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The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience
... Self-identity is an important element of psychological activities since human beings have their own culture. Lacan (2010) argue that the completion of the ego is formed through mirror viewing. Through mirror-viewing, the infant confirms the existence of the 'self' in the mirror, forming a self-conscious and narcissistic self-identity (Wu, 2010). ...
... Through mirror-viewing, the infant confirms the existence of the 'self' in the mirror, forming a self-conscious and narcissistic self-identity (Wu, 2010). According to Lacan (2010), the mirror image is the beginning of the formation of the self, and through viewing, the synthetic path of selfconsciousness is formed. In the movie, the confirmation that Mao Mao is a ghost is impossible to re-form the self. ...
... The film Marry My Dead Body, when subjected to the analytical lenses of Lacan (2010) and Foucault (2019) on the body, becomes a rich tapestry of insights that unravel the intricate dynamics of desire, identity, and societal norms. The central character, Mao Mao, whose spectral existence blurs the boundaries between the ethereal and the corporeal, serves as a compelling conduit for delving into these profound dimensions of the human experience. ...
This paper presents a detailed analysis of the body narrative in the Taiwanese comedy film Marry My Dead Body, exploring how bodily representations serve as a vehicle for examining Taiwan's complex social and cultural contexts. Utilizing Foucault's theory of discourse and power, this study investigates the narrative strategies and power dynamics embedded in the film's portrayal of bodies. The contrasting depictions of human, ghostly, and gendered bodies dissolve conventional fears surrounding ghosts and death, while simultaneously addressing the contentious issue of same-sex marriage. Through the characters Mao Mao and Ming Han, the film reflects Taiwan's intricate social fabric, where traditional and modern gender roles intersect. Mao Mao’s body symbolizes Taiwan's evolving gender culture, while Ming Han's body embodies traditional Chinese gender symbols, making bodily representation a multifaceted carrier of cultural, social, and historical meanings. This analysis contributes to a deeper understanding of gender culture in Taiwan, challenging the conventional view of LGBTQ+ representation in contemporary Taiwanese cinema.
... S/he rather had problems while defining who he was, primarily with the question "who am I"? In Lacanian terms, once the child enters the mirror stage, through which s/he becomes aware of his/her own existence and the process of identification with the society, s/he loses the sense of what Lacan calls an -Ideal-I‖ [13]. While the -Ideal I‖ is initially the state the child feels complete with her/his surroundings, it later on turns into a specular image in order to adapt into society through linguistic means. ...
... While the -Ideal I‖ is initially the state the child feels complete with her/his surroundings, it later on turns into a specular image in order to adapt into society through linguistic means. These -secondary identifications‖ or rather -the functions of libidinal normalization‖ [13] creates a lack within individuals since they can never go back to the bliss they feel before the mirror stage. In order to be able to continue to the process of their identification, individuals need to transform the specular image into their -Ideal-I‖ in the attempt to fill in the lack created in their formation of identity [13]. ...
... These -secondary identifications‖ or rather -the functions of libidinal normalization‖ [13] creates a lack within individuals since they can never go back to the bliss they feel before the mirror stage. In order to be able to continue to the process of their identification, individuals need to transform the specular image into their -Ideal-I‖ in the attempt to fill in the lack created in their formation of identity [13]. In Pinhan's case, Pinhan's -specular image‖ initially alienates him, yet once s/he can forge this specular-I into his/her Ideal-I, in which s/he fully accepts his own identity, Pinhan comes to terms with his own body; hence, her/his gender. ...
... This would in turn imply that metaphor is the final stage of a larger process of progressive symbolisation and differentiation of mental structures, which is inexistent in pure image-making. If this is the case, suppléance is but an elaborate defence mechanism whose organising principle is 'the mirror stage' (Lacan 2006(Lacan [1949). ...
... This would in turn imply that metaphor is the final stage of a larger process of progressive symbolisation and differentiation of mental structures, which is inexistent in pure image-making. If this is the case, suppléance is but an elaborate defence mechanism whose organising principle is 'the mirror stage' (Lacan 2006(Lacan [1949). ...
Recent developments in the theory and practice of psychoanalysis have identified Creative Writing as a means of understanding subjectivity through what the French psychoanalyst Jacques Lacan has called suppléance , a stand-in which helps the ego cohere and in some cases prevents subjective dissolution, as may have been the case with Joyce. Following on from my own previous theoretical and creative research in this area, the story ‘Oranges and Lemons’ addresses the question of the mechanism of suppléance from the concept of art therapy by contrasting the symbolic dimension of language with the imaginary dimension of art making. In doing so, it confirms that suppléance arises out of the need to overcome an anxiety which veils the shadow of Das Ding , hence also the threat of subjective dissolution. Further, ‘Oranges and Lemons’ suggests that there may be different structural types of suppléance and that as an organising principle suppléance may be both a temporary or permanent device.
