By Thomas Brockelman
Žižek and Heidegger deals a thorough new interpretation of the paintings of Slavoj Žižek, one of many world's major modern thinkers, via a examine of his dating with the paintings of Martin Heidegger. Thomas Brockelman argues that Žižek's oeuvre is essentially a reaction to Heidegger's philosophy of finitude, an immanent critique of it which attracts it towards progressive praxis. Brockelman additionally unearths boundaries in Žižek's courting with Heidegger, particularly in his ambivalence approximately Heidegger's techno-phobia. Brockelman's critique of Žižek departs from this ambivalence - a primary pressure in Žižek's paintings among a historicist serious concept of techno-capitalism and an anti-historicist concept of progressive switch. as well as clarifying what Žižek has to assert approximately our global and concerning the danger of radical switch in it, Žižek and Heidegger explores some of the ways that this break up on the middle of his proposal seems inside of it - in Žižek's perspectives on historical past or at the dating among the innovative chief and the proletariat or among the analyst and the analysand.
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Extra info for Žižek and Heidegger: The Question Concerning Techno-Capitalism (Continuum Studies in Contemporary Continental Philosophy)
As Žižek puts it in The Ticklish Subject, Kant forces us to see that “the preconditions for knowledge are also the preconditions for an object of knowledge” – that when there is knowledge there must also be an object represented for a subject, and that what we therefore mean by “object” is nothing other than this being for a subject (Žižek 1999a, p. 55). In this way, the shift to a consideration of knowledge in terms only of the “perspectival” structure of the subject’s representations marks a decisive attack on the very idea of a “meta-physical” or supra-sensible realm necessary to guarantee human existence, a transcendental space of omniscience beyond perspective.
Of course, as we’ve seen, something else – namely, a radical insight about human freedom – could actually be found in the “finitist” Heidegger of the late 1920s and 1930s; however, it’s easy enough to understand how Heidegger himself could allow this other insight to disappear behind the façade of a thoroughgoing anti-modernism. It’s easy enough to believe that, when, after the “turn” in his thought, Heidegger develops his argument concerning “modern technology,” he does so simply to prevent the “thinking” he apparently advocates.
Thus, having declared itself in the crisis of Nazism, the disease of subjectivism was (either successfully or not, depending on the critic) expunged from the later Heidegger, the Heidegger of the critique of modern technology and of Gelassenheit. ”13 This last point is worth underscoring, for it is vital to Žižek that the subject of anticipatory resoluteness neither acts as a “formal” individual nor gains its “content” from available traditions. Žižek’s appropriately titled post-Parallax View engagement with the question of Heidegger’s Nazi period, “Why Heidegger Made the Right Step in 1933,” tells this story, a story in which the language of “will,” used in a transpersonal sense, actually indicates Heidegger’s closest approach to a thinking-through Being and Time.
Žižek and Heidegger: The Question Concerning Techno-Capitalism (Continuum Studies in Contemporary Continental Philosophy) by Thomas Brockelman