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World Spectators (Cultural Memory in the Present), by Kaja Silverman
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Review
“This original and important book demonstrates the inseparability of philosophy and psychoanalysis for any serious attempt to answer a question so profoundly relevant to the very nature of our being that it does not ‘belong’ to any one discipline: the question, as Silverman puts it, of what it means for the world that each one of us is in it. The book has a remarkable clarity; Silverman makes the most complex argument seem like a perfectly natural, and absolutely necessary, movement of thought.â€â€•Leo Bersani, University of California, Berkeley
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Combining phenomenology and psychoanalysis in highly innovative ways, this book seeks to undo the binary opposition between appearance and Being that has been in place since Plato’s parable of the cave. It is, essentially, an essay on what could be called “world love,” the possibility and necessity for psychic survival of a profound and vital erotic investment by a human being in the cosmic surround. Here, the author takes her cue from Freud’s assertion that the “loss of reality” associated with psychosis is a function of a disturbance not in the capacity to reason or perceive, but rather in the capacity for world love, the libidinal and semiotic circuity by means of which such love actualizes itself.In an implicit challenge to poststructuralist thought, the author claims that this love is always in response to a call issued by the world—that the world has, as it were, a vocation: its beauty ought to be seen. We must think of our own being-in-the world as a response to a primordial calling out to respond to this beauty. We are, the author suggests, at the very core of our being, summoned to what she terms world spectatorship.Drawing on Heidegger’s phenomenological elaboration of care as the being distinctive of human being and the primarily Lacanian conceptualization of the language of desire specific to each human subject, this metapsychology of love attempts to integrate issues in the fields of psychoanalysis, philosophy, visual culture, art history, and literary and film studies.
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Product details
Series: Cultural Memory in the Present
Paperback: 177 pages
Publisher: Stanford University Press; 1 edition (August 1, 2000)
Language: English
ISBN-10: 0804738327
ISBN-13: 978-0804738323
Product Dimensions:
5.5 x 0.5 x 8.5 inches
Shipping Weight: 8 ounces (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
2 customer reviews
Amazon Best Sellers Rank:
#1,549,966 in Books (See Top 100 in Books)
Breathe life into your unabridged dictionary, and let it breathe life into you too. Help ensure a future in which dictionaries are of value. For the right person, this is an absorbing, rewarding book.World Spectators is a serious project. If there was anything funny in the book it certainly escaped me, although many of the short examples are light-hearted.You will find, if you succeed in reading World Spectators from beginning to end, that it is filled with outlandish ideas about thought, language, sexuality and how memories are formed, beauty, life, death, and how the world began. This characteristic of these ideas, namely that they are strange, is by itself a simple, natural, and sufficient reason to read World Spectators. Certainly the topics addressed are basic to human symbolic life. So, wouldn't that be another fine reason to pick up a copy? And the strange ideas are not necessarily those of the author, but can be found in Plato, the book of Genesis, the fundamental work of deSaussure, the writings of Heidegger and Arendt, and the well-promulgated thought of Sigmund Freud and the more-than-cryptic Jacques Lacan.All are well worth reading, yet all of them are nearly inaccessible without an apprenticeship. Perhaps World Spectators is the next best thing? For each of these thinkers (or lines of writing, if you will, inasmuch as 'Genesis' is not a thinker per se) is engaged in making sense of what it means to Look. Or to be regarded. And all (all these 'lines') are interested, perhaps fatally interested, in the question, what is a thing? And they are all, in today's terms, non scientific.The accounts which Silverman recounts and examines, which she deftly and carefully plays against each other in as authentic a way as she possibly can (without a considerable amount of further study, I think that you and I have to trust her here), these accounts are not experimental, objectively verifiable in the scientific sense, nor predicted by theory. Is it bad that they're not scientific? You tell me. I'm still trying to figure out whether science makes a difference in this world, so casually is it discounted, disrespected, or simply disregarded.So, what about insights? Just consider the term itself, "insight". Doesn't it imply a "seeing in" to something. Providing an opening into the interior, a line-of-sight through which a look can go. Remember Picasso's erotic line drawings? Hundreds of lines drawn from man's eye to woman's body or from woman's body to man's eye. The line goes in both directions. Objects see us too, an astonishing assertion, which Silverman presents herein, with substantial thought and support.Here are some chapter comments.chapter 1 Seeing for the sake of seeingThis opening chapter is one of the best things about the book, it's really why I decided to obtain and attempt World Spectators, after reading the first part of it on amazon (you can do the same thing). It's a re-thinking of the visual and social aspects of the famous story of Plato's cave. There's something really great about someone who thinks an example through on his or her own, from first principles. It's not just an interpretation, a rendition, or a re-telling. When you think something through, anew, you often get great clarity. I'm sure this is why people are always saying that Kaja Silverman's writing is so clear. If you were to buy this book and read the first chapter alone, I think you would be delighted with your purchase.chapter 2 Eating the bookThis is a wonderful chapter about being-in-the-world, thrownness, and the Impossible nonobject of desire, or 'Das Ding' which Silverman explains in a way that makes rather perfect sense at the time, but which you had best consider well before you try to communicate it to anyone else. 'Eating the book' is, Heaven save us all, a metaphor. The book is the book of desire. In this book, to find out what means 'eating the book', you can turn to page 48. Then 49. Then...chapter 3 Listening to LanguageThe language you will be listening to is the language of desire."When we exteriorize our language of desire in the form of an address to other subjects, it also becomes intelligible to us. We thus find ourselves in a position to do something we could not otherwise do: to claim our disclosive powers."chapter 4 Apparatus for the production of an imageFor me this was the least successful chapter of the book, all about dreams but it was also one of the most heavily underlined, which indicates my view is probably not typical.chapter 5 The Milky WayIn a chapter entitled "The Milky Way", Silverman promises to examine kinship, but strays deeply into highly technical psychoanalytic description of something that, in the end, I was unable to understand even though I passed my eyes across every sentence in the chapter. I very much liked the metaphor of the Milky Way as representing libidinous attention, but felt there wasn't enough actual detail in the rest of the chapter to really lock on to the idea.chapter 6. The Language of ThingsEthics based on desire. What is desire?People wish to see again that which they have seen before. This is presented as non obvious, and as fundamental. I think it is one of the fundamental insights I derived from reading this book.chapter 7. NotesAs usual, a gem in the endnotes: Heidegger's notion of truth expressed in one sentence.Final thought.This book may have a low sales rank,but if you think no one is reading World Spectators, I think you may have another think coming. Before I bought my own copy, I found a library copy of World Spectators, which was filled with avid underlining. Vertical lines signify important paragraphs. Key terms are circled. There are marginal comments in at least 3 different illegible hands. Even the 18 pages of footnotes have many passages underlined. There have been many dedicated readers.Only one diagram appears in the entire text of World Spectators, a series of boxes used by Freud to clarify the relationship between various parts of the preconscious and subconscious mind.
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