- Thus in Althusser, for example, the subject is simply a puppet of ideology or an iteration of the total system in which it emerges.
- In early Lacan the subject falls under the signifier, such that the signifier functions like a prophecy in its unconscious, determining its destiny and the structure of desire.
- For Foucault and Butler, the subject is a discursive construction and product of power.
The merit of these views is the manner in which they overcome abstraction by virtue of thinking entity in relation to its context or the world in which it emerges, rather than treating entity as a simple substance that is self-sufficient. Of course, these positions tend to suffer from another sort of abstraction, for they often treat social and cultural formations as the only determinative elements of context, ignoring the biological body, experience, and the natural world. In terms of the history of philosophy, we could see these paradigms of thought as reactions to the subject-centered systems of thinkers like Jean-Paul Sartre, where– in his earlier work, at least –there was little attentiveness to what Heidegger referred to as “the worldhood of the world”.
To put the matter crudely, the pendulum swung in the other direction. Where prior to this there was a focus on the supremacy of the subject or agent, on its self-determining freedom, there followed a shift towards the supremacy of what Burke refers to as the “scene” in his pentad. Scene (whether in the form of language, economics, power, social structure, etc) becomes determinative of entity, where before it was the agent, the subject, that was seen as determinative.
Not surprisingly, we today find the pendulum swinging yet again in the other direction. Exhausted by decades of theory dominated by the primacy of the scene such that all agency seems to merely reinforce structure and power without realizing it, we now find the pendulum swinging once again in the other direction, seeking to enact a return to the agent or agency in the rather poorly developed and abstract accounts of events and truth-procedures in Badiou and the Act in Zizek.