Signifier, Object, and the Transference
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way. -
Objet Petit A,” Once Socialist-Modernist City Square Into a Theatrical Backdrop
She just goes a little mad sometimes. We all go a little mad sometimes. Haven’t you? – Norman Bates in Psycho This essay is an galma dedicated to the Macedonian government’s project “Skopje 2014,” 01/09 which recently turned Skopje, the capital of the Republic, into a memorial park of “false memories.”1 Over the last five years, a series of unskillfully casted figurative monuments have appeared throughout Skopje, installed over the night, as if brought into public space by the animated hand from the opening credits of Monty Python’s Flying Circus.2 Figures from the Suzana Milevska national past (some relevant, some marginal), buildings with obvious references to Westernized aesthetic regimes (mere imitations of styles from çgalma: The periods atypical for the local architecture), and sexist public sculptures have transformed the ‟Objet Petit a,” once socialist-modernist city square into a theatrical backdrop. Alexander the ÊÊÊÊÊÊÊÊÊÊMore than ninety years ago, in a kind of a manifesto of anti-monumental architectural and artistic revolution, Vladimir Tatlin challenged 4 Great, and 1 both the “bourgeois” Eiffel Tower and the Statue 0 2 of Liberty with his unbuilt tower Monument to the e j p Third International (1919–25). Since then, Other Excesses o k S discourses on contemporary monuments have f o flourished elsewhere in Europe (“anti- s of Skopje 2014 e monuments,” “counter-monuments,” “low- s s e budget monuments,” “invisible monuments,” c x E “monument in waiting,” “participatory r 3 e monuments” ) but this debate has completely h t O a bypassed the Macedonian establishment. k d s n v ÊÊÊÊÊÊÊÊÊÊThe government’s promise that the Skopje a e l , i t 2014 project would attract tourists and a M e a r journalists to Macedonia has been realized, but n G a e z for all the wrong reasons – in many articles, h u t S r Ê Skopje’s city center is depicted as a kind of e 4 d 1 “theme park,” and some of the newly built n 0 a 2 x r museums are referred to as “chambers of e l e 4 b A horrors.” In short, Skopje 2014 has become a m ” , e a t laughing stock for the foreign press. -
Lacan's Objet Petit a Between Visibility and Invisibility
Cont Philos Rev (2013) 46:251–269 DOI 10.1007/s11007-013-9263-z ‘‘The object in the mirror of genetic transcendentalism: Lacan’s objet petit a between visibility and invisibility,’’ Adrian Johnston Published online: 4 June 2013 Ó Springer Science+Business Media Dordrecht 2013 Abstract One of the more superficially perplexing features of Lacan’s notion of objet petit a is the fact that he simultaneously characterizes it as both non-specu- larizable (i.e., incapable of being captured in spatio-temporal representations) and specular (i.e., incarnated in visible avatars). This assignment of the apparently contradictory attributes of visibility and invisibility to object a is a reflection of this object’s strange position at the intersection of transcendental and empirical dimensions. Indeed, this object, which Lacan holds up as his central psychoanalytic discovery, raises important philosophical questions about the transcendental- empirical distinction, arguably short-circuiting in interesting, productive ways this dichotomy and many of its permutations. This article seeks to achieve two aims: one, to clarify how and why Lacan situates object a between the specular and the non-specular; and, two, to extract from the results of this clarification a preliminary sketch of a post-Lacanian transcendentalism that is also thoroughly materialist. Keywords Lacan Á Mirror stage Á Object a Á Transcendentalism Á Materialism Á Hegel The object of Jacques Lacan’s thirteenth seminar of 1965–1966, entitled ‘‘The Object of Psychoanalysis,’’ is, unsurprisingly, none other than his (in)famous objet petit a, the object for which he takes the credit of discovering.1 In the opening session of this academic year, a session written-up and published separately as the e´crit ‘‘Science and Truth,’’ Lacan establishes a sharp contrast between scientific 1 Lacan (1973–1974, April 9th, 1974). -
On Ambivalence
