“Staying with” the Anxiety: The Ecological objet petit a of Inuit Throat Singing

2021 ◽  
pp. 39-57
Author(s):  
Alois Sieben
Keyword(s):  
Objet Petit A ◽  
Throat Singing

Tuvan throat singing and harmonics

2018 ◽  
Vol 53 (3) ◽  
pp. 035011
Author(s):  
Michael J Ruiz ◽  
David Wilken
Keyword(s):  
Throat Singing

Bodily object voices in Embers

2018 ◽  
pp. 116-132
Author(s):  
Anna Sigg
Keyword(s):  
The Unconscious ◽  
Objet Petit A ◽  
Radio Play

Anna Sigg, in this chapter, argues that in Embers Beckett represents trauma most of all through bodily internal sea sounds. This radio play effectively ‘blinds’ its listener and places him in a mental cave. Embers focuses on Henry, who is tortured by a roaring ‘tinnitus’, an internal sea-like sound, which reminds him of the death of his father and his own mortality. This chapter illuminates the connection between Henry’s loss and the listener’s perception of the ‘tinnitus’ by drawing on Mladen Dolar’s idea of the acousmatic object voice and Jacques Lacan’s concept of objet petit a. Henry’s ‘tinnitus’, Sigg argues, is a bodily object voice manifesting an uncanny intimation of the unconscious. It expresses Henry’s mourning and his confrontation with mortality, while also generating countermelodies to the traumatic losses inside the listener’s head.

On Seduction

2017 ◽  
pp. 58-75
Author(s):  
Simber Atay
Keyword(s):  
Popular Culture ◽  
Mass Media ◽  
Performing Arts ◽  
The Other ◽  
Philosophical Issue ◽  
Creative Strategy ◽  
Objet Petit A ◽  
Other Hand

Seduction is a sexual act, a sex instinct expression, a love practice, a body performance, a psychoanalytical problematic, a philosophical issue, a creative strategy full of phantasies from art to politics, from advertising to entertainment, from personal intimacy to mass-media. Seduction is basis of strip-tease profession, of course! But it is also a cultural metaphor. Seduction is an indispensable part of acting in performing arts. In cinema, actors and actress seduce spectators. In photography, photographer and photographed one, they seduce reciprocally. Seduction has very strong mythological origins. On the other hand, superman of Nietzsche, gaze of Bataille, objet petit a of Lacan are some adequate contemporary parameters to discuss the seduction concept. In this context, Le Samura? (1967) of Jean-Pierre Melville, Magic Mike (2012) of Steven Soderbergh, Jupiter Ascending (2015) of Lana and Andy (Lilly) Wachowski are our cinematographic examples. Eikoh Hosoe's project ‘Barakei' (1961), Duane Michals' project ‘Questions without Answers' (2001), Mehmet Turgut's self-portrait series (2000's) are our photographic examples. Within the text, we evaluate all these popular culture examples by using the mentioned parameters to describe what the seduction is.

The Objet petit a: Vertigo (1958)

2021 ◽  
pp. 25-70
Author(s):  
Laurence Simmons
Keyword(s):  
Objet Petit A

Jacques Lacan

Philosophy ◽  
2015 ◽  
Author(s):  
Adrian Johnston
Keyword(s):  
Sigmund Freud ◽  
German Idealism ◽  
Mirror Stage ◽  
The Unconscious ◽  
Objet Petit A ◽  
Politics And Religion ◽  
Wide Range ◽  
European Philosophy ◽  
History Of ◽  
19Th And 20Th Century

Jacques Marie Émile Lacan (b. 13 April 1901–d. 9 September 1981) arguably is the most creative and influential figure in the history of psychoanalysis after Sigmund Freud. Lacan portrays himself as an embattled defender of Freud’s true legacy within and beyond analytic circles, the lone champion of a “return to Freud.” His teachings emphasize the crucial differences between the Freudian unconscious and speciously similar notions such as that of the id as a dark, seething cauldron of irrational, animalistic instincts. He stresses especially the centrality of language in psychoanalysis, with the unconscious subject at stake in analysis being constituted and sustained through socio-symbolic mediations (as per Lacan’s famous thesis according to which “the unconscious is structured like a language”). Dubbed “the French Freud,” Lacan significantly broadened and deepened Freudianism through putting Freud’s discoveries into conversation with a wide range of other disciplines and orientations. In particular, Lacan’s reflections draw frequently and extensively on the resources of 19th- and 20th-century Continental philosophical currents such as German idealism, structuralism, semiotics, phenomenology, and existentialism. Indeed, not only did Lacan inspire the formation of distinctly Lacanian clinical approaches—perhaps his greatest worldwide impact has been (and continues to be) in the fields of the theoretical humanities, themselves heavily indebted to the past two centuries of European philosophy. Over the course of recent decades, Lacan’s concepts/theories of, for instance, the mirror stage, subjectivity, language, desire, drive, jouissance, fantasy, and the objet petit a all have come to serve as key components in numerous scholars’ explorations of issues and instances relating to philosophy, art, literature, cinema, culture, politics, and religion, among other areas of concern. Furthermore, like Freud, Lacan remains a source of heated controversy among various commentators and critics right up through the present day.

