Denna studie avser att utforska identitetsskapandet inom den komplexa konstformen performance. Genom att fokusera på Marina Abramovićs och Frank Uwe Laysipens (Ulay) liv och kollaborativa performance ur ett performativt och psykoanalytiskt perspektiv angrips handlingarnas tyngdpunkt i skapandet av jaget under diverse omständigheter och sammanhang. / This study aims to investigates the creation of identity within the complex artform performance. By observing the life’s and collaborative performance of Marina Abramović and Frank Uwe Laysiepen (Ulay) though a performative and psychoanalytic perspective focuses the act in the creation of self in different circumstances and contexts.

La question du sujet s'est développée dans la pensée occidentale en suivant deux axes. Un premier axe montre un sujet de la volonté qu'on a retrouvé avec une lecture de Kant, dont la caractéristique retenue est l'autonomie de son action. Un second montre un sujet plus personnel, marqué d'une trace qui le détermine et que la psychanalyse à la suite de Freud et de Lacan a développé comme le sujet de l'inconscient. Sont ici exposées ces deux thèses à la suite desquelles une discussion est engagée sur les conséquences éthiques de chacune. Une synthèse est proposée autour de la notion de sujet historique suggérée par le sociologue Alain Touraine et permet de discuter les enjeux rencontrés par le sujet éthique dans certaines situations contemporaines de la vie quotidienne.

A través la novela Pedro Páramo, Juan Rulfo nos vislumbra elementos como la ilusión, la desilusión, la melancolía y la identidad. Sin embargo, si analizamos la obra también vamos a encontrar el fenómeno del cautiverio que impregna dichos elementos en Pedro Páramo. La presente tesina tiene como propósito demostrar que en la obra literaria de Rulfo aparece el fenómeno del cautiverio como multifacético y subyacente para otros elementos. Este se presenta en distintos cronotopos de Comala, que afectan los deseos de los personajes y al final contribuyen a sus sentimientos de ilusión, desilusión y melancolía, sino también a la construcción de su propia identidad. / With the novel Pedro Páramo, Juan Rulfo gives us a glimpse of elements such as illusion, disillusionment, melancholy and identity. However, if we analyze the work, we will also find the phenomenon of captivity that impregnates these elements in Pedro Páramo. The purpose of this thesis is to demonstrate that the phenomenon of captivity appears as multifaceted and underlying to other elements in Rulfo's literary work. This is presented in different chronotopes of Comala, which affect the desires of the characters and in the end contribute to their feelings of illusion, delusion, and melancholy, yet also to the construction of their own identity.

The biological energy concepts used by Freud to account for unconscious mental processes in psychoanalysis are discredited by modem biological findings. As a result, different psychoanalytic schools developed new foundational theories in order to verify unconscious mentation. The present study argues that these theories are unsuccessful for two main reasons. Firstly, replacing Freud's drive energy theory with other equally hypothetical foundational constructs does not solve the problem of finding proof for the existence of unconscious mentation. Secondly, the clinical psychoanalytic definition of unconscious mentation as imaginary, internally generated processes, autonomous from the external world is misguided. External sensory data may play a formative role in producing unconscious mentation. In particular, neurobiological findings on sensory data encoding and storage in human infants may throw light on the nature of unconscious processes. The present study therefore compares ideas derived from Lacanian psychoanalysis with neuropsychological memory and infant research findings to ascertain whether unconscious mentation is linked to the memory encoding of sensory data in infants. This analysis is in tum contrasted with a more contemporary psychoanalytic synthesis of findings on infant memory and unconscious mentation (Lichtenberg, 1989, Lichtenberg, Lachmann, and Fosshage, 1992). The latter theory identifies connections between unconscious mentation and the encoding of sensory memories in infancy, but does not connect the episodic and procedural memory constructs used in this account to specific neurolo·gical mechanisms in the brain. The present study's original contributions therefore involve firstly connecting the development of aversive episodic and procedural memories to neurological mechanisms in the brain during the period between birth and 28 months of age. Secondly, this memory model suggests that the storage of aversive memories in infancy has lasting unconscious motivational significance for subjects. Presymbolic memories may unconsciously manipulate conscious attention and memory retrieval in verbal subjects, inviting comparison with the psychoanalytic concept of dynamic unconscious mentation. Thirdly, the presymbolic memory model contributes towards a novel understanding of false memories of childhood sex abuse, and the dissociation of real traumatic memories that occur in many cases of Post Traumatic Stress Disorder. / Psychology / D.Litt. et Phil. (Psychology)