... La formación, elaboración, rumbo, circulación, significación de ese cuerpo sexuado no será un conjunto de acciones llevadas a cabo en cumplimiento de la ley; por el contrario, van a ser un conjunto de acciones movilizados por la ley, la acumulación citacional y el disimulo de la ley que produce efectos materiales, la necesidad vivida por esos efectos, así como la contestación vivida de esa necesidad (p. 12) De esta manera, siguiendo a Lacan (1977Lacan ( [1936) y su famoso escrito sobre el estadio del espejo y la formación del "Yo", Butler (1993) llega a la relación entre la materialidad y la identidad: ...
... La formación, elaboración, rumbo, circulación, significación de ese cuerpo sexuado no será un conjunto de acciones llevadas a cabo en cumplimiento de la ley; por el contrario, van a ser un conjunto de acciones movilizados por la ley, la acumulación citacional y el disimulo de la ley que produce efectos materiales, la necesidad vivida por esos efectos, así como la contestación vivida de esa necesidad (p. 12) De esta manera, siguiendo a Lacan (1977Lacan ( [1936) y su famoso escrito sobre el estadio del espejo y la formación del "Yo", Butler (1993) llega a la relación entre la materialidad y la identidad: ...
En este artículo, Kjerlighedens Gjerninger [las obras del amor], texto seminal de Sören Kierkegaard, es leído desde la perspectiva de la teología y las teologías queer. La importancia de queerificar el pensamiento de Kierkegaard es doble. En primer lugar, implica la posibilidad de entrar en diálogo con uno de los pensadores más importantes del existencialismo desde otro lugar, un espacio intermedio que no se circunscribe a los dictámenes de la matriz cis-heteropatriarcal. Al mismo tiempo, queerificar el pensamiento de Kierkegaard significa también mirar con otros ojos su obra, realizando una arqueología del conocimiento que desentierre capas de su legado hasta ahora inimaginables. El análisis muestra cómo el pensamiento de Kierkegaard ha sido leído tradicionalmente desde la perspectiva cis-heteropatriarcal. Se propone entonces una lectura queer en torno a dos aspectos: la disrupción del binarismo eros/agape y la performatividad del sujeto al que debemos amar. El artículo concluye que queerificar a Kierkegaard y su pensamiento es, quizás, una gran obra de amor que nos llama a la acción y a la justicia en pos del reconocimiento de la diversidad sexo-genérica y la búsqueda del amor de Dios para todas las personas.
... By circulating her Self through the rows of an audience during the performance Tangible Strip-tease en Nanoséquence, seeing her innermost parts floating through the fingers of the Other, ORLAN had managed to "place oneself outside of oneself to become oneself" (ORLAN, 2010b, p. 42). However, this is quite different from the insights acquired during the mirror stage as it was described by Jacques Lacan (2006) in the year 1949: ORLAN's performance is way beyond recognizing herself as an "I" as she is explicitly differentiating between her Self and the one of the Other and between her Self and her I. To do this, she needs to be aware of the fact that, innately, we are provided with a "starter-kit" to develop into the Subject we will eventually identify with. ...
... Psychoanalysis distinguishes three entities along this process: developing an I, developing the Self, and becoming a Subject. The development of the I happensaccording to Lacan (2006)-during infancy, as soon as we are able to recognize ourselves reflected in a mirror. As a next step we are cultivating our Self by listening to our emotions and by gathering experiences along the way that we try to match with the reactions and from the perspectives of the Other. ...
... Freud'da daha çok biyolojik çerçevede, Lacan'da ise simgesel anlamlarına vurgu yapılarak ele alınmakla birlikte baba, çocuğun anneden ayrılıp bir birey olarak inşa edilmesinde vazgeçilmez bir öneme sahiptir. Bu yaklaşıma göre (Freud, 1999(Freud, , 2002Lacan, 2001Lacan, , 2007Mendel, 2000), yaşamın başında çocuk ve anne arasında dolaysız, yakın bir ilişki söz konusudur. Çocuğun kendisinin anneden ayrı bir varlık olduğunu ayrımsaması ise zaman içerisinde ve bu ikili ilişkiye babanın bir üçüncü olarak dahil olmasıyla gerçekleşir. ...
