe, North America, and Russia -- and "the peoples of the periphery" -- by which he means the populations of Latin America, Africa, and part of Asia, and the oppressed classes (including women and children) throughout the world. In 'Philosophy of Liberation,' he presents a profound analysis of the alienation of peripheral peoples resulting from the imperialism of the center for more than five centuries. Dussel's aim is to demonstrate that the center's historic cultural, military, and economic domination of poor countries is 'philosophically' founded on North Atlantic onthology. By expressing supposedly universal knowledge, European philosophies, argues Dussel, have served to equate the cultural standards, modes of behavior, and rationalistic orientation of the West with human nature and to condemn the unique characteristics of peripheral peoples as "nonbeing, nothing, chaos, irrationality." Hence, Western philosophies have historically legitimated and hidden the domination that oppressed cultures have suffered at the hands of the center. Dussel probes multinational corporations, the communications media, and the armies of the center with their counterparts among the Third World elite. The creation of a just world order in the future, according to Dussel, hinges on the liberation of the periphery, based on a philosophy that is able to "think the world" from the perspective of the poor and to reclaim the Third World's distinct cultural inheritance, which is imbedded in the popular cultures of the poor. Apart from the liberation of the periphery, there will be no future: "the center will feed itself on the sameness it has ingrained within itself. The death of the child, of the poor, will be its own death." This is a disquieting but stimulating book for scholars and advanced students of philosophy, ethics, liberation theology, and global politics.
Acoustic signals, voice, sound, articulation, music and spatial networking are dispositifs of radiophonic transmission which have brought forth a great number of artistic practices. Up to and into the digital present radio has been and is employed and explored as an apparatus-based structure as well as an expanded model for performance and perception. This volume investigates a broad range of aesthetic experiments with the broadcasting technology of radio, and the use of radio as a means of disseminating artistic concepts. With exemplary case studies, its contributions link conceptual, recipient-response-related, and sociocultural issues to matters of relevance to radio art's mediation.