PROBLEMI INTERNATIONAL, vol.On 1 no.Ambivalence 1, 2017 © Society for Theoretical Psychoanalysis On Ambivalence Tadej Troha The term “ambivalence” was coined a little over hundred years ago by Eugen Bleuler, the then director of Burghölzli, who despite sympathizing with psychoanalysis refrained from becoming a genuine part of the emerging Freudian collective body. In the end, his insistence on maintaining his individuality produced an ironic twist: while Freud (and Jung, for that matter) became popular authors, Bleuler was left with the impossible trophy of being the author of popular signifiers, the author of terms that seem to have appeared out of nowhere: in addition to ambivalence, he ought to be credited for inventing “autism” and “schizophrenia.” It is well known that Freud was not very enthusiastic about the latter terms and kept insisting on paraphrenia and narcissism, respectively. As for ambivalence, he accepted it immediately and without hesitation. When introduced in Freud’s essays, ambiva- lence is accompanied with a whole series of laudatory remarks: the term is glücklich, gut, passend, trefflich, “happily chosen” (Freud 2001 [1905], p. 199), “excellent” (Freud 2001 [1912], p. 106), “appropriate” (Freud 2001 [1909], p. 239n), “very apt” (Freud 2001 [1915], p. 131). Although he rarely fails to point out that he is not the author of the term, he never bothers to present the reader with the particular clinical framework within which the term has been invented. The praise of the author is here transformed into the praise of the term itself, the quotation does not add anything to Bleuler’s authority; it is rather an excuse to repeatedly point to the authority and breakthrough nature of the 217 Tadej Troha very conceptual background that made the invention possible. -
This Body, This Civilization, This Repression: an Inquiry Into Freud and Marcuse
University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 2008 This body, this civilization, this repression: An inquiry into Freud and Marcuse Jeff Renaud University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Renaud, Jeff, "This body, this civilization, this repression: An inquiry into Freud and Marcuse" (2008). Electronic Theses and Dissertations. 8272. https://scholar.uwindsor.ca/etd/8272 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. THIS BODY, THIS CIVILIZATION, THIS REPRESSION: AN INQUIRY INTO FREUD AND MARCUSE by JeffRenaud A Thesis Submitted to the Faculty of Graduate Studies through Philosophy in Partial Fulfillment of the Requirements -
The Enigma of the Hour 100 Years of Psychoanalytic Thought
The Enigma of the Hour 100 Years of Psychoanalytic Thought An exhibition to mark the centenary of The International Journal of Psychoanalysis curated by Simon Moretti with Goshka Macuga and Dana Birksted-Breen Freud Museum London Exhibition Guide On the occasion of the centenary of a return to disintegration of the death drive Linder, Goshka Macuga, Simon The International Journal of Psychoanalysis, the of Thanatos. In dialogue with the curators, exhibition The Enigma of the Hour: 100 Years the group of researchers and psychoanalysts of Psychoanalytic Thought presents archival explored in collaboration various aspects of the Moretti, Daniel Silver, Paloma material around specific themes, which touch history of the International Journal, the fruit of on the origins and life of The International which is exhibited in the Display Case in the Journal, alongside contemporary artworks. Exhibition Room and elaborated on in the Varga Weisz with additional Originally conceived by the Journal’s editor- Compendium to it. in-chief Dana Birksted-Breen and curated works by Duncan Grant, by artists Simon Moretti and Goshka Macuga The exhibition includes new commissions with Dana Birksted-Breen, the exhibition by Simon Moretti and Goshka Macuga, brings together themes central to both psycho- made in response to the themes and archives Barbara Ker-Seymer & John analysis and art: translation, transformation, chosen, as well as especially selected works temporality, the unconscious, metaphor and by their invited artists, Linder, Daniel Silver dreams. The theme of Oedipus, which was so and Paloma Varga Weisz, and loans from the Banting, Rodrigo Moynihan critical to Freud’s theorizing, with Oedipus British Psychoanalytic Society, and the Tate and the Sphinx from a painting by Ingres Gallery, including works by Duncan Grant, chosen as logo of the Journal, also appears Barbara Ker-Seymer with John Banting and as a leitmotif in the exhibition. -
Inside out Guattari’S Anti-Oedipus Papers
