scholarly journals The Voice and the Gaze as ‘objet petit a’

2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Utsav Banerjee ◽  
Keyword(s):  
English Translation ◽  
Symbolic Order ◽  
The Real ◽  
The Gaze ◽  
Objet Petit A ◽  
The Subject ◽  
The Voice ◽  
Lost Object

Repression of the Real is a function of the coming-into-being of the Symbolic Order. That which is repressed resurfaces in the Symbolic, thereby threatening its order. What resurfaces is the non-repressible remainder, an excess that can neither be conceptualized nor can be eliminated. This remainder of the Real is what Lacan refers to as objet petit a or simply objet a. Objet is French for object, petit is French for small, and a is the first letter in the French autre, meaning other. In casual English translation, therefore, the objet a is essentially the small other. For Lacan, the objet a is a signifier of the Real that is lost in the process of symbolic constitution of the subject which resurfaces in the Symbolic Order. Its name is a misnomer in that it is not an object at all. It is rather a non-object because what is originarily lost is nothing—the original loss or the lost object is only a retroactive construction. And it is this loss that becomes the cause of desire, precisely because of the fact as a loss/lack it provides the necessary immaterial basis for desire—we desire what we have lost or currently lack. In other words, objet a is the object-cause of desire. It is equivalent of the partial object in Freud. Freud speaks of three partial objects—namely, breasts, faeces, and phallus; in Lacan, we find two more—namely, the voice and the gaze. This paper examines the voice and the gaze as objet a in Lacan.

The Lacking Sense of Cinema: Aleksandr Proshkin’s The Miracle (2009)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Cultural Discourse ◽  
Temporal Perspective ◽  
The Real ◽  
The Gaze ◽  
The Uncanny ◽  
The World ◽  
Ontological Sense ◽  
The Voice ◽  
Lost Object

The Miracle documents the introduction of the symbolic into the real by means of sensing the lack, or in Lacan’s terms, the lack-of-being. The lost object—whether voice, memory or senses—is the ultimate horror because it reveals the uncanny voids in the discourse. Being is conceived simultaneously in the ontological sense of openness within which ideas emerge, and being in the noumenal sense of the world, or of entities separated in the world from the temporal perspective—the vibrations of time and culture. The symbolic is the ontological horizon of Being whereas its anterior is the lack-of-being, that is, the there-of-Being (Dasein) lacks its place in the order of reality. The symbolic mode is characterised by the minimal gap between its elements and places they occupy: as Lacan noted, in order for the gap between elements to occur, something has to be fundamentally excluded. What happens in psychosis—and in The Miracle—is precisely the inclusion of this lacking object into the frame of ‘reality’. It appears within the constructed world as the hallucinated, or imagined, or mystified object: the voice, which in this case equals the gaze, haunts the cultural discourse as paranoiac.

On the Acousmatics of Enunciation: Back to the Suture

2020 ◽  
Author(s):  
Sulgi Lie
Keyword(s):  
Point Of View ◽  
Social Dimension ◽  
The Political ◽  
Mirror Stage ◽  
The Gaze ◽  
Objet Petit A ◽  
Political Aesthetics ◽  
The Subject ◽  
Lacanian Theory ◽  
The Voice

With Kaja Silverman’s works, a reversal within Lacanian theory becomes abundantly clear that turns away from the old identification paradigm of imaginary misjudgement in the mirror stage. Following Lacan’s reformulation of the gaze as an “objet petit a,” the gaze is thought of as divided from the subject and placed on the side of the object. In the synthesis of Copjec’s/Žižek’s work with Michel Chion’s theories of voice and sound, my aim is to conceive of a fundamental acousmatics of film: not only the voice, but also the gaze in film is structurally acousmatic. In Lacan’s understanding, gaze and voice are strictly equivalent objects. As such, it is my intention to conceive of a political aesthetics from a psychoanalytic acousmatics of film. In the point-of-view paradoxes and transsubjective gazes in Rossellini’s and Antonioni’s post-neorealist films, I analyze the political and social dimension of this acousmatics.

scholarly journals Reading Difference in Identity: Lacanian Reasoning in Paul Auster’s Invisible

2017 ◽  
Vol 8 (3) ◽  
pp. 82
Author(s):  
Javad Momeni ◽  
Bahare Jalali Farahani
Keyword(s):  
Theoretical Framework ◽  
Symbolic Order ◽  
The Novel ◽  
Binary Opposition ◽  
The Real ◽  
Lost Object

