Difference between revisions of "Il n'y a pas de rapport religieux"
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+ | Since, as [[Lacan]] claims in his [[Seminar]] XX: [[Encore]], [[Woman]] is one of the names of God, would it not be [[logical]] to conclude that, in the same way that there is no [[sexual]] rapport, there is also no [[religious]] rapport? Perhaps, the [[uncanny]] fact of [[Christ]]'s Crucifixion stands for the silent admission of this fact. In [[order]] fully to appreciate the uniqueness of the [[figure]] of Christ, let us start with Gilles [[Deleuze]]'s exemplary [[analysis]] of Chaplin's late [[films]]: | ||
− | + | Between the small [[Jewish]] barber and the dictator in [[The Great Dictator]], the [[difference]] is as negligeable as that between their respective moustaches. Yet it results in two situations as infinitely remote, as far opposed as those of [[victim]] and executioner. Likewise, in [[Monsieur Verdoux]], the difference between the two aspects or demeanors of the same man, the lady-assassin and the loving husband of a paralyzed wife, is so thin that all his wife's intuition is required for the premonition that somehow he "changed." /…/ the burning question of [[Limelight]] is: what is that "[[nothing]]," that [[sign]] of age, that small difference of triteness, on account of which the funny clown's [[number]] changes into a tedious [[spectacle]]?<ref>Deleuze, Gilles, L'[[image]]-mouvement, [[Paris]]: Éditions de Minuit, 1983, p. 234-236.</ref> | |
− | + | The paradigmatic [[case]] of this imperceptible "almost nothing" are the old [[paranoiac]] [[science]]-[[fiction]] films from the early 50s [[about]] aliens occupying a small American town: they look and act like normal Americans, we can distinguish [[them]] only via the reference to some minor detail. It is Ernst Lubitsch's To Be Or Not To Be which brings this [[logic]] to its [[dialectical]] climax. In one of the funniest scenes of the [[film]], the pretentious [[Polish]] actor who, as the part of a [[secret]] mission, has to impersonate the cruel high [[Gestapo]] officer Erhardt, does this impersonation in an exaggerated way, reacting to the remarks of his interlocutor about his cruel [[treatment]] of the Poles with loud vulgar [[laughter]] and a [[satisfied]] contestation, "So they call me Concentration Camp Erhardt, ha-ha!" We, the spectators, take this for a ridiculous caricature — however, when, later in the film the [[real]] Erhardt appears, he reacts to his interlocutors in exactly the same way. Although the "real" Erhardt in a way imitates his imitation, "plays himself." | |
− | + | ==References== | |
+ | <references/> | ||
− | + | ==Source== | |
+ | * [[Il n'y a pas de rapport religieux]]. ''Lacaniank Ink'' Volume 18. Spring 2004. pp 80-107. <http://www.lacan.com/frameXVIII6.htm> | ||
− | + | [[Category:Articles by Slavoj Žižek]] | |
− | + | [[Category:Slavoj Žižek]] | |
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[[Category:Works]] | [[Category:Works]] | ||
[[Category:Essays]] | [[Category:Essays]] |
Latest revision as of 00:08, 25 May 2019
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