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Alenka Zupancic03 - On Evil
Alenka Zupancic03 - On Evil
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CHRISTOPH COX
The fact that something keeps returning usually means that we are
dealing with a conjunction of the impossible and the necessary. Evil
seems to be a perfect candidate for such a conjunction. Why is this
return happening today? The best I can do to provide a general answer
to this question is to point out that the political, economical, and
technological events of the recent past have had an important impact
on our notion of "the impossible." The impossible has, so to speak, lost
its rights. On the economic level it seems as if what was once referred
to as an economic impossibility (i.e. the limits that a given economic
order sets to our projects, as well as to our life in general) is being
redefined as some kind of natural impossibility or natural law, (i.e. as
something that cannot be changed in any way). The explosion of new
technologies inspires something that one could call a "desperate
optimism." On this level, it seems that almost everything is possible,
but in a way that makes us feel that none of these possibilities contains
what Lacan calls a Real, an "absolute condition" that could catch and
sustain our desire for more than just a passing moment. On the political
level, the fall of Communism has made western democracies lose sight
of their own contradictions and all alternatives are declared impossible.
So, if we consider all this, what you call the return of the question of
evil might be a way for the impossible to remind us that we have not
yet done away with its necessity.
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Cabinet Magazine Online - On Evil http://www.cabinetmagazine.org/issues/5/alenkazupancic.php
The philosophical category of evil can also introduce some distance and
reflection into what isand always has beenan inherent bond between
evil and the Imaginary. Evil has always been an object of fascination,
with all the ambiguity and ambivalence that characterize the latter.
Fascination could be said to be the aesthetic feeling of the state of
contradiction. It implies, at the same time, attraction and repulsion.
"Evil" is not only something that we abhor more than anything else; it is
also something that manages to catch hold of our desire. One could
even say that the thing that makes a certain object or phenomenon
"evil" is precisely the fact that it gives body to this ambiguity of desire
and abhorrence. The link between "evil" (in the common use of this
word) and the Imaginary springs from the fact that we are dealing
precisely with something that has no image. This is not as paradoxical
as it might sound. Strictly speakingand here I am drawing more on
Lacanian psychoanalysis than on philosophythe Imaginary register is
in itself a response to the lack of the Image. The more this lack or
absence is burdensome, the more frenetic is the production of images.
But also (and here we come back to the question of evil), the more
closely an image gets to occupy the very place of the lack of the Image,
the greater will be its power of fascination.
Within reality as it is constituted via what Lacan calls the Imaginary and
the Symbolic mechanisms, there is a "place of the lack of the Image,"
which is symbolically designated as such. That is to say that the very
mechanism of representation posits its own limits and designates a
certain beyond which it refers to as "unrepresentable." In this case, we
can say that the place of something that has no image is designated
symbolically; and it is this very designation that endows whatever finds
itself in this place with the special power of fascination. Since this
unrepresentable is usually associated with the transgression of the
given limits of the Symbolic, it is spontaneously perceived as "evil," or
at least as disturbing. Let us take an example: When it comes to the
stories that play upon a neat distinction between "good" and "evil" and
their conflict, we are not only more fascinated by "evil" characters; it is
also clear that the force of the story depends on the strength of the
"evil" character. Why is this so? The usual answer is that the "good" is
always somehow flat, whereas "evil" displays an intriguing complexity.
But what exactly is this complexity about? It is certainly not about some
deeper motives or reasons for this "evil" being "evil." The moment we
get any kind of psychological or other explanation for why somebody is
"evil," the spell is broken, so to speak. The complexity and depth of
"evil" characters are related to the fact that they seem to have no other
reason for doing what they are doing but the fun (or spite) of it. In this
sense, they are as "flat" as can be. But at the same time, this lack of
depth can itself become something palpable, a most oppressive and
massive presence. In these stories, as well as in what constitutes the
individual or the collective Imaginary, evil is usually precisely this: that
which lends its "face" to some disturbing void "beyond representation."
2 de 8 15/03/2007 17:02
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So, the first important thing that the philosophical (as well as
psychoanalytical) perspective can bring to the question of evil is thus to
establish and maintain the difference between this void, which is an
effect of structure, and the images that come to represent or embody it.
Not to confound the two is the first step in any analysis of phenomena
that are referred to as "evil."
Let's start with Hitler. It is probably no coincidence that the two best
movies about Hitler are comedies: Lubitsch's To Be or Not to Be and
Chaplin's The Great Dictator. The image of Hitler is funny. It is funny
because it is so inadequate. In Chaplin's movie, the image of Hitler is
the same as that of the Jewish barber, which is precisely the point.
Images of monsters and devils are inadequate because they try to
"illustrate" evil. The point is not that real evil cannot be illustrated or
represented, but that we have tendency to call "evil" precisely that
which is not represented in a given representation. As to the question of
whether there is an image of evil that occupies the very place of the
lack of the Image, I would say yes, there is. It is what we could call a
"sublime splendor," "shine," "glare," "glow," or "aura." It belongs to the
Imaginary register, although it is not an image, in the strict sense of the
word; rather, it is that which makes a certain image "shine" and stand
out. You could say that it is an effect of the Real on our imagination, the
last veil or "screen" that separates us from the impossible Real.
