[Scrap] 『Coldness and Cruelty 냉정함과 잔인성』

The libertine states that he finds excitement not in “what is here", but in “what is not here", the absent Object, “the idea of evil"

난봉꾼은 자신을 흥분시키는 것이 "여기 있는 것"이 아니라 "여기에 없는 것", 부재하는 대상, 즉 "악의 개념"이라는 사실을 이야기 한다…

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Foot Notes; 
30. On the link between agrarian and incestuous themes and the role of the plough, cf. Salvador Dali’s brilliant text in 『Le mythe tragique de l’Angelus de Millet』, Pauvert.

주(註) ; 30. 농경과 근친상간적 주제, 그리고 쟁기 사이의 연관성에 대해서는 포에르 출판사의 『밀레의 만종에 나타난 비극적 신화』에서 살바도르 달리의 글을 참조할 것.

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The two principle male figures in Masoch’s work are Cain and Christ. Their sign is the same, the sign of Cain prefiguring the sign of the cross which used to be written as X or as +. That Cain should occupy such an important place in the work of Masoch has a very wide range of significance. He symbolizes in the first place the omnipresence of crime in nature and history, and the immensity of man’s sufferings("My punishment is more than I can bear"). But beyond this, there is the fact that Cain is a “tiller of the ground" and the favorite of the mother: Eve greeted his birth with cries of joy, but did not rejoiced the birth of Abel, the “keeper of sheep", who is on the father’s side. The mother’s favorite went so far as to commit a crime to sever the alliance between the father and the other son: he killed his father’s likeness and amde Eve into the goddess-mother.(Herman Hesse’s strange novel,Demian, interweaves Nietzschean and masochistic themes: the mother-goddeness is identified with Eve, a female giant who bears on her forehead the mark of Cain). Masoch is attracted to Cain not only because of the torments he suffers but also by the very crime that he commits… Cain’s heritage is a “mark" ; this punishment by the Father represents the aggressive, hallucinatory return of the latter…

The second episode is the story of Christ: the likeness of the father is once more abolished.(Father! Why hast thou foresaken me?"), but it is the Mother who crucifies the Son; in the masochistic elaboration of the Marian fantasy, the Virgin in person puts Christ on the cross; this is Masoch’s version of “the death of God". By putting him on the cross and thus placing him under the same sign as the son of Eve, the Virgin carries on the aim of the mother-goddess, the great oral mother; she ensures the parthenogenetic second birth of the son in his resurrection. But again, it is not the son who dies so much as God the Father, that is the likeness of the father in the son. The cross represents the maternal image of death, the mirror in which the narcissistic self of Christ(Cain) apprehends his ideal self(Christ resurrected)…

- Gilles Deleuze, 『Coldness and Cruelty 냉정함과 잔인성』