scholarly journals Psychoanalytic and Existentialist Versions of Don Juanism: Lesia Ukrainka’s The Stone Host

2021 ◽  
pp. 34-44
Author(s):  
Mariia Moklytsia
Keyword(s):  
Crucial Role ◽  
Albert Camus ◽  
Mirror Image ◽  
The Self ◽  
Miguel De Unamuno ◽  
Don Juan ◽  
Mirror Stage ◽  
Jose Ortega Y Gasset ◽  
Final Scene ◽  
Integral Role

The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic fi nale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.

THE FIGURE OF EVE IN ROMANS 7:5-25

2004 ◽  
Vol 12 (1) ◽  
pp. 1-36 ◽  
Author(s):  
Austin Busch
Keyword(s):  
Jacques Lacan ◽  
Mirror Image ◽  
The Self ◽  
Mirror Stage ◽  
2 Corinthians ◽  
The Law ◽  
New Perspective ◽  
Relationship Of ◽  
The Relationship

AbstractRom. 7:7-25 functions as a prosopopoiia in which Paul rhetorically assumes the identity of Eve in the scene of the primeval transgression. While most Hellenistic biblical interpreters associated Eve with "feminine" passivity, Paul in Romans 7 (and to a lesser degree in 2 Corinthians 11) calls this simplistic association into question by drawing attention to an element of ("masculine") activity in her experience that other interpreters either overlooked or could not satisfactorily account for in their interpretations of her story. In Rom. 7:7-13 Eve in the scene of the primeval transgression (Genesis 2-3) becomes a figure of passivity and activity paradoxically conflated. In the following verses (7:14-25) Paul manipulates this conflation in order to illustrate the ego or self split under sin. Observing the unique way in which Paul employs the figure of Eve in Rom. 7:5-25 allows us to read the passage as a meditation on the primeval transgression offering a new perspective on the relationship between the self under sin and the law. This relationship bears deep structural similarities to the relationship of the infant to its mirror image that Jacques Lacan examines in his lecture "The Mirror Stage as Formative of the Function of the I" and a comparison between the two will clarify Paul's discussion of the connection between the self, the law, and sin in Rom. 7:5-25.

Vídeo experimental e autorretrato

2021 ◽  
Author(s):  
Filomena Antunes Sobral ◽  
Daniela Morgado Oliveira
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
The Self ◽  
Self Awareness ◽  
Cindy Sherman ◽  
Artistic Creation ◽  
Multiple Variable ◽  
The Relationship ◽  
Theoretical Foundations ◽  
Creative Production

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

There is an I in nature: The crucial role of the self in nature conservation

2014 ◽  
Vol 39 ◽  
pp. 121-126 ◽  
Author(s):  
Anne Marike Lokhorst ◽  
Céline Hoon ◽  
Rob le Rutte ◽  
Geert de Snoo
Keyword(s):  
Nature Conservation ◽  
Crucial Role ◽  
The Self

scholarly journals The Antimodern Manifesto of the Rural Flaneur: When D'Arcy and John Go For a Wander

2013 ◽  
Author(s):  
Mike Grimshaw
Keyword(s):  
Mirror Image ◽  
The Self ◽  
Modern World ◽  
Modern Life ◽  
Definition Of

Central to the self-definition of modernity walks the flanuer, the modern, observing, critical individual who wanders amidst but against the crowds and urban flows of modern life.  Central to the flaneur is an identity that is incomplete, an existence that is dissatisfied.  As Bauman notes, the flanuer is the mirror-image, the imitation, the product of the stock-taking, the forced adjustment and mimicry of the modern world - which is itself the original flaneur.

Approches d’une modernité

Revue Romane ◽  
2017 ◽  
Vol 52 (1) ◽  
pp. 91-101
Author(s):  
Christiane Prioult
Keyword(s):  
William Faulkner ◽  
Albert Camus ◽  
The Self ◽  
Individual Experience ◽  
Historical Events

Abstract This work deals with the main interests of William Faulkner and Albert Camus as far as modernity is concerned, and includes the problems of time, conscience and truth, as well as guilt and man’s future. Through the reality of their individual experience, and facing the ethical demands of collective history, as well as the questioning of temporality, the American novelist and the French essayist have shown the dramatic contingencies of historical events. In the darkness of present times they searched for the hope for man to survive which lies in himself, in his capacity to transform the transient, ephemeral present into the capture of the possible by human conscience, and to leave the door open to the possibility of connecting the self to others.

Ladders, samurai, and blue collars: Personal branding in Web 2.0

First Monday ◽  
2011 ◽  
Author(s):  
Robert W. Gehl
Keyword(s):  
Social Media ◽  
Human Capital ◽  
Web 2.0 ◽  
Rational Choice ◽  
Gilles Deleuze ◽  
Mirror Image ◽  
The Self ◽  
Precarious Employment ◽  
Self Help ◽  
Personal Branding

Drawing on the work of Gilles Deleuze, Eva Illouz, and Mark Andrejevic, this paper critiques the personal branding literature, particularly as it applies to Web 2.0 social media. I first describe the three-part logic of personal branding: dividuation, emotional capitalism, and autosurveillance. Next, in a sort of mirror image to the self-help literature of personal branding, I offer a critical "how to" guide to branding oneself in Web 2.0. Finally, I conclude with a discussion of why personal branding can be seen as a rational choice, given the circumstances of globalized capitalism and precarious employment. Individuals who brand themselves willfully adopt the logic of capitalism in order to build their human capital. However, I ultimately argue that the obsession with personal branding is no antidote for life in precarious times.

