......• WITH OR WITHOUT PASSION •
William Butler Yeats, this arch-conservative, was right in is diagnosis of the XXth century, when he wrote: "...The blood-dimmed tide is loosed, and everywhere / the ceremony of innocence is drowned; / the best lack all conviction, while the worst / are full of passionate intensity." (The Second Coming, 1920). The key to his diagnosis is contained in the phrase "ceremony of innocence," which is to be taken in the precise sense of Edith Wharton's "age of innocence": Newton's wife, the "innocent" the title refers to, was not a naïve believer in her husband's fidelity - she knew well of his passionate love for Countess Olenska, she just politely ignored it and staged the belief in his fidelity... In one of the Marx brothers' films, Groucho Marx, when caught in a lie, answers angrily: "Whom do you believe, your eyes or my words?"
This apparently absurd logic renders perfectly the functioning of the symbolic order, in which the symbolic mask-mandate matters more than the direct reality of the individual who wears this mask and/or assumes this mandate. This functioning involves the structure of fetishist disavowal: "I know very well that things are the way I see them /that this person is a corrupt weakling, but I nonetheless treat him respectfully, since he wears the insignia of a judge, so that when he speaks, it is the Law itself which speaks through him". So, in a way, I effectively believe his words, not my eyes, i.e. I believe in Another Space (the domain of pure symbolic authority) which matters more than the reality of its spokesmen. The cynical reduction to reality thus falls short: when a judge speaks, there is in a way more truth in his words (the words of the Institution of law) than in the direct reality of the person of judge - if one limits oneself to what one sees, one simply misses the point. This paradox is what Lacan aims at with his les non-dupes errent: those who do not let themselves be caught in the symbolic deception/fiction and continue to believe their eyes are the ones who err most.
What a cynic who "believes only his eyes" misses is the efficiency of the symbolic fiction, the way this fiction structures our experience of reality. The same gap is at work in our most intimate relationship to our neighbors: we behave AS IF we do not know that they also smell badly, secrete excrement, etc. - a minimum of idealization, of fetishizing disavowal, is the basis of our co-existence. And doesn't the same disavowal account for the sublime beauty of the idealizing gesture discernible from Anna Frank to American Communists who believed in the Soviet Union? Although we know that Stalinist Communism was an appalling thing, we nonetheless admire the victims of the McCarthy witch hunt who heroically persisted in their belief in Communism and support for the Soviet Union.
The logic is here the same as that of Anne Frank who, in her diaries, expresses belief in the ultimate goodness of man in spite of the horrors accomplished by men against Jews in World War II: what renders such an assertion of belief (in the essential goodness of Man; in the truly human character of the Soviet regime) sublime, is the very gap between it and the overwhelming factual evidence against it, i.e. the active will to disavow the actual state of things. Perhaps therein resides the most elementary meta-physical gesture: in this refusal to accept the real in its idiocy, to disavow it and to search for Another World behind it. The big Other is thus the order of lie, of lying sincerely. And it is in this sense that "the best lack all conviction, while the worst are full of passionate intensity": even the best are no longer able to sustain their symbolic innocence, their full engagement in the symbolic ritual, while "the worst," the mob, engage in (racist, religious, sexist...) fanaticism? Is this opposition not a good description of today's split between tolerant but anemic liberals, and the fundamentalists full of "passionate intensity"?
Niels Bohr, who gave the right answer to Einstein's "God doesn't play dice" ("Don't tell God what to do!"), also provided the perfect example of how such a fetishist disavowal of belief works in ideology: seeing a horse-shoe on his door, the surprised visitor said that he doesn't believe in the superstition that it brings luck, to what Bohr snapped back: "I also do not believe in it; I have it there because I was told that it works also if one does not believe in it!" What this paradox renders clear is the way a belief is a reflexive attitude: it is never a case of simply believing - one has to believe in belief itself. Which is why Kierkegaard was right to claim that we do not really believe (in Christ), we just believe to believe - and Bohr just confronts us with the logical negative of this reflexivity (one can also NOT believe one's beliefs...). 1
At some point, Alcoholics Anonymous meet Pascal: "Fake it until you make it.." However, this causality of the habit is more complex than it may appear: far from offering an explanation of how beliefs emerge, it itself calls for an explanation. The first thing to specify is that Pascal's "Kneel down and you will believe!" has to be understood as involving a kind of self-referential causality: "Kneel down and you will believe that you knelt down because you believed!" The second thing is that, in the "normal" cynical functioning of ideology, belief is displaced onto another, onto a "subject supposed to believe," so that the true logic is: "Kneel down and you will thereby MAKE SOMEONE ELSE BELIEVE!" One has to take this literally and even risk a kind of inversion of Pascal's formula: "You believe too much, too directly? You find your belief too oppressing in its raw immediacy? Then kneel down, act as if you believe, and YOU WILL GET RID OF YOUR BELIEF - you will no longer have to believe yourself, your belief will already ex-sist objectified in your act of praying!" That is to say, what if one kneels down and prays not so much to regain one's own belief but, on the opposite, to GET RID of one's belief, of its over-proximity, to acquire a breathing space of a minimal distance towards it? To believe - to believe "directly," without the externalizing mediation of a ritual - is a heavy, oppressing, traumatic burden, which, through exerting a ritual, one has a chance of transferring it onto an Other...