scholarly journals Kom ek vertel vir jou ’n storie oor Lacan se objet petit a (“kleinletter-ander”): ’n outo-etnografiese verkenning van ’n kreatiewe persoon se ervaring tydens die skryf van ’n akademiese artikel oor die kreatiewe proses

Literator ◽  
2009 ◽  
Vol 30 (1) ◽  
pp. 125-148
Author(s):  
R. Hattingh
Keyword(s):  
Creative Process ◽  
Objet Petit A ◽  
Exploratory Investigation

Let me tell you a story about Lacan’s objet petit a (“lowercase- other”): an auto-ethnographical investigation of a creative person’s experience of writing an academic article on the creative process This article is an auto-ethnographical narrative that, through the splintering of the ego, views the creative process reflectively and reflexively. It includes an exploratory investigation of the concept “Other” as it appears in three creative texts created as part of the “Tracking creative creatures” project.

The Tonic Chord and Lacan's Object a in Selected Songs by Charles Ives

2011 ◽  
Vol 136 (2) ◽  
pp. 353-398
Author(s):  
Kenneth M. Smith
Keyword(s):  
Complex Networks ◽  
Functional System ◽  
Charles Ives ◽  
Object A ◽  
Organizational Power ◽  
Objet Petit A ◽  
Slavoj Žižek ◽  
Imaginary Object ◽  
Harmonic Techniques ◽  
Musical Response

ABSTRACTA musical response to Lacan's concept of the objet petit a – the imaginary ‘object-cause’ of desire – accounts for certain songs by Charles Ives in which ‘tonic’ chords are signified by complex networks of dominant-seventh harmonies. These objects of tonal desire adopt the structure of both lack (as absent centre) and surplus (as multiple tonal centres). In each song, Ives employs individual harmonic techniques to question the ability of tonic chords to coordinate a fractured tonality. Investigating Afterglow, Serenity, At Sea and Mists from the 1922 collection of 114 Songs, I explore the Lacanian dimensions of each text and setting, bringing out the message that each song offers about the function of the tonic. An analysis of Premonitions exemplifies a distinction Slavoj Žižek proposed between a functional system in which the object a coordinates desire as absent centre, and a system in which the object is stripped of its organizational power.

scholarly journals Роль запоминания и импровизации в передаче и исполнении алтайского эпоса

2021 ◽  
pp. 112-120
Author(s):  
B. Cleaver
Keyword(s):  
Altai Republic ◽  
Throat Singing

The author of this paper will examine the role of both improvisation and memorisation in the oral performances of the Altai epics. In order to do this, initially the author will describe for the reader the Altai epics, their plots, the values that they reinforce, the singer and his instrument. Then, based on a discussion about the context in which the epic is performed and the poetic features of the epics, this paper will explore the theory that the epic teller is not repeating an exact text but is improvising and composing throughout the performance of the epic, producing a different version each time. The author bases her research in particular on several personal interviews with oral epic singers in the Altai Republic. One of these interviews was with Anatoly Turlunov from the Kosh-Agach district, who is a famous performer of the epic in the Altai Republic and now teaches throat singing. The second was with Nikolai Sergetkishov, a young epic singer living in Gorno-Altaisk, who is trying to revive the tradition of epic storytelling. The final interviews were with Aydin Kurmanov, also a famous epic singer in the Altai Republic, who received many awards for his performances, and Yuri Chendeev, a musician who created his own Altai musical ensemble, and currently teaches music. Автор данной статьи рассматривает роль импровизации и запоминания в вопросе устного исполнения алтайского эпоса. Для этой цели автор вначале описывает алтайский эпос, его сюжеты, ценности, которые они утверждают, исполнителя и его музыкальный инструмент. Затем, основываясь на анализе среды, в которой исполняется эпос, и поэтических особенностей эпоса, в статье рассматривается теория о том, что сказитель эпоса не повторяет точный текст, а импровизирует и сочиняет на протяжении всего исполнения эпоса, каждый раз создавая новую версию. Исследование автора строится, в частности, на нескольких личных интервью с исполнителями устного эпоса в Республике Алтай. Одно из таких интервью прошло с Анатолием Турлуновым из района Кош-Агач, который является известным исполнителем эпоса в Республике Алтай и сейчас преподает горловое пение. Второе было с Николаем Сергеткишовым, молодым эпическим певцом, живущим в Горно-Алтайске, который старается возродить традицию эпического повествования. Заключительные интервью были с Айдыном Курмановым, также известным эпическим певцом в Республике Алтай, который получил множество наград за свои выступления, и Юрием Чендеевым, музыкантом, который создал свой алтайский музыкальный ансамбль, а в настоящее время преподает музыку.

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