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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, targeting "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 massive philosophical subject till the Sixties, whilst Derrida and Lacan individually proposed it as a principal theoretical main issue. 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 without doubt 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 which means and as a resource of aesthetic admiration, there's a 3rd point of knowing: the voice as an item that may be obvious because the lever of suggestion. He investigates the thing voice on a couple of various 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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Accordingly, Marcel’s attachment to mortal life leads to an incurable chronophilia and an incurable chronophobia. Rather than coming to terms with death, he seeks to keep alive what will die, to remember what will be forgotten. The nature of this desire for survival is further elaborated in the fourth volume of the Recherche: We desire passionately that there should be another life in which we would be similar to what we are here below. But we do not reflect that, even without waiting for that other life, but in this one, after a few years, we are unfaithful to what we have been, to what we wanted to remain immortally.

All versions of the teleological reading appeal to the last volume of the Recherche, which Girard eloquently describes as “the choir toward which all architectural lines converge and from which they all originate” (10). Yet for all the importance ascribed to the last volume, the proponents of the teleological reading are remarkably silent with regard to what actually happens in the closing pages of the book. Rather than celebrating aesthetic redemption, Marcel is preoccupied by how brain damage or various accidents may prevent him from completing his great work of literature.

Marcel has discovered that his life is the “rich mining-basin” for the work of art he wants to create, but he is seized by fear because his death will entail “the disappearance not only of the one mineworker capable of extracting these minerals, but also of the mineral deposit itself ” (6:346–47/4:614). Both the subject and the subject matter of the book are thus destructible and no power of art can offer an antidote to the radical mortality of life. 10 It follows that writing never can transcend temporal finitude but only serve as a resistance to and postponement of death.

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