Raymond Williams argues that a community’s cultural texts naturally draw upon its lived experience, and are thus a trustworthy expression of life within that community. This thesis explores the subject positions expressed in two contemporary texts—Wang Yuan’s Lipstick (又 红), and Ning Ying’s I Love Beijing (夏日暖洋洋)—to understand how urban Chinese individuals experience and comprehend the transformations convulsing their cities. To facilitate this, my primary goal in this thesis is to build a theoretical framework that uses the psychoanalytic work of Jacques Lacan and Slavoj Žižek to create the concept of the fantasy construction of the desiring subject. Using this concept, and drawing on two aspects of the cultural theories of Walter Benjamin—his heavily citational methodology and his theory of the flâneur—I examine the role of fantasy in the construction of contemporary urban Chinese individuals as desiring subjects. / Graduate / 0305 0295 / stetard@me.com

本研究探究拉崗的無意識主體理論，並根據拉崗所進行的心理分析實踐，闡述其中的教育意涵。拉崗以「回歸弗洛伊德」為取向，針對自我心理學之「自我」概念提出批評，他在「鏡子階段」論述中指出：自我之形塑乃是以想像的疏離同一性之運作方式，構成了自我與擬似者之間的錯識結構。當想像域關聯於倫理學時，拉崗將超我的概念轉化為一種客觀的裝置，即極權式的執鞭者能夠以自身之工具化作為藉口，迫使受害者在痛苦和羞辱中達到其自身之主體化的目標。為了分解想像性自我的鈕結，拉崗以象徵的功能提出了無意識主體的理論。他透過對索緒爾之語言學的轉借，使得文字不再具有符號的指義功能，而是進行著記號的指延純粹運作性。主體因而不再是意義的主人而被文字化為符指，在轉代詞「我」所呈現的陳述主詞與宣告主體的分離與分裂當中，主體乃是具有大它者之激進異質性的無意識主體。據此，在教育意涵中，拉崗以大它者之功能所進行的至高實踐，不但修正了鏡像之無限性的非本真實踐，並且鑽透了鏡映之哲學循環的本真實踐，而使得教育學之論述維繫於分析師的「存在之匱乏」此一政策。 / Based on Lacanian psychoanalytical practice, this research discusses his theory of subject of the unconscious and tries to elaborate latter’s implication of education. Along the path of “Return to Freud”, Lacan criticizes the concept of Ego that is the theoretical core of ego psychology. He traces the genesis of ego back at the mirror-stage and describes the imaginary structure of ego as following: narcissitic formation of the ego is the result of misrecognition between ego and the semblable. When combining the Imaginary with Ethics, Lacan retranslates Freudian concept of superego as the objectivized equipment, and analyzes fully the totalitarian effect of this objectivization that refuses its subjectivization. Totalitarian subject is the pure instrument in his instrumentalization, and forces the pain and humiliation onto the victim to help him to accomplish his subjectivization. In order to untie the knot of the Imaginary, Lacan locates the theory of subject of unconscious in the Symbolic. Borrowing Saussure’s structural linguistics, Lacan paralizes the signifying function that is constitutive of totality of Sign, and emphasizes the pure operativity of the signifier with a hole. Between subject of statement and subject of enunciation, shifter “I” introduces the division in the subject. In what gapes, subject is the radical heterogeneity of unconscious subject. Centered on this function of Other, Lacan not only rescues analysis from its inauthentic practice, he also maintains training discourse in his policy of “lack of being”. The latter founds the supreme practice that brings the full educational implication.

<p>In this paper Mona Hatoums installation Corps étranger is discussed via a post structuralized method based on associative and semiotic comparisons with vanitas, a post-modern self-portrait, and as a representative for modern visual art. The analyze touches upon pornography, science fiction and the quest for scientific conquest in outer and inner space. Theoretical references are Foucault, Freud, Lacan, Barthes, Dolar, Said and Virilio. Hatoum makes the observer a voyageur with the aid of the latest medical technology, endoscope, which gives her the opportunity to make an introvert self-portrait when she films her own throat and rectum. But at the same time she makes the portrait of us all. I interpret this as a fictious science with postcolonial ideas, and the reference to science fiction is close at range. Hatoum takes the role as the other, the woman or the stranger and might flirt with Jülich interpretation of Corps étranger as a sign of the visual cultures colonisation of the human body’s inside, that is a conscious reference to sexuality, ethics and the search for knowledge and power.</p>