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"That's it! This is what Hitler looks like!" "But sir," replies the actor, "this
picture was taken of me." Needless to say, we as spectators were very
much taken in by the enthusiasm of the director who saw in the picture
something quite different from this poor actor. Now, I would say that
there is probably no better "image" of the lack of the Image than this
"thing" that the director (but also ourselves) has "seen" in the picture
on the wall and that made all the difference between the photograph
and the actor. One should stress, however, that this phenomenon is not
linked exclusively to the question of evil, but to the question of the
"unrepresentable" in general.
Why is it that evil captures the imagination but the good does
not? Ethics would seem to be bound to the idea that the good is
attractive, allied with the beautiful and, as such, something that
solicits our desire. But, as you suggest, the opposite is perhaps
more plausible. The combination of attraction and repulsion one
finds in evil seems, perversely, more attractive to us. What does
this tell us about our desire and about the nature of evil and the
good?
Here I turn to Kantian ethics, which utterly breaks with the idea that the
good is attractive and, as such, can solicit our desire. Kant calls this
kind of attractionthis kind of causality"pathological" or nonethical.
Moreover, Kant rejects the very idea that ethics can be founded on any
given notion of the good. In Kantian ethics, we start with an
unconditional law that is not founded on any pre-established notion of
the good. The singularity of this law lies in the fact that it doesn't tell us
what we must or mustn't do, but only refers us to the universality that
we are ourselves supposed to bring about with our action: "Act only
according to that maxim by which you can at the same time will that it
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Kant identifies three different modes of "evil." The first two refer
precisely to the fact that we fail to act "according to the (moral) law and
only because of the law." One technical detail that will help us to follow
Kant's argument: Kant calls "legal" those actions that are performed in
accordance with the law, and "ethical" those which are also performed
only because of the law. Now, if we fail to act "ethically," this can
happen either because we yield to motives that drive us away from the
"legal" course of action, or because our course of action, "legal" in itself,
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Photographs of Trotsky from a 1927 album Ten Years of Soviet Power. The
imgae to the right is from a defaced copy of the book found by David King at a
Moscow bookstore. It is unknown who defaced the book. Photos courtesy of
David King Collection
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I should, perhaps, point out that there is yet a fourth notion of evil that
Kant speaks about: so-called "diabolical evil." Within the architectonic of
practical reason, diabolical evil is the conceptual counterpart of the
supreme good. Kant claims that diabolical evil is conceptually
necessary, but empirically impossible. In my view, one should rather
say that this notion is conceptually redundant, since, strictly speaking, it
implies nothing other than what is already implied in the notion of the
supreme good. Here I am, so to speak, going with Kant against Kant.
Let me explain. According to Kant, "diabolical evil" would occur if we
were to elevate opposition to the moral law to the level of a maxim. In
this case the maxim would be opposed to the law not just negatively (as
it is in the case of radical evil), but directly. This would imply, for
instance, that we would be ready to act contrary to the moral law even
if this meant acting contrary to all our inclinations, contrary to our
self-interest and to our well-being. We would make it a principle to act
against the moral law and we would stick to this principle no matter
what (that is, even if it meant our own death).
The difficulty that occurs with this concept of diabolical evil lies in its
very definition: Namely, diabolical evil would occur if we elevated
opposition to the moral law to the level of a maxim (a principle or a
law). What is wrong with this definition? Given the Kantian concept of
the moral lawwhich is not a law that says "do this" or "do that," but
an enigmatic law that only commands us to act in conformity with duty
and only because of dutythe following objection arises: If opposition
to the moral law were elevated to a maxim or principle, it would no
longer be opposition to the moral law; it would be the moral law itself.
At this level, no opposition is possible. It is not possible to oppose
oneself to the moral law at the level of the (moral) law. Nothing can
oppose itself to the moral law on principle (i.e., for non-pathological
reasons), without itself becoming a moral law. To act without allowing
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All along, I have been speaking about evil on two different levels: One
is the Kantian theory of evil; the other is the question of what we
generally tend to call "evil." Your question is related to this second
level.
I would agree that the space of ethics and the space of "evil" meet
around the question of the impossible. However, the "impossible"
shouldn't be understood here simply as something that cannot happen
(empirically), although we (as ethical subjects) must never give up on
it. I believe that one should reformulate this concept of the impossible,
which is predominant in Kant, in terms of what Lacan calls the "Real as
impossible." The point of Lacan's identification of the Real is not that
the real cannot happen. On the contrary, the whole point of the
Lacanian concept of the Real is that the impossible happens. This is
what could be so traumatic, disturbing, shatteringbut also
funnyabout the Real. The Real happens precisely as the impossible. It
is not something that happens when we want it, or try to make it
happen, or expect it, or are ready for it. It always happens at the wrong
time and in the wrong place. It is always something that doesn't fit the
(established or the anticipated) picture. The Real as impossible means
that there is no right time or place for it, and not that it is impossible
for it to happen. This notion of the impossible as "the impossible that
happens" is the very core of the space of ethics. There is nothing "evil"
in the impossible; the question is how we perceive its often shattering
effect. The link that you point out between the impossible and evil
springs from the fact that we tend to perceive, or to define, the very
"impossible that happens" as (automatically) evil. If one takes this
identification of evil with the impossible as the definition of evil, then I
would in fact be inclined to say, "Long live evil!"
2003
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