What Does Europe Want?: The Union and its Discontents
Despite the fact that the European Union faces the biggest crisis since its foundation, on July 1st, 2013, a new state joined the club. For the foreseeable future, Croatia will probably be the last to join; at the same time creating a barrier between the once connected states of the Balkans. Paraphrasing Freud's famous question - 'What does a woman want?' - one of the greatest European philosophers of our day, Slavoj iek, joins forces with the young Croatian philosopher, Srecko Horvat, to examine the burning question 'What does Europe want?'. Instead of a peace-project, the European Union is increasingly turning into a warzone: whether it be the expulsion of immigrants or riots in Paris and London, or European interventions to bring "more democracy" to Libya or Syria. Instead of leaving Europe to the enemies, iek and Horvat reflect on the fight for a different Idea of Europe; one that embraces all its peoples equally.
social needs. The conﬂict has already begun. There is an alternative solution to the crisis. This is to protect European companies from the speculation of ﬁnancial capital. It is the emancipation of the real economy from the constraints of proﬁt. It is a way out of monetarism and authoritative ﬁscal policy. It is a new development planning with social beneﬁts as the main criterion. It is a new production model, based on decent work conditions, the expansion of public good and environmental
person whom one would expect to preach abstinence and renunciation turns out to be the agent of ﬁdelity to one’s desire. Signiﬁcantly, when The Sound of Music was shown in (still Socialist) Yugoslavia in the late 1960s, THIS scene – the three minutes of this song – was the only part of the ﬁlm which was censored (cut out). The anonymous Socialist censor thereby displayed his profound sense for the truly dangerous power of Catholic ideology: far from being the religion of sacriﬁce, of renunciation
In repeating the language of another, she signs her own love. In repeating, she communicates with him. She speaks her own name by just repeating his words. And as always with speech, one is blind. And at base, Echo blindly but quite lucidly corresponds to Narcissus. It’s a story of love, after all. She corresponds to Narcissus who is also blind, because Narcissus realises that he can only see himself, that it’s only his own image he is seeing in the water. To see only oneself is a form of
the line for mercy!’ Living up to his task, Tito forgets everyone, but those whom he pardons are condemned to remember it forever: SEXTUS: It is true, you pardon me, Emperor; but my heart will not absolve me; it will lament the error until it no longer has memory. TITUS: The true repentance of which you are capable, is worth more than constant fidelity. This couplet from the ﬁnale blurts out the obscene secret of Clemenza: the pardon does not really abolish the debt, it rather makes it inﬁnite –
limits; let’s call it the Lula-Mandela 164 the role of the european left story. A movement with some radical potential takes power and basically accepts the game of international capital. I am not blaming them. First, some limited results can be produced in this way; Lula did do some good things, and one should also frankly ask the people who accuse Mandela and the African National Congress of not introducing socialism – well, wouldn’t this have led to an economic catastrophe because of the