The prevailing motifs of Auster’s literary oeuvre such as chance, contingent events, writing and the binary opposition of reader and author are also noticeable in Paul Auster’s Invisible; however, in this article, we examine the novel in terms of the characters’ psychological attempts to form their different identifications within Lacanian theoretical framework. Born acts as both reified big Other and object petit a for Walker, while Walker, in his different encounters with Born, experiences disparate Zizekian parallax views. Holding such views, Walker stands in the middle of the various courses of subjectivities, thereby undergoing a complicated interwoven subjectivity. Furthermore, Born’s encounters with the Real, epitomized in Born, place him in the two concurrent positions of subjectivities both in the Imaginary and the Symbolic order. As a result, his constant Symbolic identifications with signifying traits of Born’s bring him nothing but an aporia of logical perplexities. Last but not the least, we emphasize that the fluctuation between lost object and the loss itself, as an object, plums the depth of the anxieties embedded in such interwoven subjectivity.  

scholarly journals Mystical experience in the men of the cave: a Lacanian reading of al-Kahf

2020 ◽  
Vol 5 (2) ◽  
pp. 456-462
Author(s):  
Tayebeh Barati ◽  
Pyeaam Abbasi
Keyword(s):  
Jacques Lacan ◽  
Mystical Experience ◽  
The Other ◽  
Symbolic Order ◽  
The Real ◽  
Holy Quran ◽  
The Holy Quran ◽  
The Subject

In his contribution to psychoanalysis, Jacques Lacan introduces three orders according to which every psychoanalytic phenomenon can be described. These three orders are the imaginary, the symbolic and the real. The imaginary is the order in which the subject thinks of everything as his/her own. For the subject there is no distinction between the other and the subject itself. In the symbolic order the subject comes to realise that there is a gap between him/her and the other. S/he, then, starts to feel a lack which for the rest of his/her life the subject tries to fill in. The real is considered as the most important order in which the subject tears away from the symbolic and tries to experience, once again, the unity it had in the imaginary order. It is in this phase that the subject experiences what is known as jouissance or the 'pleasure in pain'. The present study tries to look at the eighteenth chapter of the Holy Quran, al-Kahf (The Cave), in the light of psychoanalysis studies and Lacan's theories in order to analyse the mystical experience that the Men of the Cave go through to reach their final jouissance. 

scholarly journals Posisi Subjek Tokoh Skeeter dalam Filem The Help (2011) Karya Tate Taylor: Kajian Subjektivasi Slavoj Žižek

2019 ◽  
Vol 14 (4) ◽  
pp. 523
Author(s):  
Nor Holis ◽  
Aprinus Salam
Keyword(s):  
Educational Background ◽  
Symbolic Order ◽  
It Use ◽  
Slavoj Zizek ◽  
The Real ◽  
Slavoj Žižek ◽  
The Subject ◽  
Definition Of ◽  
Full Consideration

Slavoj Žižek introduces definition of subject through the concept of The Real. He decribes it use the Lacan’s psychoanalys triagle. The process of reaching The Real causes the subject to do something that can be out of the symbolic. Therefore, the position of subject could be decided at this stage. This kind of subject is seen in The Help (2011) film. It is represented by Skeeter. She tries to out from the symbolic order to get the real. In her process to reach the real, she is unable to release herself from the symbolic completely because of her educational background, her thought, and her conscience. Therefore, Skeeter could not be defined as the radical subject based on the process. Still, her effort in order to out from the symbolic is never succeeded. It is because she always does everything with full consideration. In fact, she only moves to the new symbolic order.

What Is Visible When Acting? Acting-Out, Passage à l’Acte and the Dialectics of the Gaze in Phenomenology and Psychoanalytic Theory

2021 ◽  
Vol 66 (1) ◽  
pp. 49-66
Author(s):  
Cristian Bodea
Keyword(s):  
Psychoanalytic Theory ◽  
Point Of View ◽  
The Other ◽  
Acting Out ◽  
The Real ◽  
The Gaze ◽  
Real Process ◽  
Marina Abramovic ◽  
The Subject ◽  
Lacanian Theory

"The paper approaches acting from a phenomenological and psychoanalytic point of view. It sheds light on the intrinsic (i.e., invisible) resorts involved when someone is playing a role – or, better yet, assumes a role. In order to make these mechanisms visible, the paper relies on the premise that acting always involves an act. Using the Lacanian theory of acts, I demonstrate that there is a real process taking place when assuming a role, namely when the subject needs to objectify himself. This process can be traced back as far as the “time” of a pre-existent gaze. The aim of the paper is to substantiate the idea that it is necessary for the gaze to enter a dialectics in order for the subject to find its objective place. For illustration, two works of art are used: the performance The Artist is Present by Marina Abramović and the movie A Woman Under the Influence by John Cassavetes. Keywords: act, desire, gaze, objectify, the Other, presence without assignable present, the Real, (in)visible."