When Badiou emphasizes that double negation is not the same as affirmation, he thereby merely confirms the old Hegelian motto les non-dupes errent. Let us take the affirmation "I believe." Its negation is: "I do not really believe, I just fake to believe." However, its properly Hegelian negation of negation is not the return to direct belief, but the self-relating fake: "I fake to fake to believe," which means: "I really believe without being aware of it." Is, then, irony not the ultimate form of the critique of ideology today - irony in the precise Mozartean sense of taking the statements more seriously than the subjects who utter them themselves?
In the case of so-called "fundamentalists," this "normal" functioning of ideology in which the ideological belief is transposed onto the Other is disturbed by the violent return of the immediate belief - they "really believe it." The first consequence of this is that the fundamentalist becomes the dupe of his fantasy (as Lacan put it apropos Marquis de Sade), immediately identifying himself with it. From my own youth, I remember a fantasy concerning the origin of children: after I learned how children are made, I still had no precise idea on insemination, so I thought one has to make love every day for the whole nine months: in woman's belly, the child is gradually formed through sperm - each ejaculation is like adding an additional brick... One plays with such fantasies, not "taking them seriously," it is in this way that they fulfill their function - and the fundamentalist lacks this minimal distance towards his fantasy.
Let us clarify this point apropos Elfriede Jelinek's The Piano Teacher, which can also be read as the story of a psychotic who lacks the coordinates of the fantasy which would allow her to organize her desire: when, in the middle of the film, she goes to a video cabin and watches a hardcore porn, she does it in order simply to learn what to do, how to engage in sex, and, in her letter to her prospective lover, she basically puts on paper what she saw there... (Her psychosis and lack of fantasmatic coordinates are clearly signalled in her strange relationship with her mother - when, in the middle of the night, she embraces her and starts to kiss her, this displays her total lack of the desiring coordinates that would direct her towards a determinate object - as well as her self-cutting of her vagina with a razor, an act destined to bring her to reality.) 2 At the very end of The Piano Teacher, the heroine, after stabbing herself, walks away (from the concert hall where she saw the last time her young lover) - what if this self-inflicted wound is to be conceived as "traversing the fantasy"? What if, through striking at herself, she got rid of the hold of the masochistic fantasy over herself? In short, what if the ending is "optimistic": after being raped by her lover, after she got her fantasy back at her in reality, this traumatic experience enables her to leave it behind? Furthermore, what if the fantasy she puts on the paper she gives to her lover is HIS OWN fantasy of what he really would really like to do to her, so that he is disgusted precisely because he gets from her DIRECTLY his own fantasy?
More generally, when one is passionately in love and, after not seeing the beloved for a long time, asks her for a photo to keep in mind her features, the true aim of this request is not to check if the properties of the beloved still fits the criteria of my live, but, on the contrary, to learn (again) what these criteria are. I am in love absolutely, and the photo a priori CANNOT be a disappointment - I need it just so that it will tell me WHAT I love... What this means is that true love is performative in the sense that it CHANGES its object - not in the sense of idealization, but in the sense of opening up a gap in it, a gap between the object's positive properties and the agalma, the mysterious core of the beloved (which is why I do not love you because of your properties which are worthy of love: on the contrary, it is only because of my love for you that your features appear to me as worthy of love). It is for this reason that finding oneself in the position of the beloved is so violent, traumatic even: being loved makes me feel directly the gap between what I am as a determinate being and the unfathomable X in me which causes love. Everyone knows Lacan's definition of love ("Love is giving something one doesn't have..."); what one often forgets is to add the other half which completes the sentence: "... to someone who doesn't want it." And is this not confirmed by our most elementary experience when somebody unexpectedly declared passionate love to us - is not the first reaction, preceding the possible positive reply, that something obscene, intrusive, is being forced upon us?
