Assujettis à la Reconnaissance : Hegel, Lacan... et la poursuite (pluraliste) du chemin vers la liberté

Mardi 27 Novembre 2012

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Lots here that I have a hard time sinking my teeth into, and I am not sure that I understand everything, either.
There is a fantastic black hole in this text (from my analytic perspective...).
Where is Woman ?
What.. black hole did SHE sink into ? (Ladies running around with tasers, and wearing BOOTS and army fatigues do not qualify for the "she" pronoun in my vocabulary either...perhaps we need to invent another pronoun for these.. mutants ? Like the witches in "Macbeth" ? English has the advantage over French of being able to say... "it" and "they")
Without woman to act as.. copula ? intermediary ? father and son are drawn into the same configuration as Eteocles and Polyneice, and that is not very conducive to life.
Perhaps the black hole that Woman sinks into has something to do with the structure of Judaïsm ?
I believe that Judaïsm organizes human experience according to a distinctive opposition in which woman's place is on the private stage, not the public one, and the home is woman's domain. This.. private aspect of the Jewish experience must necessarily remain... in the shadows in order to underpin the world, and hold it up. Outside... the academic ?wrangling about what such and such means, for example. Inside... the ceremonies, the ritual, and practice which are essential to Judaïsm, but which cannot remain.. private if they receive unwanted.. PUBLICity.
I take it that the paternal metaphor has ceded terrain to a... maternal metonymy in your formulation ? Right ?
Displaced feminine, from my perspective.
I think that we do not at all agree on equality, or egalitarianism though.
For me... it is the symptom of creeping maternal metonymy. (In the end... when you are on all the scenes, you are.. nowhere at all. The body is not.. ubiquitous...)
For instance...
Mozart's D minor Fantasy for pianoforte ? is divided into two radically different parts, one in minor key, the other in major.
2/3 of the way through the tortured, chromatic minor part, there is a long, chromatic scale starting with A, and going up two octaves.
Theoretically, the chromatic scale is.. interesting. On a well tempered keyboard, what characterizes the chromatic scale is that each successive note is.. equidistant. Pure... metonymy, you might say. The... equality of all of the notes taken in succession...
But... since there is no difference in intervals, chaos arises.
There is no... music. Very flat, and uninteresting. Our ears are attuned to picking out differences. We need them, we are starving for them.
2/3 of the way through the harmonic part in D major, with a few chromatisms thrown in, there is a two octave long scale starting on A too, but in D major, not chromatic.
And... it is music.
Restored... order. The intervals are not equidistant.
Whew. What a relief...
Think about the end of "Don Giovanni".. after Don Giovanni gets carted off by an imposing Commandeur for throwing a big, fat tantrum, there is a party (in D major...), and everybody celebrates.. the RESTORATION of order in the face of rampant... libertinage, in all senses of the word.
That myth still speaks to us, doesn't it ?
As well it should...
Too much liberty.. kills liberty.

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