Inside out Guattari’s Anti-Oedipus Papers Daniel W. Smith Félix Guattari met Gilles Deleuze in Paris shortly after written between 1969 and 1972, addressed to Deleuze, the events of May 1968, through a mutual friend. Over and they constitute the basis for much of the material the next twenty-five years, he would co-author five in Anti-Oedipus (a few of the papers were written after books with Deleuze, including, most famously, the the publication of Anti-Oedipus in March of 1972, and two volumes of Capitalism and Schizophrenia – Anti- anticipate A Thousand Plateaus). The manuscripts Oedipus (1972) and A Thousand Plateaus (1981). Their were never meant to be published in their own right, collaboration, a kind of French version of Marx and and no doubt some will question their significance, Engels, sparked enormous interest and curiosity: what much as the value of Nietzscheʼs vast Nachlass has had led them to undertake their joint labour? How been disputed. Authors are indeed assessed by their exactly did they work and write together? In 1972, fruits, not their roots. Yet there is new and informative Guattari had not yet written a book of his own; his material here, at least for readers with the patience to first book, Psychoanalysis and Transversality, would toil through Guattariʼs jottings. The papers, as one be published shortly after Anti-Oedipus, with an intro- might expect, vary widely in style, content and tone, ductory essay by Deleuze. Deleuze, by contrast, was ranging from fairly developed theoretical proposals already a well-known figure in French philosophy to scattered notes on diverse topics to early chapter and the author of ten influential works, including the outlines for A Thousand Plateaus. -
Staircase, Berggasse 19, Vienna 2017
Staircase, Berggasse 19, Vienna 2017 344 The Dream— an Imaging Process Monika Pessler As Sigmund Freud observes in The Interpretation of Dreams, «dreams think 345 essentially in images,» and while noises and sounds can at times make their ways into our imaginations, our dream-lives generally favor the visual.1 According to Freud, visual hallucinations replace the expression of thoughts in the form of language because dreams are characterized by «only those elements of their content which behave like images.»2 Another characteristic the psychoanalyst attributes to dreams, and one which is equally inherent to the arts, is an ability to «construct,» to represent an event that is «actually happening,» or to «dramatize an idea.»3 As such, Freud’s characterizations equally apply to artistic modes of rep- resentation: in particular conceptual art, which above all serves to visualize an idea. Greater significance is generally attached to the concept than to its rep- resentation—similar to psychoanalysis, which regards latent thoughts in the unconscious important components which manifest themselves dream images. Just consider Freud’s dictum that subjectively perceived «psychical reality» is more important than «material reality,» in other words, that psychically com- municated realities generally appear more factual than those regarded by the environment as given.4 Freud’s rejection of the «seduction theory» strengthened his awareness that mental ideas, fantasies, outstrip the factual, and are responsible for producing psychosomatic symptoms,5 and thus the formation of the dream itself is like- wise driven by «wish[es] from the unconscious.»6 In an effort to support its associative potential, art is conditioned on con- scious action. -
A Brief History of the British Psychoanalytical Society
A BRIEF HISTORY OF THE BRITISH PSYCHOANALYTICAL SOCIETY Ken Robinson When Ernest Jones set about establishing psychoanalysis in Britain, two intertwining tasks faced him: establishing the reputation of psychoanalysis as a respectable pursuit and defining an identity for it as a discipline that was distinct from but related to cognate disciplines. This latter concern with identity would remain central to the development of the British Society for decades to come, though its inflection would shift as the Society sought first to mark out British psychoanalysis as having its own character within the International Psychoanalytical Association, and then to find a way of holding together warring identities within the Society. Establishing Psychoanalysis: The London Society Ernest Jones’ diary for 1913 contains the simple entry for October 30: “Ψα meeting. Psycho-med. dinner” (Archives of the British Psychoanalytical Society, hereafter Archives). This was the first meeting of the London Psychoanalytical Society. In early August Jones had returned to London from ignominious exile in Canada after damaging accusations of inappropriate sexual conduct in relation to children. Having spent time in London and Europe the previous year, he now returned permanently, via Budapest where from June he had received analysis from Ferenczi. Once in London he wasted no time in beginning practice as a psychoanalyst, seeing his first patient on the 14th August (Diary 1913, Archives), though he would soon take a brief break to participate in what would turn out to be a troublesome Munich Congress in September (for Jones’s biography generally, see Maddox [2006]). Jones came back to a London that showed a growing interest in unconscious phenomena and abnormal psychology. -
Suspense and Film: a Lacanian View”