In a kind of Hegelian twist, love does not simply open itself up for the unfathomable abyss in the beloved object; what is in the beloved "more than him/herself," the presupposed excess of/in the beloved, is reflexively posited by love itself. Which is why true love is far from the openness to the "transcendent mystery of the beloved Other": true love is well aware that, as Hegel would have put it, the excess of the beloved, what, in the beloved, eludes my grasp, is the very place of the inscription of my own desire into the beloved object - transcendence is the form of appearance of immanence. As the melodramatic wisdom puts it, it is love itself, the fact of being loved, that ultimately makes the beloved beautiful.
Let us return to our fundamentalist: the obverse of his turning into a dupe of his fantasy is that he loses his sensitivity for the enigma of the Other's desire. In a recent case of analytic treatment in UK, the patient, a woman who was a victim of rape, remained deeply disturbed by an unexpected gesture of the rapist: after already brutally enforcing her surrender, and just prior to penetrating her, he withdraw a little bit, politely said "Just a minute, lady!" and put on a condom. This weird intrusion of politeness into a brutal situation perplexed the victim: what was its meaning? Was it a strange care for her, or a simple egotistic protective measure from the part of the rapist (making it sure that he will not get AIDS from her, and not the other way round). This gesture, much more than explosions of raw passion, stands for the encounter of the "enigmatic signifier," of the desire of the Other in all its impenetrability. Does such an encounter of the Other's desire follow the logic of alienation or that of separation? It can be an experience of utter alienation (I am obsessed with the inaccessible obscure impenetrable divine Desire which plays games with me, as in the Jansenist dieu obscur); however, the key shift occurs when, in a Hegelian way, we gain insight into how "the secrets of the Egyptians were also secret for the Egyptians themselves," i.e., into how our alienation FROM the Other is already the alienation OF the Other (from) itself - it is this redoubled alienation that generates what Lacan called separation as the overlapping of the two lacks.
And the link between these two features of the fundamentalist's position is clear: since fantasy is a scenario the subject builds in order to answer the enigma of the Other's desire, i.e., since fantasy provides an answer to "What does the Other want from me?", the immediate identification with the fantasy as it were closes up the gap - the enigma is clarified, we fully know the answer...
When theologians try to reconcile the existence of God with the fact of shoah, their answers build a strange succession of Hegelian triads. First, those who want to leave divine sovereignty unimpaired and thus have to attribute to God full responsibility for shoah, first offer (1) the "legalistic" sin-and-punishment theory (shoah has to be a punishment for the past sins of humanity-or Jews themselves); then, they pass (2) to the "moralistic" character-education theory (shoah is to be understood along the lines of the story of Job, as the most radical test of our faith in God - if we survive this ordeal, our character will stand firm...); and, finally, they take refuge in a kind of "infinite judgement" which should save the day after all common measure between shoah and its meaning breaks down, and (3) the divine mystery theory (facts like shoah bear witness to the unfathomable abyss of divine will). In accordance with the Hegelian motto of a redoubled mystery (the mystery God is for us has to be also a mystery for God Himself), the truth of this "infinite judgement" can only be to deny God's full sovereignty and omnipotence.
The next triad is thus composed of those who, unable to combine shoah with God's omnipotence (how could He have allowed it to happen?), opt for some form of divine limitation: (1) first, God is directly posited as finite (not all-encompassing, overwhelmed by the dense inertia of his own creation); (2) then, this limitation is reflected back into God himself as his free act - God is self-limited (He voluntarily constrained his power in order to leave the space open for human freedom); (3) finally, the self-limitation is externalized, the two moments are posited as autonomous - God is embattled (the dualistic solution: there is a counter-force or principle of demoniac Evil active in the world). However, it is only here that we encounter the core of the problem of the origin of Evil.
