Introduction: Benjamin’s Baroque: A Lost Object?

2017 ◽  
pp. 1-22
Keyword(s):  
Lost Object

Analysis of the principles of reference inventory today

2017 ◽  
Vol 924 (6) ◽  
pp. 43-48 ◽  
Author(s):  
V.N. Klyushnichenko
Keyword(s):  
Comparative Analysis ◽  
Real Estate ◽  
Developed Countries ◽  
Real Property ◽  
Property Owner ◽  
State Register ◽  
Information Object ◽  
Bona Fide ◽  
Source Of Information ◽  
Lost Object

A comparative analysis of the principles of the cadastre in the most developed countries and in Russia. It is shown that some of the principles of cadastre, it is advisable to introduce into the Russian legislation. Such principles include the principle of Renzenberger, as well as the principles of Ruoff and Kuranda. The Russian inventory has more than twenty years, however, it cannot be considered complete, as registered in cadastre only 60 % of real estate. Full filling of the cadastre information on real estate is possible, if we abandon the application of the principle of reference. Unlike foreign domestic inventory the inventory contains errors that complicate the procedure of registration of immovable property. In addition, the domestic inventory is not the only source of information about the property that causes the ambiguity of the information about the same object. Important is also that the damage caused inaccurate inventory information bona fide buyer or seller of real property under current law, does not exceed one million rubles, regardless of the value of the lost object. Foreign inventory recognizes the property owner the main participant of the changes, however, the Russian legislation allows for the adjustment of the information object without the application of the property owner. See principles of the foreign inventory is useful for the maintenance of the national cadastre. This will simplify the process of state cadastral accounting of real estate, reduce the time of its formation and to increase the reliability of materials of the Unified state register of real estate.

Inherited Crypts of the Wife/Mother: Ang Lee's Hulk Meets Zechariah 5:5–11 in Contemporary Apocalyptic Discourse

2006 ◽  
Vol 14 (1-2) ◽  
pp. 127-142
Author(s):  
Erin Runions
Keyword(s):  
Foreign Policy ◽  
The Political ◽  
Biblical Text ◽  
Repetition Compulsion ◽  
Biblical Allusion ◽  
Letting Go ◽  
Conservative Christian ◽  
Conservative Christians ◽  
Christian Discourse ◽  
Lost Object

AbstractThis paper puts the political concerns expressed by secular apocalypse in Ang Lee's Hulk (2003) into conversation with the political concerns expressed by religious apocalypse in conservative Christian discourse. The film sets a revised version of the Akedah, in which the wife/mother is killed instead of the son, at the heart of its plot and of its critique of U.S. foreign policy. Set within Lee's apocalyptic analysis of repressed trauma, this quasi-biblical allusion points toward the repeating biblical tradition of the murdered wife/mother. One such repetition of this originary trauma can be found in what Diana Edelman has argued to be Yahweh's murder of his wife Asherah in Zechariah 5:5-11, a text which can be read in the same psychoanalytic terms that the film evokes. Both film and text represent the missed encounter of trauma and the entombment of the lost love object. In both film and text, the lost object, the mother, is entombed, encrypted and forgotten. But because this proto-apocalyptic text is one that conservative Christians take up in their defence of the war on Iraq as the precursor to the doomed Whore of Babylon, this text, uncannily, brings the film into contact with its religious apocalyptic roots. But where the biblical text is read in ways that only increase a violent repetition compulsion, the film models mourning and letting go as a way of working through the trauma. Thus, the film offers an alternate way of reading the biblical text in culture.

scholarly journals The Essay

2020 ◽  
Vol 1 (4) ◽  
pp. 347-353
Author(s):  
Devika Chawla
Keyword(s):  
Prime Minister ◽  
Personal Essay ◽  
Childhood Memories ◽  
Question Mark ◽  
Writing Project ◽  
Found Object ◽  
Lost Object

A found object might bring sorrow or delight, but a lost object presents a question mark. Its absence can feel like a cleave, a permanent one, in our memory. Absences inevitably lead us to quests. In this personal essay, which is linked with a larger writing project on family and material memory, I search for the contents of an “essay” written by me when I was ten years old, on the very day that India’s Prime Minister Indira Gandhi was assassinated. In searching for this lost object, I excavate and access childhood memories that were forgotten or, perhaps, lay dormant waiting to be awakened. The essay remains unfound (lost), but in looking for it, this essay that you are reading here, emerges, showing me why the object, the essay must remain lost, so that a forgotten moment of my childhood can live.

scholarly journals Introduction: What is a Thing

Konturen ◽  
2015 ◽  
Vol 8 ◽  
pp. 1
Author(s):  
Nicholas Reynolds ◽  
Jeffrey S Librett
Keyword(s):  
Nineteenth Century ◽  
American Poetry ◽  
Modern World ◽  
The Unconscious ◽  
Everyday Objects ◽  
Recent Developments ◽  
Anglo American ◽  
Poetic Realism ◽  
Current Special Issue ◽  
Lost Object

As the modern world has seemed an increasingly material one, and so increasingly thingly, the very reality of things has often--and from many different perspectives--seemed to elude us. Questions about what things are, and how they mean, questions about how things are to be circumscribed (for example) in epistemological, ethical, aesthetic, and political terms, have arguably become--across the course of modernity (and beyond)--both increasingly pressing and increasingly vexed. -- In this extremely broad context, the contributions to the current Special Issue examine specific approaches to things from the later nineteenth century to today within the literary, philosophical, and psychoanalytic discourses. The foci range from the descriptive representationalism of nineteenth century German poetic realism to the monumentalization of everyday objects in postcolonial fiction; from the poetics of the Dinggedicht in Rilkean modernism to the Anglo-American imagist doctrine of "no ideas but in things" and the disruptions of this doctrine in contemporary German and American poetry; from Husserl's call "to the things themselves" to the Derridian displacements of the Heideggerian "thing" and on to the most recent developments in "object-oriented metaphysics"; from the Freudian notion of the unconscious as comprising "representations-of-things" to the Lacanian rereading of the lost object as das Ding.

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.

scholarly journals Die Wende als Witz, Komische Darstellungen eines historischen Umbruchs

Literator ◽  
1997 ◽  
Vol 18 (3) ◽  
pp. 141-154
Author(s):  
W. Gabler
Keyword(s):  
Political Change ◽  
East Germany ◽  
Psychological Aspects ◽  
Literary Texts ◽  
The Political ◽  
Social Psychological ◽  
Literary Representation ◽  
Lost Object

Wit in the literary representation of a historical transitionThe author of this article has observed a growing interest in texts presenting the political change in East Germany (GDR) as a comical event. During the last few years the interest in this kind of text has intensified - among literary critics as well as among ordinary readers of texts. In his analysis of the literary texts the author commences with Sigmund Freud’s theory of wit, which he further elaborates in its social-psychological aspects and adapts to modern principles in the analysis of literary texts. The author shows that the wit in two recent novels - Helden wie wir (1995) by Thomas Brussig and Der Zimmerspringbrunnen (1995) by Jens Sparschuh - is based on unconsciously repressed or isolated feelings of mourning over the lost object, the GDR. These feelings are seen as the major reason for the different or contradictory public reception of both novels.

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