[pt] Esta dissertação propõe uma leitura da especificidade do laço social na atualidade, assim como propõe uma maneira como, a partir deste laço, poderia ser decantada uma política contemporânea. Para esta costura, uma leitura do sociólogo Zygmunt Bauman fornece balizas para delimitarmos o estado atual do laço social. Em seguida, algumas das perspectivas de Sigmund Freud, com relação ao social e aos modos de organização grupal, especialmente quanto ao lugar que estes dão ao líder, são contrapostas à descrição de Bauman. Jorge Alemán e Ernesto Laclau trazem, então, elementos para a aplicação de conceitos desenvolvidos por Jacques Lacan, a partir de Freud, ao momento político atual, especialmente no que concerne às concepções de solidão comum, significante vazio e ato instituinte. Por fim, os conceitos lacanianos de nó borromeano e sinthome são examinados para localizar em que se apoiam os conceitos de Alemán e Laclau, com referência ao ensino de Lacan. Amarra-se, assim, nossa dissertação, propondo alguma orientação dentro do campo demarcado. / [en] This dissertation proposes a reading of the specificity of the social tie in the present time, as well as proposes a way where, from this tie, a contemporary politics could be decanted. For this seam, a reading by sociologist Zygmunt Bauman provides reading beacons for delimiting the current state of the social tie. Next, some of Freud s perspectives on the social and modes of group organization, especially as to the place they give to the leader, are opposed to Bauman s description. Jorge Alemán and Ernesto Laclau bring elements for the application of concepts developed by Jacques Lacan from Freud s work to the present political moment, especially in what concerns his conceptions of common solitude, empty signifier and institute act. Finally, the Lacanian concepts of the Borromean node and sinthome are examined with the objective of locating in which the concepts of Alemán and Laclau are supported in the teaching of Lacan. Thus, our dissertation is tied, proposing some orientation within the demarcated field.

Der Begriff Maskerade unterscheidet sich trotz etymologischen Verwandschaft vom Begriff Maske. Unter Maskerade werden vor allem Strategien der Inszenierung von Geschlechtsidentitäten verstanden, weshalb synonymisch häufig von Geschlechtermaskerade die Rede ist. Das Konzept hat in den Theater-, Film- und Literaturwissenschaften sowie in der Philosophie und der Psychologie Einzug gehalten. In den Gender Studies etablierte sich der Begriff in den 1990er Jahren, maßgeblich beeinflusst durch psychoanalytische und poststrukturalistische Theoriebildung. Mit der Maskerade können sehr verschiedene Phänomene bezeichnet werden, von der Pseudonymität weiblicher Autor_innenschaft bis hin zu alltagskultureller Performance und Körperinszenierung, etwa im Transvestitismus.

I offer a cloud of observations about language and art. I will prioritize my questions about how language operates in art, the way it functions within my own studio practice, and locate aesthetic interstices throughout. There will be insights gleaned from the various orderers of order (Lacan, Saussure) and orderers of disorder (Derrida, Agamben), walks in terra-incognita, and even some poetry on my part. I will take this chance to orient myself among different structures and deconstructions that have piledup around language, aesthetics and art.

The numerous and varied conspiracy theories which circulate in the contemporary discourse are subject to hyperstition, insofar as they are grouped into wider, more elaborate structures. Some of them become hierarchic to such a degree, that they may, in Michael Barkun's typology, be labeled as "superconspiracy" constructs. No author is more prolific and systematic in the crafting of these constructs than the guru of anglophone conspiracy theory belief, David Icke. The work attempts to keep as its object of study the work of David Icke and his "reptoid hypothesis," as it is effectively one of the most elaborate and baroque conspiracy theories which populate contemporary political discourse. It is Icke's oeuvre which this thesis attempts to recontextualize within the confines of critical social theory and Žižekian psychoanalysis. The existence of a "paranoid style" as professed by Richard J. Hofstadter can be noted throughout the history of western culture, from the Homeric gods, scheming behind the scenes, to its modern incarnations culminating in the superconspiracy constructs of David Icke, Alex Jones, and others. The work focuses not on specific conspiracy theories and their claim to facticity, but rather attempts to trace the structural features of Icke's construct and establish their underlying...

