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This book examines the philosophical and political relevance of perversion in the works of three key representatives of contemporary philosophy and psychoanalysis: Gilles Deleuze, Giorgio Agamben and Jacques Lacan. Perversion is often understood simply in terms of cultural or sexual phenomena. By contrast, Boštjan Nedoh places perversion at the heart of philosophical, ontological and political issues in the works of Deleuze, Agamben and Lacan. He examines the relevance of their discussions of perversion for their respective critical ontological projects. By tracing the differences between these thinkers’ understanding of perversion, the book finally draws lines of delimitation between the vitalist and the structuralist or psychoanalytic philosophical positions in contemporary philosophy.
Boštjan Nedoh is a Research Fellow at the Research Centre of the Slovenian Academy of Sciences and Arts, Institute of Philosophy, Ljubljana.
Acknowledgments PrefacePart I: Introductory: Perversion as a Theatre of Being 1 Perversions and Critical Ontologies: Ontologysing Perversion, Perverting Ontology in Deleuze, Agamben, and LacanPart II: Perversion between Deleuze’s Transcendental Empiricism and the Ontology of Immanence Theatrum Philosophicum2 Deleuze’s Transcendental Empiricism: Simulacrum, Divergence and the Ontology of Difference3 Masoch as a Name-of-Being4 From Masoch to Tao: The Revision of Masochism in Late DeleuzePart III: Beyond Metaphysics? Perversion in Agamben’s Philosophy of Language and Political Philosophy Theatrum Politicum5 Perverse Sphinx Against Oedipal Metaphysics: (Anti-)Metaphysics of Perversion in Agamben’s Critique of Derrida and Freud6 Messianism between Religion and Post-Religion: On the Perverse Structure of the Messianic Time7 State of Exception and Sade’s Biopolitical ManifestoPart IV: Not Without the Other: Ontology and Perversion in Lacanian Psychoanalysis Theatrum Analiticum8 Why Perversi
Why is perversion not simply a social phenomenon but a mode of being? In this remarkable book, Nedoh audaciously stalks a novel ontology that dresses in variegated furs. Lacan’s indifferently ferocious superego is juxtaposed to and played against the vitalist simulacra of Deleuze’s Masoch and Agamben’s Sphinx. Should critique drive with high heels?