... Böylece Doğumla birlikte anne ile yaşadığı nirvana durumunu kaybeden çocuk, annesiyle olan ilişkisine babanın simgesel bir öteki şeklinde dahil olmasıyla ikinci defa kastrasyon durumuyla karşı karşıya kalır. Çocuk, Lacan'ın "insanlaştırıcı kastrasyon" (Lacan, 2001) şeklinde tarif ettiği bu sürecin sonunda kültürün düzenine girer. ...
Türkiye’de modernleşme sürecinin toplumsal ve kültürel sonuçlarına dair pek çok metinde temel temalardan birisini ‚arafta olma‛ hali oluşturmaktadır. Toplumun modernleşmesi sürecinin bir sonucu olan bu durum, Çoğunlukla Doğu ile Batı, gelenekle modernlik arasında bir belirsizliği, bir arada kalma halini ifade etmektedir. Toplum yaşamının farklı alanlarında gözlenen ve çelişkile- rin, bunalımların, çatışmaların bir arada var olduğu bu durum, bireysel ilişkileri de etkilemektedir. Nitekim bireysel kimlikler toplumsal süreçler içinde şekillenmekte ve toplumsal sorunların açtığı yaralardan etkilenmektedirler. Bu bağlamda modernleşme süreçlerine paralel olarak dönüşmekte olan baba-oğul ilişkileri modernleşmenin niteliğinden kaynaklanan toplumsal travmanın en çok deneyimlendiği alanlardan birisidir. Daha çok babanın gelenekçi ve otoriter karakterinin, çocuğun benlik inşasında çeşitli aksaklıklara yol açmasıyla ortaya çıkan arafta kalma hali, özelikle erkek ço- cuğun bir özne olarak kendini inşa edememesi sonucunu doğurmaktadır. Toplumsal ve bireysel ya- şamları etkileyen bu durumun izlerine müzik, edebi metinler, sinema eserleri gibi pek çok kültür ürününde de rastlamak mümkündür. Bu çalışma baba-oğul ilişkisi temelindeki arafta kalma halinin edebiyat ve sinemadaki sembolik karşılıklarının yorumlanmasına odaklanmaktadır. Çalışmada Oğuz Atay’ın ‚Babama Mek- tup‛ (1975) öyküsü ve Seren Yüce’nin ‚Çoğunluk‛ (2014) filmi örneklerinde baba-oğul ilişkisi, anlatı- larını toplumsal olaylardan esinlenerek oluşturan sanat eserlerinin sosyo-kültürel yapıya dair ipuç- ları sunduğu görüşü saklı tutularak yorumlanmıştır. Hem ‚Babama Mektup‛ öyküsünde hem de ‚Çoğunluk‛ filminde temel problem olarak belirlenen baba-oğul ilişkileri oldukça sorunludur. Anla- tılara yön veren sorunlar, Doğu’yu temsil eden baba ile Batıyı temsil eden oğul arasındaki çatışma- dan kaynaklanmaktadır. Modernleşme sürecinin toplumda açtığı yaralar baba-oğul ilişkisinde, Do- ğu ve Batı arasına sıkışmışlık, arafta kalmışlık şeklinde resmedilmektedir. Bu çerçevede ele alınan eserlerdeki baba-oğul ilişkileri, sosyo-psikolojik bir bakış açısıyla belirlenen kavramlar çerçevesinde, niteliksel bir analiz yöntemiyle incelenmektedir. Elde edilen bulguların yorumlanmasında toplumsal cinsiyet çalışmalarının ve psikanalizin argümanları temel referanslar olarak kullanılmaktadır.
... In his Pedagogical Philosophy for Creative Writing, Nigel McLoughlin accepts the central poststructuralist notion that 'Reality is constructed ... from language', and goes on to assert that the fictional world is 'constructed by its author' (McLoughlin 2006: 37-42). The only problem is that if reality itself is constructed from language, it must follow that writers, being part of 'reality', can't 'construct' anything -in the sense of wilfully making and shaping -because they themselves are but linguistic constructs, as Lacan carefully explained, albeit at length and impenetrably (Lacan 2001(Lacan : 1285. I shall use a more user-friendly summary of his views: ...
Calls for creative writing in universities to embrace literary theory are now common, and the adoption of some kind of creative writing theory is inevitable as the number of PhDs in the subject proliferate. In the face of this, the traditional hostility of creative writing teachers to theory of all kinds will not prevail. This paper argues against the co-opting of writer-hostile, reader-and-text literary theories designed by academic readers for academic readers, and suggests directions in which more appropriate, process-based theories might develop.