DIPLOMARBEIT Titel der Diplomarbeit “SUSPENSE AND FILM: A LACANIAN VIEW” Verfasserin Katarína Kubová angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 190 344 353 Studienrichtung lt. Studienblatt: UF Englisch Betreuerin: Univ.- Prof. Dr. Eva Müller-Zettelmann DECLARATION OF AUTHENTICITY I confirm to have conceived and written this paper in English all by myself. Quotations from other authors and any ideas borrowed and/or passages paraphrased from the words of other authors are all clearly marked within the text and acknowledged in the bibliographical references. Vienna, in April 2011 ____________________________________ ACKNOWLEDGEMENTS Thanks to my family for their support, especially my mother. Thanks to my boyfriend Joe, without You, this paper will never see the light of the day. Thanks to my supervisor, Univ.-Prof. Dr. Eva-Müller Zettelmann for guidance. Dedicated to Babaj CONTENTS 1. Introduction .............................................................................................................. 1 2. Lacanian psychoanalysis .......................................................................................... 4 2.1. Imaginary Symbolic and Real ........................................................................... 5 2.1.1. Mirror stage ................................................................................................ 9 2.1.2. The “fort-da” game ................................................................................... 12 2.2. -
Journal of Arts & Humanities
Journal of Arts & Humanities Volume 06, Issue 11, 2017, 09-19 Article Received: 25-10-2017 Accepted: 09-11-2017 Available Online: 10-11-2017 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v6i10.1292 Lytton Strachey, A Rebellious Man of Peculiarity: A Review of Holroyd’s Lytton Strachey: The New Biography Qinchao Xu1, Junhao Li2 ABSTRACT Lytton Strachey: The New Biography is an important biography by Michael Holroyd, portraying the extraordinary life of Lytton Strachey, who is also a biographer, in detail. Based on reading the text of Lytton Strachey: The New Biography, this paper analyzes Lytton Strachey’s most distinct character - rebel combined with the social background and the theory of “the New Biography” in three aspects. First, Strachey’s rebellious character in his daily life is analyzed. His beating falsetto, ironic tone and ambiguous silence make him mysterious; his unique dressing style makes him different in the Victorian Age when people tended to wear similar clothes with others in dark suits; and at this time people were all optimistic because of their powerful country while Strachey was always surrounded by a mysterious pessimistic air. Second, Strachey’s view of love is analyzed. He had a strong tendency of homosexual and most of his lovers in his life were males. While, in the Victorian Age, homosexual was illegal. Under the pressure of morality and law, Strachey still followed his heart and fell in love with his boys. His life interprets what love really is — his love is a kind of humanistic love, rather than simple lust. -
Marx and Freud in Latin America
Critique of Planned Obsolescence: Marx and Freud in Latin America bruno bosteels cornell university oday, the least that we can say about Marxism is that, if it were not for the Tuse of attenuating prefixes such as ‘‘post’’ or ‘‘neo,’’ its mere mention has become an unmistakable sign of obsolescence. Thus, while in second-hand book- stores from Mexico City to Tierra del Fuego, the old manuals of historical and dialectical materialism from the Soviet Academy of Sciences keep piling up, almost nobody really seems to be referring to Marxism anymore as a vital doc- trine of political or historical intervention. Rather, Marx and Marxism in the eyes of the not-so-silent majority have become things from the past. In the best scenarios, they simply constitute an object for nostalgic or academic commemo- rations; in the worst, they occupy the bench of the accused in the world-historical tribunal for the trial of crimes against humanity. A´ lvaro Garcı´a Linera, the current Vice-President of Bolivia under Evo Morales, in an important text from 1996, written from prison where he was being held under maximum security rule on charges of subversive and terrorist activity, a text titled ‘‘Tres retos al marxismo para encarar el nuevo milenio’’ (‘‘Three Chal- lenges for Marxism to Face the New Millenium’’) and included in the collective volume Las armas de la utopı´a. Marxismo: Provocaciones here´ticas (The Arms of Utopia. Marxism: Heretical Provocations), describes the situation as follows: Yesterday’s rebels who captivated the poor peasants with the fury of their subversive language, today find themselves at the helm of daz- zling private companies and NGOs that continue to ride the martyred backs of the same peasants previously summoned.