Wann hast du Geburtstag?
Deaf and dumb go hand in hand. In mythology, the mere sight of this snake-tressed monster would turn a man to stone; to see her face is to die. The killing powers of women derive from a male fantasy of loss: This is the model of vision on which modern discursivity is supposedly based.
Ovid, Metamorphoses Figure 1. The Head of Medusa, oil on canvas, mounted on a wooden shield, by Michelangelo Merisi da Caravaggio, — Galleria Uffizi, Florence, Italy. Critics take the emergence of this model of vision to be determinative of the shift from medieval to modern.
The grand narrative is not one I subscribe to in this book. It needs to be shaken—solicited—into movement, a matter I explore in the last two chapters of the book. In the theorizing of the medieval-to-modern transition as the passage from orality to a resolutely perspectival regime, the fear of the os mutum would seem to be realized.
Even more catastrophic is prelingual deafness for the reason that, as I make the case in this book, it constitutes a more originary lack: We have no deaf and dumb sages to set alongside these blind seers.
I suggest that, even more than speech, phonocentrism privileges hearing. As I demonstrate in the following pages, audiocentrism does not diminish the importance accorded to light and sight in this tradition: The metaphor is at once spatial and temporal: This photology posits an immediate relationship between the voice and the light-sight theoria, eidos, clarity, visibility, revelation, intelligibility, telos, etc.
Die Inhalte dieser Websites dürfen außerhalb der Grenzen des Urheberrechts ohne schriftliche Genehmigung von der samedi GmbH nicht in irgendeiner Form vervielfältigt, verbreitet, verändert oder Dritten zugänglich gemacht werden. Teri Tordai, Actress: Der Turm der verbotenen Liebe. Teri Tordai was born on December 28, in Debrecen, Hungary. She is an actress, known for Der Turm der verbotenen Liebe (), Susanne, die Wirtin von der Lahn () and Sellö a pecsétgyürün I ().Born: Dec 28, Heute schon war in der NNP zu lesen, dass der Pflegepartner Limburg Aktiv! in den bisherigen Räumlichkeiten der Helios-Klinik demnächst ein neues Seniorenzentrum betreiben wird! Nach umfangreichen Umbaumaßnahmen ist .
What is fascinating and frightening about muteness, then, is the interior lack that it supposedly reveals: Derrida refers to this idealized speaking-hearing simultaneity as hearing-oneself-speak; the term is one I will resort to several times in this book. As well, they are caught up from the start in the sort of linguistic spacing that phonocentrism attempts to collapse.
The moment of discovery was not without trauma: In the text I read in chapter 2, Immanuel Kant stoops and, almost losing his balance, picks up on the stirrup. For at each stage of his university design—a labyrinth architecture that gives the institution the shape of an inner ear— Kant withdraws himself further into the interior of the place, constructing a hierarchy of the disciplines by way of charting this inward movement.
In this case, mourning would be a work of swallowing the voice and of making it an uncanny presence that haunts the university crypt. In the phonocentric institution, hearing, fully idealized as hearing-oneself-speak, has priority: Since, without movement, no embodied hearing can take place, the university ends up with both its tongue and ear cut off.
Kant, who always puts philosophy on the left, leaves us with an institution that is weakened on this side, and that, with its inner ear disabled, suffers from problems of balance.
We could even say, given this erosion of the interior, that the modern university is born not only still, still-born, but also stooped over. At its inauguration, the institution is already in danger of falling. Out of the same anxiety about lost proximity, he insists on a strict separation of philosophy from the other university faculties, and even on a division within MOURNING THE VOICE 13 philosophy itself, a boundary that would separate pure reason from branches of the discipline historical philosophy, for instance that clothe reason in empirical knowledge.
With this boundary, he is determined to exclude from the university a disparate group, some of whom are beholden not so much to reason as to political and utilitarian concerns; some of whom are either too distracted or too incompetent—idiots IdiotenKant calls them—to listen to the voice of reason.
More drastically still, the man deaf from birth, who has not yet heard the voice of reason speak within him, who has never heard-himself-speak, cannot arrive at an idea.
A generation after Kant, the work of that other great philosopher-architect of modernity, Georg Wilhelm Friedrich Hegel, also casts doubt on the thesis that, in the shift from medieval to modern, the voice and ear are left behind.
The eye is generally taken to be at the center of this tropological system: Spirit is the sound-source: I must add that Sa is, as a Medusa-effect, silence absolute.
According to Hegel, a woman belongs to the home and the hearth because, like the Sphinx, incapable of vibrating freely with herself, she is impotent: Also like the Sphinx, which crosses female breasts and face with animal paws and wings, she is a hybrid creature, part above ground, part below: But even though the family-as-family ceases to be—in the passage to education of sons—the family-as-structure goes on: Audibility, I will argue, requires exteriority:Juni hat die Rechtsanwaltskammer Frankfurt am Main an Frau Lisa Laux gefällt das.
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