... With her sex changed by Tinker, Grace's incestuous love goes beyond the desire for Graham to be Graham himself. That transformation is the ultimate result of her preoccupation with Graham, something that Lacan (2004) explained in his article about the mirror stage "We have only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image" (Lacan 2004, p. 2). The mirror in this concept here, Grace's transgender -reflects a homogenous whole that stands in contrast to the previous uncoordinated body. ...
This thesis uses the semiotic perspective to study cruelty in Sarah Kane’s drama. Dramatic texts that are written for performance would usually include items that help to transform them from texts into live performances. In the semiotic analysis, these items are termed sign systems. The task of semiotic analysis is to break down the dramatic piece into its components of sign systems and analyze each of them in relation to the others. Semiotic analysis is not concerned merely with how many components are there or what they might be, rather, it is concerned with how the general meaning is created and what each sign system signifies. Sarah Kane is a post-modern dramatist; she belongs to a dramatic movement known as in-yer-face that had appeared in the 1990s. Sarah Kane's drama is distinguished by its richness of multiple sign systems and their significant presence in all of her work. She uses drama to send strong messages about society and human nature and she does so by her heavy reliance on cruelty, physical or psychological. Thus, the researcher attempts to define how sign systems were used by Sarah Kane to present cruelty and to what ends.
... By pointing to the theory of dislocated subjectivity, Aruna's statement links to what I have said in the introduction to this article, when I asked how pre-school teachers with ethnicly diverse backgrounds are in a position to negotiate their subjectivities in their professional practices. To now theorize this further, I would point to Lacan's (1977) influence on Butler (1990), on Kristeva (1984) and on Derrida (1976). By his inscriptions of the subject position, Lacan situates the subject as in constant negotiation of positions through language. ...
... The child constitutes itself as an 'I' precisely in opposition to this specular Other, this ideal version of the self toward which it will perpetually strive (cf. Lacan 1977). Like the child in Lacan's theory, Franz perceives his body as fragmented before looking in the mirror. ...
In this paper, we work with fragments of the first author’s firsthand testimony of leisure simultaneous to trauma. We take up the prefix “peri” meaning through or surrounding—like the protective pericardium of the heart—and offer peritraumatic leisure as a meditation on leisure’s life-sustaining force during trauma, even as trauma erodes leisure and imposes isolation. Written in case-like fragments, we integrate established psychological concepts like peritraumatic distress (to distinguish ongoing trauma from post-trauma) and peritraumatic dissociation (to engage the lasting impact of trauma not remembered) that engage trauma’s unrepresentability through leisure’s representational power. We revitalize foundational leisure stress-coping literature through a post-qualitative approach that forefronts the use of relational methodologies when dealing with trauma’s unrepresentability. We consider leisure in the lives of those who are not yet, or may never be, post-traumatic.
Even if the history of civilization has undoubtedly brought forth many philosophers and artists who knew how to use dizziness as a creative resource and an instrument of emancipation, only few knew to put it to the test in their own work and to push it to its limits on a theoretical level as effectively as the French philosopher and literary theorist Roger Caillois (1913–1978). In his autobiographical work Le fleuve Alphée, which was published in 1978 in search of his “true sources” and only a few months before his death, he looks back on what might be considered an “insignificant episode” in the life of a child that grew up during World War I, but which nonetheless had the “most decisive influence” on him: “It sowed the seed of panic in me,” remembers Caillois, “that every child feels at a moment of ecstasy or horror that is difficult to predict, those delightful or devastating raptures that seem to shake what I cannot not call the visceral soul. It is shaken to its core and seems to uproot all hope for even the merest stability in its confusion. This shock that only affects the bodily organs also rattles the consciousness the consciousness.” What had happened to Callois that not only challenged and unhinged his physical existence to such an extent, but also his conscious mind? “On the edge of the destroyed town a military airfield was left standing; there were burnt-out hangars and runways that had suffered more from the rigors of the weather than from the artillery. A rusty pole stood out there. One day I decided to climb it. The iron ladder that led to the top was almost undamaged. Halfway up, I had my first experience of dizziness, that terribly heightened emptiness that comes ever closer, that you cannot resist and that forces you to counter it. What is left is only the horrible feeling of not being able to climb, neither up nor down. I forced myself to continue on my way up, both out of fear and obstinance. After I had regained my composure, I made my way down again, my eyes fixed on the sky above me, my feet feeling for the support of the next rung with every step. This misadventure left me with a feeling of unease and triumph. I have subsequently encountered many different forms of dizziness in my life. It is not always physical; it can also be moral or intellectual. What absurdities can the consequences of a daring decision lead to? What is the highest wager to defy misfortune? What is the greatest risk to challenge caution? To deliberately dare to go a little too far down a slope, to come a little too close to a system of gears near to the point where your speed makes it impossible to turn around?” ...