The standard metaphysical-religious notion of Evil is that of doubling, gaining a distance, abandoning the reference to the big Other, our Origin and Goal, turning away from the original divine One, getting caught into the self-referential egotistic loop, thus introducing a gap into the global balance and harmony of the One-All. The easy, all too slick, postmodern solution to this is to retort that the way out of this self-incurred impasse consists in abandoning the very presupposition of the primordial One from which one turned away, i.e., to accept that our primordial situation is that of finding oneself in a complex situation, one within a multitude of foreign elements-only the theologico-metaphysical presupposition of the original One compels us to perceive the alien as the outcome of (our) alienation. From this perspective, the Evil is not the redoubling of the primordial One, turning away from it, but the very imposition of an all-encompassing One onto the primordial dispersal. However, what if the true task of thought is to think the self-division of the One, to think the One itself as split within itself, as involving an inherent gap?
The very gap between gnosticism and monotheism can thus be accounted for in the terms of the origin of evil: while gnosticism locates the primordial duality of Good and Evil into God himself (the material universe into which we are fallen is the creation of an evil and/or stupid divinity, and what gives us hope is the good divinity which keeps alive the promise of another reality, our true home), monotheism saves unity (one-ness) of a good God by locating the origin of evil into our freedom (evil is either finitude as such, the inertia of material reality, or the spiritual act of willfully turning away from God). It is easy to bring the two together by claiming that the Gnostic duality of God is merely a "reflexive determination" of our own changed attitude towards God: what we perceive as two Gods is effectively the split in our nature, in our relating to God. However, the true task is to locate the source of the split between good and evil into God himself while remaining within the field of monotheism - the task which tried to accomplish German mystics (Jakob Boehme) and later philosophers who took over their problematic (Schelling, Hegel). In other words, the task is to transpose the human "external reflection" which enacts the split between good and evil back into the One God himself.
Back to the topic of shoah, this brings us to the third position above and beyond the first two (the sovereign God, the finite God), that of a suffering God: not a triumphalist God who always wins at the end, although "his ways are mysterious," since he secretly pulls all the strings; not a God who exerts cold justice, since he is by definition always right; but a God who - like the suffering Christ on the Cross - is agonized, assumes the burden of suffering, in solidarity with the human misery. It was already Schelling who wrote: "God is a life, not merely a being. But all life has a fate and is subject to suffering and becoming. /.../ Without the concept of a humanly suffering God /.../ all of history remains incomprehensible." Why? Because God's suffering implies that He is involved in history, affected by it, not just a transcendent Master pulling the strings from above: God's suffering means that human history is not just a theater of shadows, but the place of the real struggle, the struggle in which the Absolute itself is involved and its fate is decided. This is the philosophical background of Dietrich Bonhoffer's deep insight that, after shoah, "only a suffering God can help us now" - a proper supplement to Heidegger's "Only a God can still save us!" from his last interview. One should therefore take the statement that "the unspeakable suffering of the six millions is also the voice of the suffering of God" quite literally: the very excess of this suffering over any "normal" human measure makes it divine. Recently, this paradox was succinctly formulated by Juergen Habermas: "Secular languages which only eliminate the substance once intended leave irritations. When sin was converted to culpability, and the breaking of divine commands to an offense against human laws, something was lost." Which is why the secular-humanist reactions to phenomena like shoah or gulag (AND others) is experienced as insufficient: in order to be at the level of such phenomena, something much stronger is needed, something akin to the old religious topic of a cosmic perversion or catastrophe in which the world itself is "out of joint." Therein resides the paradox of the theological significance of shoah: although it is usually conceived as the ultimate challenge to theology (if there is a God and if he is good, how could he have allowed such a horror to take place?), it is at the same time only theology which can provide the frame enabling us to somehow approach the scope of this catastrophe - the fiasco of God is still the fiasco of GOD.
1. It is still fashionable today to mock the Freudian notion of phallus by ironically discerning everywhere "phallic symbols" - for example, when a story mentions a strong, forward-thrusting movement, this is supposed to stand for "phallic penetration"; or, when the building is a high tower, it is obviously "phallic," etc. One cannot but notice how those who make such comments never fully identify with them - they either impute such a belief into "phallic symbols everywhere" to some mythical orthodox Freudian, or they themselves endorse the phallic meaning, but as something to be criticized, to be overcome. The irony of the situation is that the naïve orthodox Freudian who sees "phallic symbols everywhere" does not exist, that he is a fiction of the critic himself, his "subject supposed to believe." The only believer in the phallic symbols is in both cases the critic himself, who believes through the other, i.e., who "projects" (or, rather, transposes) his belief onto the fictive other.
2. I owe this point to Geneviève Morel.
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