Dans son texte princeps " Dementia praecox ou groupe des schizophrénies " Paul Eugène Bleuler note que " l'autisme est à peu près la même chose que ce que Freud appelle autoérotisme ". Pourtant, en examinant en détails les autres définitions de l'autisme proposées par Bleuler, tout comme les travaux sur lesquels il a fondé ses élaborations, ainsi que les divers ouvrages de Sigmund Freud, rédigés pour répondre à Paul Eugène Bleuler, on peut constater, que cette remarque concernant la substitution pure et simple de l'auto-érotisme par l'autisme, en essayant éviter ainsi toute référence à la sexualité, est loin d'être exhaustive. La thèse de Bleuler selon laquelle " nous appelons autisme ce détachement de la réalité combiné à la prédominance relative ou absolue de la vie intérieure " ouvre des perspectives fort intéressantes pour la clinique. Ainsi ce n'est pas le narcissisme primaire, mais plutôt le narcissisme secondaire qui correspond à l'autisme bleulérien. Néanmoins cette réponse ne satisfait ni Sigmund Freud, ni Jacques Lacan qui essayent tous les deux d'affiner la conceptualisation psychanalytique des psychoses. Si Jacques Lacan a bien repris à son compte certains concepts freudiens, issus des tentatives de Freud de retravailler le concept bleulérien de l'autisme selon la théorie de la libido (comme le principe de plaisir / le principe de la réalité, la réalité psychique ou la perte de la réalité dans la névrose et dans la psychose), il les remanie à sa façon, souvent d'une manière subversive. C'est en questionnant et en remettant en cause le concept du narcissisme primaire, issu de la discussion à propos de l'autisme bleulérien, que Jacques Lacan en arrive à l'élaboration du stade du miroir et au cheminement qui lui permet la conceptualisation de l'aliénation / séparation, tout comme au questionnement du rapport du sujet et de l'Autre dans l'autisme. C'est ainsi qu'il indique également la perspective qui peut mener à la conception d'une certaine disposition du réel, de l'imaginaire et du symbolique selon la théorie des nœuds borroméens qui, à notre avis, pourrait correspondre à l'état autistique

This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.

Within the science fiction genre, utopian as well as dystopian experiments have found equal representation. This balanced treatment of two diametrically opposed social constructs results from a focus on the future for which this particular genre is well known. Philip K. Dick’s VALIS, Neal Stephenson’s Snow Crash, Samuel R. Delany’s Babel-17, and Chuck Palahniuk’s Lullaby, more aptly characterized as speculative fiction because of its use of magic against scientific social subjugation, each tackle dystopian qualities of contemporary society by analyzing the power that language possesses in the formation of the self and propagation of ideology. The utopian goals of these texts advocate for a return to the modernist metanarrative and a revision of postmodern cynicism because the authors look to the future for hopeful solutions to the social and ideological problems of today. Using Slavoj Žižek’s readings of Jacques Lacan and Theodor Adorno’s readings of Karl Marx for critical insight, I argue these four novels imagine language as the key to personal empowerment and social change. While not all of the novels achieve their utopian goals, they each evince a belief that the attempt belies a return to the modernist metanarrative and a rejection of postmodern helplessness. Thus, each novel imagines the revision of Žižek’s big Other through the remainders of Adorno’s inevitably failed revolutions, injecting hope in a literary period that had long since lost it.

This is an explication of Lacan’s Seminar XVII. The introduction situates the Seminar in its time and in relation to other theories of discourse. In part one I examine the changes which it brings to a variety of ideas already known in Lacan’s oeuvre such as Jouissance, Master Signifier(s) and Oedipus. Part two looks the four discourses in detail after considering the positions common to each. I provide accounts of each discourse as taking place internally to a subject and between subjects. The coda examines areas where further research is possible, reviews and critiques some scholarship on this seminar and inquires into the use value of the discourse theory, both generally and as a means of getting beyond Lacan.

This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.

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