This article discusses Charles Taylor's analysis of the ‘politics of recognition’, which reveals that the major versions of the latter share an ideological conception of Eros as a binding, unifying force. Such striving for oneness is seen as key to forming harmonious, just communities and nations, and ultimately global cohesion. I refer to this as the ‘ideology of Eros’. However, Taylor highlights an ironically divisive opposition concerning how to realise such oneness, based on incompatible foundational principles: ‘sameness’ and ‘difference’. Instead of a choice, Taylor opts for the demanding political task of ongoing negotiation between them. I augment Taylor's analysis by re-evaluating the figure of ‘non-recognition’ arising from Lacan's critique of the ‘ideology of Eros’, which is centred on Socrates’ encounter with Alcibiades in Plato's Symposium and to which he adds his notion of genuine love, which affirms an ethic of healthy ‘non-recognition’. I argue that this ethic supports the difficult political task that Taylor rightly calls for.
This chapter questions the methodological challenges that the practice-based research has posed and explains the creative process that supported the development of the photographic work. The theoretical background led me to reflect on practical and creative solutions when producing portraits, and a series of key points about this visual journey is developed. The challenges of the representation of a group of people with individual photographic portraits are discussed. The chapter underlines how previous work and the understanding of a creative process can be precursory of later research and why the inclusion of the landscape versus maintaining a neutral background has links with paintings from the Italian Renaissance.
This study explores how watching international sports is related to the identity of overseas Chinese. Starting from the social significance of mediated sports, the article constructs its conceptual framework through the symbolic power of sports, media events, imagined community, networked publics, and characteristics of the diasporic community. Based on this, the study carried out 10 interviews on the Chinese diaspora in the United Kingdom, summarized the mechanisms and ways of linking mediated sports with national unity, and revealed the factors that will probably cause change to this connection. The results show that the symbolic power of sports and the consciousness as Asian are ties of diaspora identity construction and form patriotism in sporting contexts. Meanwhile, the degree of integration into local society and their community preference are influencing the status of collective identity enhancement brought by mediated sports.
The phallus took its place at the basis of the representations of power in social law with the transition from nature to culture/civilization. For this reason, Lacan, unlike Freud, searches for the phallus in culture, language, and gaze rather than in the body. Likewise, starting from psychoanalysis, Mulvey developed the theory of male gaze by analyzing gaze in cinema with feminist terminology. The Silence of The Lambs (1991) and its sequel Hannibal (2001) are films that allow for a Lacanian phallus and a Mulveyian male gaze reading. In films, the female hero struggles with the phallus and male gaze in a culture surrounded by masculine codes. She succeeds in castrating the phallus and cutting the male gaze that hinders her. Lacanian and Mulveyian psychoanalytic analysis was conducted on the films in the context of feminist film criticism.
This paper provides a comprehensive analysis of Vesper Lynd in Fleming's Casino Royale, comparing her portrayal in both the novel and its film adaptation. Through an exploration of gender representations, heroism, morality, and interpersonal dynamics, the discussion delves into the complexities of Lynd as a mirror to James Bond. It examineshow she challenges traditional gender norms and notions of heroism, while also prompting moral dilemmas for Bond. By analysing the differences between the media, it reveals the nuances of her characterization as a multifaceted character who transcends the archetype of the Bond girl, offering a profound reflection on human nature.
In 2021, a 4K-restored rendition of Wong Kar-wai’s iconic film Happy Together (1997) returned to theatres across Hong Kong, Taiwan, and Argentina, marking the film’s enduring transnational appeal two decades after its Cannes premiere. This article investigates the film’s intricate cultural ties to Argentina. I argue that Happy Together not only enhances the cultural connections between Hong Kong and Argentina but also showcases Wong’s translingual and multimodal approaches to film adaptation. ‘Translingual’ refers to the film’s literary source: I demonstrate how Wong skilfully wove elements from Manuel Puig's 1973 novel The Buenos Aires Affair into his film through a threefold Spanish-English-Chinese process of rewriting. Subsequently, I contend that various cultural facets of Argentina—the literature of Puig, the soundscape of Piazzolla’s tango, and the landscapes of the Iguazú Falls and Tierra del Fuego—contributed significantly to the Hong Kong auteur’s multimodal adaptation. In short, this article proposes a dialogic perspective on Hong Kong cinema by considering Argentina as a reflective mirror brimming with aesthetic and geopolitical implications. Through the lens of Happy Together, this study moves beyond Western-centric reception paradigms by spotlighting the cultural and socio-political affinities between Latin America and Asia, thus bringing to the forefront the often-overlooked transpacific connections within the Global South.