Chopin Dreams: The Mazurka in C# Minor, Op. 30, No. 4

2012 ◽  
Vol 35 (3) ◽  
pp. 238-260
Author(s):  
Michael Klein
Keyword(s):  
Nineteenth Century ◽  
The Body ◽  
Symbolic Order ◽  
The Real ◽  
Life And Death ◽  
The Uncanny ◽  
The Subject

Abstract This article views Chopin's Mazurka in C# Minor, op. 30, no. 4, as akin to a dream that is open to analysis from a Lacanian perspective. After a discussion of Jacques Lacan's famous orders of subjectivity (the imaginary, the symbolic order, and the Real), the article turns to his idea that a symptom is a message from the Real that demands interpretation. As such, strange moments in Chopin's Mazurka are like symptoms that require multiple interpretations in order to approach their hidden and overlapping meanings. The article proceeds to view Chopin's Mazurka through nineteenth-century notions of Orientalism (alterity), nationalism (nostalgia), coming to life (the automaton), tuberculosis (the boundary of life and death), and the uncanny (fragmentation of the body/mind). But just as Lacan argued that we can never reach a final meaning for a symptom, the article concludes that there can be no transcendental signified for the various symptomatic moments in Chopin's Mazurka. In the end, the Mazurka becomes what Lacan calls a sinthome, a form of subjectivity that is made up of the very symptoms that the subject strives to understand.

scholarly journals From the Imaginary to Theory of the Gaze in Lacan

2021 ◽  
Vol 12 ◽  
Author(s):  
Carmelo Licitra Rosa ◽  
Carla Antonucci ◽  
Alberto Siracusano ◽  
Diego Centonze
Keyword(s):  
Visual Field ◽  
The Other ◽  
Symbolic System ◽  
Mirror Stage ◽  
The Gaze ◽  
Psychoanalytic Treatment ◽  
The Subject ◽  
Thinking Process ◽  
The One ◽  
The Voice

To understand Lacan’s thinking process on vision, the entirety of his teaching must be taken into consideration. Until the 60s, the visual field is the imaginary, the constitutive principle of reality in its phenomenal giving to the experience of a subject. This register is the opposite of the field of the word with the L schema and, subsequently, as subordinated to the symbolic system according to the model of the optical schema of the inverted flower vase of Bouasse. It is only with the 1964 seminar that Lacan makes a daring turnaround through which the visual becomes a sign of the emergence of a real that is irreducible to both reality and the mediation of the subject of knowledge. The split that separates reality and the real is reproduced in Lacan within the visual field, which is, on the one hand, the cardinal principle of the consistency of the experience of reality (as imaginary), and on the other, it is an element of irreducibility to reality (as object gaze). This produces a cascade of consequences: first of all, the modification of the presentation of the mirror stage. Unlike the voice, which through prosody, tone, and volume, finds some strips with which anchor itself imaginatively to reality, the gaze, invisible and elusive, escapes the imaginary grasp. Captured in myths, it reveals its power and ability to annihilate—as in the myth of Medusa’s gaze—or to make people fall in love but only with a narcissistic love that leads inexorably to death as in the myth of Narcissus. The gaze is elusive because the subject is dependent on it in the field of desire. Like the voice, it is about the desire on which the subject is supported; it is one of the objects on which the phantom depends. In our opinion, thanks to this characteristic, the gaze object can make remote psychoanalytic treatment possible through easily accessible videoconferencing tools and, at the same time, create new conditions within it that should be carefully evaluated to understand its implications in the session itself.

scholarly journals SUBJEKTIVITAS EKA KURNIAWAN MELALUI NOVEL LELAKI HARIMAU

TELAGA BAHASA ◽  
2020 ◽  
Vol 7 (1) ◽  
pp. 83-96
Author(s):  
Siti Hardiyanti Amri
Keyword(s):  
Human Life ◽  
Symbolic Order ◽  
False Consciousness ◽  
Literature Study ◽  
Slavoj Zizek ◽  
Real Dimension ◽  
The Real ◽  
Slavoj Žižek ◽  
The Subject ◽  
Ideological Fantasy

