scholarly journals Covid-19: an intrusion of the real the unconscious unleashes its truth

2020 ◽  
Vol 34 (4) ◽  
pp. 445-451
Author(s):  
Simon Western
Keyword(s):  
The Unconscious ◽  
The Real

Analyse des réseaux de personnages dans les textes de Leslie Kaplan : du postmodernisme à l’inconscient

2021 ◽  
pp. 095715582110024
Author(s):  
Murielle El Hajj
Keyword(s):  
Identity Crisis ◽  
The Unconscious ◽  
The Real ◽  
The World ◽  
Fictional Worlds ◽  
Shed Light

The texts of Leslie Kaplan question the irreducible opposition between the real and the non-real. Her characters and their intentional absence confuse the repository and fictional worlds, not only to point out the thin margin between reality and fiction, but to underline the impossible delimitation between the real and the fictional, or even between the text and the world. This article studies the characters of Kaplan and aims to demonstrate their identity crisis through the study of their literary onomastic and the use of the neutral pronoun ‘it’ and allegoric expressions. In addition, the objective of this article is to shed light on the Kaplanian characters as Kunderian models, while stressing the particularity of their physionomy, which consists to present ‘fuzzy’ characters that are present and absent at the same time, engaging the reader in the fictional process as a try to complete the missing details. This article concludes that the Kaplanian characters are not only the prototypes of the postmodern being, but they are also introverted, psychopaths and a demonstration of different facets of the unconscious.

Transforming the Intangible into the Real

2020 ◽  
pp. 26-42
Author(s):  
Koji Yamamura
Keyword(s):  
Creative Process ◽  
The Unconscious ◽  
The Real ◽  
Spiritual World ◽  
Animated Films ◽  
Personal Experiences

Seven short animated films are examined by the auteur-animator as he self-reflects on their creations. Making animation is not only an extension of the pictorial and comic-like expression, but also the act of mystically creating movement to be perceived in the real. The artist shares his personal experiences during the animation making process including the unconscious imaginative realm that creeps into his creative thoughts. Technology may play an important part of the animation production but the author maintains that there is a deeper spiritual world where he is somehow drawn into when he is making animation. Spiritually, he feels the transcendence of the dualism of mind and matter during the creative process, and is able to unite the subconscious with reality. Citing motifs including natural, inorganic, or imaginative entities, the author demonstrates the influence of the psyche in his artistic expressions. To the artist, the spiritual assimilation aspects of his work are profound, complex, and illuminating.

scholarly journals Umanizzazione delle cure: curare con l'arte

2020 ◽  
Vol 32 (1) ◽  
pp. 92-95
Author(s):  
Francesco Burrai ◽  
Giovanni Salis
Keyword(s):  
Personal Identity ◽  
Real World ◽  
Daily Life ◽  
Real Life ◽  
Well Being ◽  
The Unconscious ◽  
The Real

Art can be a way, together with Nature, to intercept that landscape and inner climate characterized by the rhythm of silence. That dimension of iridescent calm imbued with creative and vital energy, which pushes towards a universal, seductive, profound sphere. Man can, with courage, abandon himself in this harmony and melody of thoughts that suggest a vast and visionary possibility. Each person has the inner possibility to be Art, to get out of the continuous distortions of daily life, to produce a metamorphosis of one’s life. Art triggers the unconscious side of seeing, a rhythmic, dynamic principle, on which every gesture of maximum spontaneity depends, not touched by the artificial, by masks of fugacity and by false personalities. Without Art, it seems that part of real life is missing. The deep artistic power is fluid, without space or time, pulsating with new forms and substance and creating a new personal identity, contiguous to the real world, which inspires new desires. Many diseases of today and yesterday are produced by the lack of expressiveness or by the repression of personal creativity. Art produces well-being because it is the transformation of unconscious expressive energies, so life for our health.

Ten Questions for Psychoanalysis

Philosophy ◽  
1993 ◽  
Vol 68 (264) ◽  
pp. 183-192 ◽  
Author(s):  
D. Z. Phillips
Keyword(s):  
Human Mind ◽  
Human Behaviour ◽  
Real Character ◽  
The Unconscious ◽  
The Real

A psychoanalyst is said to provide the real explanation of a person's behaviour; an explanation which the person has arrived at with the help of a psychoanalyst. The person was not aware of the real character of his behaviour. It may have exhibited unconscious thoughts, beliefs, motives, intentions and emotions. In his paper ‘The Unconscious’, in Mind 1959, Ilham Dilman says, ‘What those who talked of “Freud's discovery of the unconscious” had in mind is a group of innovations which “the founder of psycho-analysis” brought to bear on the study of the human mind’ (p.446). I have ten questions concerning the relation of this ‘group of innovations’ to human behaviour.