This article looks into the multifaceted dimensions of the gaze, examining its influence on individual and collective identities across various contexts. From early childhood development and existentialism to cinematic escapades and literary analyses, the text navigates through philosophical, psychological, and sociocultural perspectives. It scrutinizes how the gaze intertwines with power dynamics, revealing its roles in identity formation, desire, and the construction of reality. Drawing from Lacanian insights, the text dissects illusions, the pursuit of wholeness, and the cinematic escape from lack. Literary perspectives, including feminist critiques and psychoanalytic examinations, further unravel the complexities of the gaze, touching upon issues of gender, fetishism, and power relations. The discussion extends to communal dimensions, exploring how the gaze contributes to the creation of 'imagined geographies' and 'imagined communities,' with a focus on Western dominance and orientalism. The concluding reflection underscores the omnipotence of the gaze, tying together divine perceptions in literature and its pervasive influence in contemporary media. Overall, the abstract encapsulates a profound inquiry into the intricacies of the gaze and its pervasive impact on human ex-periences and societal structures.
What does the mode of experience of late capitalism reveal about the cultural logic fostered by its mode of production? This chapter establishes a dialogue between theoretical works concerned with this question and Jeff Noon’s Falling out of Cars and Mike McCorkmack’s Notes from a Coma. By drawing on Marxist criticism in the works of Fredric Jameson and Gilles Deleuze and Félix Guattari, it argues that both Falling out of Cars and Notes from a Coma develop a catatonic mode of temporality that critically challenges these authors’ diagnosis of schizophrenia as the cultural logic of late capitalism. These novels offer a dystopian version of the future in which catatonic subjects function as the norm for the optimal functioning of the system. The catatonic temporality of the novel emerges as the cultural logic underlying this social transformation: the passive assimilation of the individual into a system that no longer requires human agency to reproduce itself. The anamorphic estrangement evoked by these dystopian futures promotes catatonia as the dominant logic leading to capitalism’s terminal stage in which individuals no longer possess any agency to take control of their lives.
Lacan papers reading is difficult and often disappointing. His technique, using shortening of sessions as a way of interpreting transference ("scansion") is unacceptable. His great project of create a united structural theory of psychoanalysis, linguistic and anthropology has failed. However, his works on transference are worth being red. Lacan has reminded psychoanalysts that they are "divided subjects", meaning that their unconscious remains unconscious to themselves, that they have to listen to themselves as much as they have to listen to their their patients; he has rediscovered the importance of après-coup, already stressed by Freud, but often forgotten; and above all, he has rediscovered the importance of words in transference interpretation, showing the importance of the link between two signifiers, more than the link between signifier and signified.
Contemplating the future trajectory of television programming in contemporary society's rapidly-evolving media landscape is a matter of considerable intellectual import. This paper embarks upon an ambitious analytical undertaking, scrutinizing the interplay of three disparate, yet mutually interlocking dimensions-namely, the salience of localized sentiments amidst the process of urbanization, the resonant nexus between emotions and the wave of globalization, and the dire need to alleviate stress in an information society marked by an ever-increasingly frenetic pace-with the goal of offering cogent recommendations for enhancing the future development of TV programs at the content level.