Paradigma humanis dalam kajian sastra memposisikan manusia sebagai pusat. Penelitian ini mengkaji subjektivitas tokoh dan pengarang dalam semesta novel Lelaki Harimau karya Eka Kurniawan menggunakan teori subjektivitas Slavoj Zizek. Zizek memfokuskan pemikirannya pada tatanan riil dan simbolik dalam kehidupan manusia. Menurutnya, manusia mampu meraih kebebasan dan keotentikan dirinya selama ia bertindak melampaui norma-norma simbolik dan bergerak menuju dimensi riil dalam kehidupannya. Sebaliknya, manusia akan tetap terpenjara dalam dimensi simbolik, selama ia membiarkan dirinya tetap hanyut dalam kesadaran palsu ideologi. Penelitian ini menunjukkan bahwa ada upaya radikal yang dilakukan oleh tokoh utama untuk mencapai kondisi riil melalui tindakan sadis dan tak berkeprimanusiaan yang melanggar aspek normatif dalam lingkaran simbolik. Akan tetapi, peristiwa yang dihadapi oleh tokoh tersebut berlawanan dengan diri pengarang sebagai subjek. Pengarang justru tidak menunjukkan adanya upaya radikal dalam kehidupannya sehingga ia tetap berada dalam fantasi ideologis.Kata Kunci:Subjektivitas, Slavoj Zizek, Eka Kurniawan, Tindakan Radikal, Fantasi ideologis. The humanist paradigm in literature study assigns humans as the center. This research examines the subjectivity of the characters and the author in Lelaki Harimau novel by Eka Kurniawan using Slavoj Zizek's theory of subjectivity. Zizek focused his thoughts on the real and symbolic order in human life. According to him, humans are able to achieve freedom and authenticity as long as they act beyond the symbolic norms and move towards the real dimension in their life. On the contrary, humans will remain imprisoned in a symbolic dimension as long as they allowed themselves drifted away on a false consciousness of ideology. This research indicates that there are radical efforts made by the main characters to achieve the real conditions through sadistic and inhumane actions that violate the normative aspects in a symbolic circle. However, the events faced by these characters are opposite to the author as the subject. In fact, the author does not perform any radical efforts in his life so that he remains in ideological fantasies.Keywords: subjectivity, Slavoj Zizek, Eka Kurniawan, radical act, ideological fantasy

scholarly journals KRITIK ARAFAT NUR TERHADAP TATANAN SIMBOLIK DAN SUBJEK DALAM NOVEL BURUNG TERBANG DI KELAM MALAM

Hasta Wiyata ◽  
2021 ◽  
Vol 4 (2) ◽  
pp. 148-171
Author(s):  
Fitri Tiara Merdika ◽  
Keyword(s):  
Symbolic Order ◽  
The Novel ◽  
Analytical Methodology ◽  
Literary Works ◽  
The Real ◽  
Slavoj Žižek ◽  
The Subject ◽  
The Creation ◽  
Ideological Fantasy ◽  
Opening Up

In the creation of literary works, either consciously or unconsciously the author will always insert his ideology. The insertion of the ideology can be seen from the criticisms delivered by the author. Literary works are a medium for the author to convey a critique of the reality that occurs, be it religious, social, cultural, political and other criticisms. But that becomes interesting when the author tries to open up an unconscious reality, opening up the decay of a system of power that will eventually become cynicism and submit to an ideological order. In this study, Arafat Nur's novel Burung Terbang di Kelam Malam was chosen to prove this ideological fantasy. The problem contained in this study is (1) What is the symbolic order of acehnese people in the novel Burung Terbang di Kelam Malam? (2) What is Arafat Nur's criticism of the subject (Acehnese) in the novel Burung Terbang di Kelam Malam? To answer that question, the theory used was an authentic subject and ideological fantasy introduced by Slavoj Zizek and analyzed with descriptive analytical methodology. The results of this study prove that, firstly, the symbolic order (Islamic Sharia as the identity of Aceh) failed to form a radical subject. Although the subject has relinquished the symbolic order that shackled him all along, he remains returning to the new symbolic order. The subjects who are still in power of the Big Other will never escape from the order that subjected them. The subject will not be able to reach the Real, because they cannot discuss it so the subject desires to fulfill Che Vuoi's call?, unconsciously the subject commits ideological fantasies. Second, the subject of fantasizing the ideology of Islamism (Islamic sharia) that desires the achievement of spirituality instead leads it to capitalism. Not just the subject (the character in the novel). Arafat Nur as an author was also caught up in capitalism so his attempts to go radical ended in failure.

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