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Michael Sorkin's iconic list is now in a handsome printed package,
a perfect gift for any architect, student of architecture, or
design-savvy urbanist. By turns poetic and humorous, practical and
wise, this book is a joyful celebration of the craft of
architecture. A posthumous book by critic, architect, urban
theorist, and educator, Michael Sorkin (1948-2020), 250 Things An
Architect Should Know is filled with details that architects love
to obsess over, from the expected (golden ratio and the seismic
code) to the unexpected (the heights of folly and the prismatic
charms of Greek islands.)
In Read My Desire, Joan Copjec stages a confrontation between the
theories of Jacques Lacan and those of Michel Foucault,
protagonists of two powerful modern disciplines-psychoanalysis and
historicism. Ordinarily, these modes of thinking only cross paths
long enough for historicists to charge psychoanalysis with an
indifference to history, but here psychoanalysis, via Lacan, goes
on the offensive. Refusing to cede history to the historicists,
Copjec makes a case for the superiority of Lacan's explanation of
historical processes and generative principles. Her goal is to
inspire a new kind of cultural critique, one that is "literate in
desire," and capable of interpreting what is unsaid in the manifold
operations of culture.
Umbr(a) was one of the most important US theory journals of the
1990s and early 2000s, publishing work by some of the greatest
philosophers, psychoanalysts and theorists of our era. In every
regard, it was ahead of the curve - in content, design, and style -
often introducing thinkers who have subsequently become globally
influential. This anthology presents a selection of the very best
of Umbr(a), including contributions from Joan Copjec, Sam
Gillespie, Charles Shepherdson, Russell Grigg, Alenka Zupan?i?,
Slavoj i ek, Mladen Dolar, Catherine Malabou, Tim Dean, Steven
Miller, Dominiek Hoens, Petar Ramadanovic, Sigi Jottkandt, Colette
Soler, Jelica Sumi? and A. Kiarina Kordela.
The giant of Ljubljana marshals some of the greatest thinkers of
our age in support of a dazzling re-evaluation of Jacques Lacan.
It is well known that Jacques Lacan developed his ideas in dialogue
with major European thought and art, past and present. Yet what if
there is another frame of reference, rarely or never mentioned by
Lacan, which influenced his thinking, and is crucial to its proper
understanding? Zizek focuses on Lacan's "silent partners," those
who provide a key to Lacanian theory, discussing his work in
relation to the Pre-Socratics, Diderot, Hegel, Nietzsche,
Holderlin, Wagner, Turgenev, Kafka, Henry James, Artaud and
Kiarostami.
As Zizek says, "The ultimate aim of the present volume is to
instigate a new wave of Lacanian paranoia: to push readers to
engage in the work of their own and start to discern Lacanian
motifs everywhere, from politics to trash culture, from obscure
ancient philosophers to contemporary Iranian filmmakers."
Contributors include Alain Badiou, Bruno Bosteels, Joan Copjec,
Mladen Dolar, Fredric Jameson, Silvia Ons, and Alenka Zupancic.
A psychoanalytic and philosophical exploration of sublimation as a
key term in Jacques Lacan's theories of ethics and feminine
sexuality. Jacques Lacan claimed that his theory of feminine
sexuality, including the infamous proposition, "the Woman does not
exist," constituted a revision of his earlier work on "the ethics
of psychoanalysis." In Imagine There's No Woman, Joan Copjec shows
how Freud's ragtag, nearly incoherent notion of sublimation was
refashioned by Lacan to become the key term in his ethics. To trace
the link between feminine being and Lacan's ethics of sublimation,
Copjec argues, one must take the negative proposition about the
woman's existence not as just another nominalist denunciation of
thought's illusions about the existence of universals, but as
recognition of the power of thought, which posits and gives birth
to the difference of objects from themselves. While the relativist
position currently dominant insists on the difference between my
views and another's, Lacan insists on this difference within the
object I see. The popular position fuels the disaffection with
which we regard a world in a state of decomposition, whereas the
Lacanian alternative urges our investment in a world that awaits
our invention. In the book's first part, Copjec explores positive
acts of invention/sublimation: Antigone's burial of her brother,
the silhouettes by the young black artist Kara Walker, Cindy
Sherman's Untitled Film Stills, and Stella Dallas's final gesture
toward her daughter in the well-known melodrama. In the second
part, the focus shifts to sublimation's adversary, the cruelly
uncreative superego, as Copjec analyzes Kant's concept of radical
evil, envy's corruption of liberal demands for equality and
justice, and the difference between sublimation and perversion.