This chapter analyses Kim Ki-Duk’s 3-Iron (2004) in terms of its formal, thematic and symbolic engagement with Seoul and the urban condition. It examines how national identity is interrogated in the city space and how the concept of ‘Korean-ness’ remains a complex and, at times, contentious issue, particularly in the age of rapid modernisation and globalisation. The chapter begins by broadly examining the two-way, interdependent relationship between the city and cinema (and how, historically, they have been used to inform each other’s prevailing cultural image) before considering to what extent 3-Iron adheres to and/or rejects the common perceptions of urban space. Edward Soja’s theory of ‘Thirdspace’ (1996), which considers ‘lived, perceived and conceived realities’ appropriately coincides with 3-Iron’s presentation of Seoul as a symbolic, physical and cultural conflation of both the real and the imaginary. While this may call into question the legitimacy of ‘nationhood’ as a concept, the chapter examines the ways in which the film uses these spatial approaches to instead demonstrate how ‘Korean-ness’ can manifest itself in different and diverse ways.KeywordsThirdspaceSeouliteUrban ConditionKorean SelfNational Identity
This paper tries to shed light on the doppelgänger concept and its manifestation beside its employment in the English poetry. The selected poems in this study, which reveal this issue, are: "The Other", "Menstruation at Forty", "Said the Poet to the Analyst", “The Double Image”, "Sylvia's Death" and "Wanting to Die". These poems concentrate on various feminist topics such as, identity, gender, despair, sickness, loss of loved ones and the desire of death as a kind of disappointment. This paper aims at finding the similar other side of the poetess either in the real life or at her poetical works. The study discusses the doppelganger or the other character that either is similar or dissimilar in specific or full characterization. The study concludes that the poet presents the doppelganger as an imitator who commits suicide to end the inner conflict.
Atomik Aztex by Sesshu Foster is widely regarded as a paradigm of postcolonial intervention in the genre of the science fiction novel and alternative histories. This article marks a departure from such readings by positing the novel as a study of psychosis in the postcolonial subaltern. Through the employment of psychoanalytic theories of Jacques Lacan with reference to Angelo Bravi’s concept of the “psychosis of civilisation,” this article contends that the novel’s narrator-protagonist Zenzon experiences symptoms of psychosis that result in hallucinations of alternate realities. Through the ideations of Dipesh Chakraborty, Ashis Nandy and Walter Mignolo, the article posits Zenzon as a postcolonial subaltern through his failed attempts to trace a postcolonial history beyond the colonizer’s epistemologies. Finally, the article traces the emergence of a subjectless subject from the position of the postcolonial subaltern, who, overwhelmed by his psychotic condition, revels in his subalternity through an avowal of his psychosis.
Shroud, John Banville’s fictional memoir of Axel Vander, a character who combines aspects of the critics Louis Althusser and Paul de Man, explores the interrelated issues of subjectivity, authenticity, narrative, and authority–all concerns shared by the critics on whom Vander is modeled. The novel thus serves as Banville’s critique of the “critique of ideology,” and ultimately suggests not only that the subject which emerges from the critique of ideology is a discursive fiction but also that emancipation from ideology is a futile, even nihilistic, wish.
Overview of a four-fold exploration. Produced on the occasion of the "coronation" of Barack Obama (as president of the country from which insightful leadership is expected in response to global problems) and of the "crowning experience" of the Davos World Economic Forum (for the instigators and observers of the global credit crisis and its consequences). [Engaging with Globality -- Dimension 1: Cognitive Realignment; Dimension 2: Cognitive Circlets; Dimension 3: Cognitive Crowns; Dimension 4: Knowing Thyself]
This chapter argues that Anne Sexton’s poetry resembles discourses of self-help that identify the self as a commodity that can be shaped, improved, and disciplined by popular narratives of recovery, motivation, and positive thinking. Sexton’s poetic focus on her own breakdowns and insecurities corresponds with a shift in the ideological approach of Cold War politics, from discourses of security predicated upon surveillance and containment, to discourses of insecurity that encourage the virtues of self-regulation. Although Sexton’s confessional work has at times been viewed as a form of therapy or catharsis, such a perspective ignores its critical engagement with the psychological and biopolitical measures aimed at producing compliant, and domestic, female subjects. Many of Sexton’s confessional poems question the patriarchal power relationship embedded in the therapeutic process by positioning her speaker as subordinate to those who hear her confessions—doctors, teachers, and other figures of patriarchal authority. Caught between a climate of national security affect that conflates domestic life with patriotic duty, and a therapeutic process that confuses recovery with female compliance, Sexton uses her poetry to examine the impact of these social and biopolitical forces on her psychological well-being.
The chapter examines Post-Partum Document, an iconic feminist art work of the late 1970s by visual artist Mary Kelly. The installation exemplifies contemporary concerns with mainstream art and traditional concepts of autobiography as it traces the mother’s and the child’s mutual becoming in its organic, affective and cognitive dimensions. The chapter argues that Mary Kelly’s Post-Partum Document combines image and text to produce a form of life-writing which is both intimate and political. The art installation is read as an example of the concept developed by Israeli theorist and visual artist Bracha Ettinger in the 1990s—the matrixial borderspace, a co-creative subjective field that transgresses the boundaries of the individual.