scholarly journals (Re-)imagining the ‘Self’ of Ontological Security: The Case of Brazil’s Ambivalent Postcolonial Subjectivity

2017 ◽  
Vol 46 (2) ◽  
pp. 142-164 ◽  
Author(s):  
Marco A. Vieira
Keyword(s):  
Foreign Policy ◽  
Mirror Image ◽  
The Self ◽  
Ontological Security ◽  
Self Identity ◽  
Self In Relation ◽  
Postcolonial State ◽  
Alternative Approach ◽  
The Subject ◽  
Postcolonial States

In this article, I critically engage with and develop an alternative approach to ontological security informed by Jacques Lacan’s theory of the subject. I argue that ontological security relates to a lack; that is, the always frustrated desire to provide meaningful discursive interpretations to one’s self. This lack is generative of anxiety which functions as the subject’s affective and necessary drive to a continuous, albeit elusive, pursuit of self-coherence. I theorise subjectivity in Lacanian terms as fantasised discursive articulations of the Self in relation to an idealised mirror-image other. The focus on postcolonial states’ subjectivity allows for the examination of the anxiety-driven lack generated by the ever-present desire to emulate but also resist the Western other. I propose, therefore, to explore the theoretical assertion that postcolonial ontological security refers to the institutionalisation and discursive articulation of enduring and anxiety-driven affective traces related to these states’ colonial pasts that are still active and influence current foreign policy practices. I illustrate the force of this interpretation of ontological security by focusing on Brazil as an example of a postcolonial state coping with the lack caused by its ambivalent/hybrid self-identity.

Empathy and Self-Recognition in Phylogenetic and Ontogenetic Perspective

2012 ◽  
Vol 4 (1) ◽  
pp. 40-48 ◽  
Author(s):  
Doris Bischof-Köhler
Keyword(s):  
Mental Imagery ◽  
Perspective Taking ◽  
Subjective Experience ◽  
Mirror Image ◽  
The Self ◽  
Intentional State ◽  
Self Recognition ◽  
Special Quality ◽  
Second Year ◽  
Almost All

Empathy means understanding another person’s emotional or intentional state by vicariously sharing this state. As opposed to emotional contagion, empathy is characterized by the self–other distinction of subjective experience. Empathy develops in the second year, as soon as symbolic representation and mental imagery set in that enable children to represent the self, to recognize their mirror image, and to identify with another person. In experiments with 126 children, mirror recognition and readiness to empathize with a distressed playmate were investigated. Almost all recognizers showed compassion and tried to help, whereas nonrecognizers were perplexed or remained indifferent. Several motivational consequences of empathy are discussed and its special quality is outlined in comparison with theory of mind and perspective taking.

scholarly journals Crucial role of HMGA1 in the self-renewal and drug resistance of ovarian cancer stem cells

2016 ◽  
Vol 48 (8) ◽  
pp. e255-e255 ◽  
Author(s):  
Dae Kyoung Kim ◽  
Eun Jin Seo ◽  
Eun J Choi ◽  
Su In Lee ◽  
Yang Woo Kwon ◽  
...  
Keyword(s):  
Ovarian Cancer ◽  
Stem Cells ◽  
Drug Resistance ◽  
Cancer Stem Cells ◽  
Crucial Role ◽  
The Self ◽  
Ovarian Cancer Stem Cells ◽  
Self Renewal

scholarly journals Politics and Ethic of Care of the Self in Albert Camus’s The Plague

2021 ◽  
Vol 9 (5) ◽  
pp. 240-255
Author(s):  
Mukesh Kumar Bairva
Keyword(s):  
Ethic Of Care ◽  
Albert Camus ◽  
The Self ◽  
Care Of The Self ◽  
Spiritual Discipline ◽  
History Of ◽  
Ethical Project ◽  
Speaking Truth To Power ◽  
Ethics And Politics

Albert Camus’ The Plague articulates a new aesthetic of existence that resists biopolitical normalization. It means cultivating one’s self and not attempting to discover an authentic and hidden self because it entails a continual process of becoming.  The sudden eruption of plague in Oran, signifies a rupture in history of its people as the “bored populace is consumed by commercial habits aimed at making money”. In The Plague, if some people become more self-centred and insensitive, characters such as Rieux, Rambert, Peneloux and Joseph Grand show concern for the suffering people and stand in solidarity with them. Their characterization as ordinary individuals who assume responsibility for others’ existence in times of disaster reflects Camus’ hermeneutic of care of the self as an ethical project.  Camus aptly asserts that “ordinary acts of courage and kindness are more helpful than the illusion of superheroes”. Deriving a cue from Foucault, Heidegger and Levinas, the paper attempts to explore how care of the self is intertwined with ethics and politics. It is argued that without spiritual discipline and caring for others, the ethical transformation of self cannot take place. It indicates fashioning of the self more freely and self-reflexively and thus speaking truth to power and sacrificing for others. The paper examines this poetics of self which shares an ethical relationship with truth, freedom and kindness.

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