Maintaining her focus on artistic texts, she weaves her arguments
through discussions of Pasolini's Salo, the film noir classic
Laura, and the Zapruder film of the Kennedy assassination.
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Supposing the Subject (Paperback, New)
Joan Copjec; Contributions by Charles Shepherdson, Elizabeth Grosz, Etienne Balibar, Homi Bhabha, …
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A collection of essays by theorists in culture and politics.
Experts from a variety of fields re-examine the origins of the
subject as understood by Descartes, Kant and Hegel, and consider
contemporary ideas that revive the subject, including queer theory
and national identity. Contributors include Parveen Adams, Etienne
Balibar, Homi Bhabha, Slavoj Zizek, Joan Copjec, Juliet Flower
MacCannell, Charles Shepardson, Mikkei Borch-Jacobsen, Elizabeth
Grosz and Miaden Dolar.
Radical Evil, the second volume in the S series, marks the
two-hundredth anniversary of the publication of Kant's Religion
without the Limits of Reason Alone, where Kant first proposed, and
quickly withdrew in horror, the concept of radical evil-an evil at
the very heart of the ethical problematic. It also marks the recent
publication in English of Lacan's Ethics of Psychoanalysis,
arguably one of the most important and influential of Lacan's
seminars, in which he discusses the rise since the nineteenth
century of a certain 'happiness in evil'. The events of the
twentieth century have made the assertions of both Lacan and Kant
credible and concrete-the Holocaust and the attempts to cast doubt
on its existence, the rise of racism worldwide, the engagement by
philosophers with ethics as critical to relevant issues but without
the consideration of the problems which lead Kant to his formation
of radical evil. The contributors to this volume were asked to
consider radical evil in its philosophical, political and cultural
dimensions. What emerges is a clear introduction to the
problematic, including discussions of the Holocaust, the placement
of homosexuals in concentration camps, the creation of the
Machiavellian in politics and literature-a full and fascinating
exploration of the radical nature of modern evil.
For this was the summer when, after the hiatus of the Second World
War, French critics were again given the opportunity to view films
from Hollywood. The films they saw, including "The Maltese Falcon,
Double Indemnity. Laura, Murder, My Sweet," and "The Woman in the
Window," prompted the naming and theorization of a new phenomenon:
"film noir."
Much of what has been written about the genre since has remained
within the orbit of this preliminary assessment. While sympathetic
towards the early French critics, this collection of original
essays attempts to move beyond their first fascinated look.
Beginning with an autonomy of that look--of the '"poujadist"'
climate that nourished it and the imminent collapse of the
Hollywood studio system that gave it its mournful
inflection--"Shades of Noir" re-explores and calls into question
the object first constructed by it. The impetus for this shift in
perspective comes from the films themselves, viewed in the light of
contemporary social and political concerns, and from new
theoretical insights.
Several contributions analyze the re-emergence of noir in recent
years, most notably in the hybrid forms produced in the 1980s by
the merging of noir with science fiction and horror, for example
"Blade Runner" and "Angel Heart," and in films by black directors
such as "Deep Cover, Straight out of Brooklyn, A Rage in Harlem"
and "One False Move." Other essays focus on the open urban
territory in which the noir hero hides out; the office spaces in
"Chandler," and the palpable sense of waiting that fills empty
warehouses, corridors and hotel rooms.
Finally, "Shades of Noir" pays renewed attention to the lethal
relation between the sexes; to the femme fatale and the other women
in noir. As the role of women expands, the femme fatale remains
deadly, but her deadliness takes on new meanings.
Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie,
Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil,
David Reid and Jayne L. Walker, Marc Vernet, Slavoj Žižek.
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