In her opening chapter on Marx, Kofman provides a reading of inversion as necessary to the ideological process. She then explores the metaphor of the camera obscura in Freud's description of the unconscious. For Nietzsche the camera obscura is a "metaphor for forgetting." Kofman asks here whether the "magical apparatus" of the camera obscura, rather than bringing about clarity, serves some thinkers as fetish. Camera Obscura is a powerful discussion of a metaphor that dominates contemporary theory from philosophy to film.
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|Publisher:||Cornell University Press|
|Product dimensions:||5.40(w) x 8.40(h) x 0.40(d)|
|Age Range:||18 Years|
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"Sarah Kofman's book is a focused and tightly argued discussion of the camera obscura-and the visual more generally-in learned and well-crafted essays that present a sustained critique of metaphor and ideologies. Her discussion of the omnipotent ocular is conducted in part to understand the role played by ideology and metaphor in warding off the horror of castration, in part to show that this same structure also functions as an ambiguous remedy."
"The first English translation of Camera Obscura, de l'ideology (originally published in Paris in 1973), Kofman discusses the use of the image of the camera obscura in the work of Marx, Freud, and Nietzsche....Kofman provides an insightful look at Marx's use of the idea of inversion—as this is supposed to occur both in a camera obscura and in ideology. She interprets Marx to hold that religion is not only a form of ideology, but 'the form of every ideology.' Kofman draws useful connections among Marx, Freud, and Nietzsche, who all draw attention to something—ideology or the unconscious or perspective—as a powerful (but often unrecognized) part of human life."