Utopia and Political Theology

Broj 2 - Godina 5 - 06/2015

Uvodnik

Although utopias of different kinds have always stirred people’s imagination, it seems that the twentieth century rise of political theology brought about a particularly intense proliferation of utopian narratives. On the other hand, catastrophic failures such as that of the communist project gave rise to various subsequent reconsiderations of the utopian dream, dystopian nightmare and the thin line dividing the two. ..

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Izdvojeno

Bilo mi je samo devet godina, ali nikad neću zaboraviti dan kad su dali zeleno svjetlo projektu za izgradnju umjetnog jezera i kad smo postali sigurni da će naša kuća nestati pod vodom. Sva sredstva i sve žalbe bili su iscrpljeni i čekali smo još samo da otac uđe u kuhinju i obavijesti nas da je i zadnja presuda bila u korist umjetnog jezera. Vani je padala obilna kiša i monotono šljapkanje očevih cipela kad je ušao u kuću kao da je poručilo, pripremite se, sve će ovo uskoro preplaviti voda, bit će teško hodati ovuda, promijenit će se boje i teksture, ova se lampa nikad više neće upaliti jer žarulje ne gore pod vodom.Sve nas je to pogodilo. Ali njega, koji je otpočetka bio vrlo uključen u borbu, potpuno je pokosilo. Odnos mojih roditelja sve se više pogoršavao i ishodovati odluku koja bi zaustavila umjetno jezero bilo je jedino što je još moglo spasiti stvari, spriječiti naglu poplavu koja samo što nije potopila našu obitelj. Majka i otac to su znali i bili su svjesni da poraženo šljapkanje cipela koje se hodnikom polagano približavaju kuhinji znači kraj jedne ere. ...

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Bowie consists of twenty-one short chapters that function as a collection of conceptual fragments. Bowie's artistic work already provides a series of different periods each with its own stock of identities which could easily be comprised into different sections of this book according to, as Critchley calls them, illusions he inhabited, both musically and aesthetically. Although a sense of linearity is present, as the author tends to give an overview of albums and his own fan sensibilities, dividing the book according to Bowie's own artistic eras is avoided. The division into twenty-one chapters is much closer to breaking Bowie's work into conceptual categories that are present throughout his career and are related to questions of identity, sexuality and desire or sometimes even Bowie's own life in the background of it all. Still, as the author notes at the very beginning of the book – it is important not to conflate Bowie as a persona of popular music with his work. It is a popular approach in music journalism and production of music biographies to somehow look behind the performance in search of traumas that might have provoked an artist to perform in a specific mode. This is in its own a desire of authenticity always present with popular music that Critchley seeks to deconstruct in order to give more layers to Bowie's music, or as he is approaching it – poetry. ...

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9. rujna 2011.Draga Sarah,ispričavam se što je ovo pismo tako formalno, ali nemam sama u sebe povjerenja da bih ovo mogla izgovoriti uz čašu vina, posebno dok još i nisam sigurna što želim reći.Vjeruj mi da sam oduvijek cijenila tvoje prijateljstvo. Na onom pješačkom izletu kroz pustinju Sinaj, kada smo se svi upoznali, nijedno od nas četvero nije bilo sklono prigovaranju i to je ono što nas je zbližilo. Ostali su turisti neprestano cmizdrili zbog vrućine i hrane, ali mi smo bili neustrašivi. Kad ti je od previše sunca izbio gnojni herpes, unatoč povrijeđenoj taštini nastavila si stupati dalje kao da to nije ništa. Stoga bi mi bilo grozno da ispadne da je ovo pismo prigovor – no ipak, možda ono i jest prigovor.Tvoj je muž umro usred terorističkog napada 11. rujna. Moj je muž umro uslijed terorističkog napada 11. rujna. Toliko je toga proizišlo iz tih prijedloga, male slovne varijacije.Začudo, tvoja mi je priča jednako živa kao moja jer sam mnogo puta čula kako je prepričavaš na zabavama. To je priča koju svatko želi čuti. Kako je Davidova investicijska banka tek nedavno preselila urede na 89. kat (skok u svakom pogledu), no da su barem ostali na 37. katu, David bi vjerojatno preživio. Taj je dan obilovao riječju barem. Obavijest na razglasu da se svi u južnom tornju vrate za svoje stolove, pri čemu se izgubilo sedam dragocjenih minuta za bijeg prije udara drugog aviona. Tvoj posljednji razgovor s mužem. Njegov izvještaj kako na jedinom stubištu u funkciji suklja dim. Njegova namjera da s nekoliko desetaka ostalih krene prema krovu. A vrata koja vode do krova zaključana, iako si to doznala tek poslije. Helikopteri koji nikada nisu stigli. ...

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This essay starts from the premise that André Breton’s First Manifesto of Surrealism constitutes the ‘event’ of that movement (i.e., ‘event’ as defined in Alain Badiou’s Ethics), an event subsequently betrayed by its subject, André Breton, in his encounter with Nadja. Situated between rupture and repetition, the opportunity of the event returns in the Second Manifesto of Surrealism. Taking as its target Breton’s novel Nadja, the essay addresses the issue of event as repetition and explores the ramifications of the ‘failure’ to ‘imagine’ one’s continued fidelity to the event. Consequently, this article reads Nadja as a ‘failure’: the failure posed by representation itself, but also the failure of representation to completely annihilate the promise of a “beyond” encrypted in the project of surrealist imagination. Thus, I would like to play off the idea of failure in two complementary ways. First, I look at the ‘failure’ that is more significant than any achievement. Second, I address the failures at particular missed moments in history, expressed as a series of ‘returns’ in Nadja. Finally, the point of tension between the two types of failures in Nadja elicits a reading of Breton as a reactive, rather than an immortal Subject....

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