The Anthropocene has served, since approximately 2000, as a transdisciplinary vector for the emergent framework that links comparative literature, critical theory and the modern languages. My article assesses this period from the perspective of literary and cultural historiography and advances the hypothesis of a new Anthropocenic cultural dominant.
Be it functional or dysfunctional, transparent or opaque, the interface institutes a certain aesthetic relationship between the subject and the world. With the rise of digital surveillance, interfaces subordinate their aesthetic capacity to organize and support human perception and cognition to the functional imperatives of metrification. But what does this loss of human control over the interface entail? This chapter argues that when social media interfaces function like one-way mirrors, and users realize to be on the surveilled side of the mirror, they can pursue one of three strategies of resistance: exposure, obfuscation, and concatenation. The latter builds upon large assemblages of dividual data to build a condividual interface which does not represent an event, but marks the inseparability of the event from the medium.
The character of the current social problems has long been sniffing with the tricky one about the possibilities and prospects of our future. "Kinets of the social", about which they declare by the happy old-timers, not by the fruit of ruined uyavay. It’s the reality, as it’s a bit of a lyudin in persecution for bazhannyam “mother”, “volodyty” with light. In the first place, it will irrevocably involve those who become the essence of human beings, and life - links with neighbors, their souls, spins-butts. In the format of such "sociality", total abandonment, the theme of harmonious social change, the integrity of social life, but people become one of the most demanded pre-old projects.
Since its birth, psychoanalysis has been in a reciprocal relationship with literature. Through this reciprocal relationship, many literary works play an essential role in the foundation of the psychoanalytic approach while psychoanalytic theory has also shaped the interpretation of many literary works. In this article, The New Life novel, written by Orhan Pamuk with a postmodern approach in 1994, will be analyzed with the psychoanalytic concepts of French psychoanalyst Jacques Lacan. Writing the novel with a postmodern approach provides an opportunity for many expressions in the novel to have multi-layered meanings. Thanks to that, the meaning in the novel could be constructed differently in each reading. French psychoanalyst Jacques Lacan, whilst developing his psychoanalytic theory, recognized the importance of linguistics. He located the unconscious within the signifier-signified relationship. Drawing attention to the concept of metaphor in unconscious and language studies, Lacan also handled his studies on literary works through this concept. Thus, analysing this novel through Jacques Lacan's psychoanalytic concepts will add richness to the interpretation of the novel. The novel is about the character of Osman encountering a book and traveling to find the new life mentioned in that book, and it is fictionalized around Osman, Canan, with whom Osman falls in love, Mehmet with whom he competes, and Dr. Narin of whom he wants to be a son. In this context, the expressions of "book," "Canan", "journey", "Mehmet," and "Dr. Narin” are considered as metaphors because of having multi-layered meanings. These five expressions selected from The New Life novel; has been studied with the basic concepts of Lacanian psychoanalytic theory as the object a, das Ding, jouissance, ideal-ego and paternal function.
The chapter introduces the theory of imagination and the imaginary and, on this basis, unfolds conceptual considerations on the relationship between imagination and future media. Thoughts from philosophy (especially Cornelius Castoriadis) are integrated as well as different approaches from Science and Technology Studies (e.g., Patrice Flichy, Sheila Jasanoff, David Kirby, Wally Smith). Reflections on the relationship between premediation (Richard Grusin, Mark B. N. Hansen among others) and anticipated future media close the chapter.
What Emmy is saying here concerning her psychoanalytic therapy is extremely instructive. She reveals that for her it was a process where the analyst is standing next to you, making you say things out loud, making you listen to yourself speak, repetitively. It is a process where you get a grip on the role in your life that at the time seems to be yours and how you keep on repeating this role. It is a process where the analyst makes you speak about those things without saying too much. She adds it is a process where you hear yourself talk, which gives you insights and these insights, at a certain point, make you act. What Emmy stresses is that it is a process and practice of speech.
As a cultural construct, the idol is a consumer product created to “heal” in the age of exhaustion. Layering a “guardian” aspect onto Laura Mulvey’s “male gaze,” this paper contextualizes the commodification and consumption of innocence. This paper brings the documentary, Tokyo Idols (2017), and the animated film, Perfect Blue (1997), into a conversation to theorize how femininity is constructed and commodified in Japan’s pop idol industry. The idol culture consumes innocence only to create more trauma for women by stressing the arbitrary importance of innocence and sacrificing female agency in the process.
Mimétisme et psychasthénié légendaire
- R Caillois