Lacan and the Question of the Psychotherapist's Ethical Orientation

2005 ◽  
Vol 35 (4) ◽  
pp. 657-683 ◽  
Author(s):  
Bert Olivier
Keyword(s):  
The Other ◽  
Ethical Relativism ◽  
Ethical Orientation ◽  
The Unconscious ◽  
The Real ◽  
Ethical Stance

This article addresses the thorny issue of the psychologist or psychotherapist's values or ethical orientation. The suggestion is made that certain aspects of Jacques Lacan's psychoanalytical theory provide the resources to overcome the obstacle of arbitrariness or relativism faced by psychotherapists who unavoidably have to take an ethical stance — implicitly if not explicitly — in relation to clients' or analysands' lives and decisions. The dilemma faced by the psychotherapist is recontructed and specific aspects of the poststructuralist psychoanalytical theory of Lacan are addressed. These include the function of the subject's position in the symbolic register (in contrast to the imaginary register of the ego), the role of the unconscious as the ‘discourse of the Other’, of narrative and of repressed signifiers as ethical ‘anchoring points’. Crucially, however, the implications of the register of the ‘real’ for the ethics of the psychoanalyst as psychotherapist are added. These, offer invaluable means of overcoming the dilemma of ethical relativism faced by psychotherapists.

The real use of the unconscious.

1938 ◽  
Vol 35 (3) ◽  
pp. 186-186
Author(s):  
J. R. Kantor
Keyword(s):  
The Unconscious ◽  
The Real

Schelling As a Forerunner of Symbolist Aesthetics

2021 ◽  
pp. 174-184
Author(s):  
Victor V. Bychkov ◽  
Keyword(s):  
Work Of Art ◽  
The Unconscious ◽  
Central Places ◽  
The Real ◽  
The Sublime ◽  
Natural Beauty ◽  
The Absolute ◽  
The Aesthetic ◽  
The Universe ◽  
The Ideal

The aesthetics of early Schelling constitutes the philosophical foundation of the po­etic consciousness of German Romantics and becomes one of the theoretical sources for symbolist aesthetics. The article accentuates proto-symbolist elements in Schelling’s aesthetics. It shows that the spiritual cosmos in Schelling – which is a world of ideas and gods that connects to the material world, in particular, through art – develops out of the Absolute. The universe itself is manifested in God as an absolute work of art. At the same time, art in its formation is based on mythol­ogy and realises itself as the unity of the “infinite and finite in the finite”, as an identity of the conscious and the unconscious, as a lack of distinction between the ideal and the real, as a depiction of the absolute in a particular. This accounts for a polysemantic understanding of a work of art. Schelling focuses attention on the aesthetic essence of art, which is founded on the principles of the beautiful and the sublime. He values beauty in art – as something that ascends from visible forms to prototypes – higher than natural beauty. He associates the sublime with size, “formlessness”, and chaos, and he classifies its expression in art (“the finite”) as symbolic. Schelling is interested in chaos as a potential for every kind of form, because the contemplation of the infinite – i.e., the Absolute as the highest “form in formlessness”, which can only be manifested to the world symbolically – is rooted in chaos. The notion of symbol occupies one of the central places in Schelling’s aesthetics, because it deals with the expression of the infinite in the finite, of the ideal in the real, and of the universal in the particular. The symbol marks and manifests an idea, and this is why the main point of artisticity lies within the symbol. Schelling understands language (speech) as a work of art, and for this reason he sees more symbolic potential in verbal than in pictorial arts. All these ideas in many ways form the foundation of symbolist aesthetics.

scholarly journals A Lacanian supplementation to love in L’Immanence des vérités

2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Park Youngjin
Keyword(s):  
Social Norms ◽  
Individual Difference ◽  
Sexual Relationship ◽  
Difference Family ◽  
Lacanian Psychoanalysis ◽  
The Unconscious ◽  
Alain Badiou ◽  
The Real ◽  
The One ◽  
Central Claim

AbstractIn L’Immanence des vérités, Alain Badiou rewrites the Platonic allegory of the cave. As the book’s structure reveals, Badiou’s central claim is that truths are absolute, for they are constituted by the dialectic between finitude and infinity, the consequence of which lies in the creation of the œuvre. Although love is often affected by individual difference, family, money, and social norms, philosophy calls for a rupture with these instances of finitude, awakening us to the truth that love is open to the possibility of infinity embodied by contingent encounter, amorous declaration, and the faithful construction of the Two. Badiou calls for subjectivization of this possibility in the form of the amorous œuvre, through and beyond the Lacanian impasse of the sexual non-relationship. This article supplements Badiouian love with Lacanian psychoanalysis by developing five points. First, the binary framework “Lacanian finitude vs Badiouian infinity” can be misleading. Second, Badiou himself regards the unconscious and the analytic discourse as inscribed by the dialectic between finitude and infinity. Third, Lacan allows us to recognize that the œuvre and the waste are not opposed, but rather supplementary to each other. Fourth, for both Lacan and Badiou, love constitutes the interlacing of the non-relationship and the Two. Fifth, the Badiouian amorous absolute must deal with the real of the absolute as the fusional One and thus, can be supplemented by the Lacanian problematic of the sexual relationship in its fantasmatic form of the One. Based on these points, this article elaborates such concepts as the amorous labor, the dialectic between œuvre and waste, and the artisan of love.

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