相對於意識傳統為了滿足知識全知的條件，將身體的隱而未顯視為有缺陷的模糊，現象學重回日常生活世界裡的原初知覺經驗領域，身體作為缺席的模糊不再是認知的障礙，反倒作為潛在的背景是認知得以成立的必要條件。梅洛龐蒂強調完全還原的不可能，將理論重新寓居於身體，身體與世界交錯糾結無法分別，無法外於身體一語道破，只能夠不斷的描述身體與世界的關聯，使得不斷說明成為模糊效能的延續以堆疊出逸離的身體。 為了追求身體最大程度的逸離，本文還必須繼續借道拉崗精神分析，潛意識作為超出主體言說意圖，指向不可見、自我與他人外的他者，連串的取代系列圍繞在缺席旁作離心的循環。於是拉崗認定部分的身體作為象徵的身體才能發揮效能，始終處於異化的過程，但是並不是迷惑在身體的諸種表象中，或者以斷裂確保真實的身體，而是對身體的想像成為身體的不斷延續，身體的諸種表象就是身體的實質存在，使得回歸身體也是逸離身體。 / On contrary to the western philosophical tradition , to set consciousness as priority, builds transparent knowledge. It regard the ambiguity character of body as fault. Phenomenology summons us to go back to primary field of lifeworld. Body is no more the barrier of cognition, instead body become the potential background as necessary condition of cognition. Merleau-Ponty stresses the impossibility of complete reduction. The consciousness inhabit in body in motion. Body is interwined with world and hard to divide. We can’t explore body as objective observer as if we were outside the world. What we can do is to descript the relationship between body and world. Make the descriptions to become the parts of invisible body. In order to catch the character of body’s exceed, we need to have aid of Lacan’s psychoanalysis. Lacan develop that unconsciousness is like the structure of language. It designates the subjectivity speaks beyond what he intend. People desire the lost Other outside the self and other as the third term, instead people used to series of substitutes around the absence as decentered circulation. Lacan identify people is in process of alienation, even in the initial stage. The real body which is fragmented could have effects as symbol. It’s not what people confused with imaginary images, but what people imagine is to continune body. The different body images is body’s substantial existence.

This thesis explores the role played by narrative desire within two modernist experimentations with novel form: Willa Cather's 1918 novel My Antonia and William Faulkner's Absalom, Absalom! (1936). In it, I argue that Cather and Faulkner utilize framing narratives in order to present the main plot of each novel as a product of multiple narrators' desire for a story to emerge. In My Antonia, it is the expressed wish of Jim Burden's nameless writer friend that compels him to finish writing his account of Antonia, which constitutes the main plot of the novel. Meanwhile, in Absalom, Absalom! it is Quentin's perception that Rosa "wants it told" which inspires him to investigate and reconstruct her ex-fiancee Thomas Sutpen's life story with the help of two other character-narrators: his father and college roommate Shreve. Calling on narrative theory and psychoanalysis, I argue that Cather's and Faulkner's novels depict characters' desire for both storytelling and each other to be enigmatic and intersubjective. Indeed the impulse to generate narrative on the part of the tellers in both texts--notably Jim and Quentin--is seen to arise out of a partial, but not entirely clear, sense that another wants them to do so. In other words, the narrative desire conveyed by the nameless writer and Rosa appears to have no clear object. While it is understood by Jim and Quentin that a story is desired of them, the full extent of what this story might come to be about is never fully explicated by their interlocutors. Theoretically, the intervention this project wagers by way of Cather and Faulkner is a rethinking of two influential attempts to bring together narrative theory and psychoanalysis: Peter Brooks' Reading for the Plot (1984) and Judith Roof's Come As You Are (1996). While the claims regarding narrative advanced by both Brooks and Roof rely primarily on Freud's work (notably his theories of the death drive and of sexual development), I attempt to demonstrate how Lacan's thinking allows us to understand narrative as issuing from a desire that is at once intersubjective and objectless--as appears to be the case in My Antonia and Absalom, Absalom!. Lacan's dynamic conceptualization of desire, I suggest, is not only essential to understanding these two works; it is also very much implicit within the interplay of desire and narrative form they establish.

This research report presents a pilot study exploring the possibility of applying a Lacanian clinical methodology for analyzing unconscious dynamics in extra-analytic material. This research initially investigates the legitimacy and utility of this endeavour, followed by immersion in Lacanian thinking and the subsequent selection of potentially relevant data sets; samples of extra-analytic textual material. As this stage a recursive interaction between reading Lacanian theory and reflecting on the text is enacted. Five Lacanian concepts are identified (mirror phase, the three orders of the imaginary, the symbolic and the real, as well as the paternal agency). Although these concepts are, in process inextricable from another, they are presented as though discrete entities given that this allows for the foregrounding of different aspects in the process. The interaction between these concepts is considered with respect to Lacan‟s requirement in clinical practice of a tentative preliminary diagnosis of the patient into one of three diagnostic categories; perversion, neurosis and psychosis. Consequently, in a step that mirrors the clinical process, the textual subject of the data sets is tentatively classified as a (Lacanian) psychotic whose characteristic psychic structure is constituted out of foreclosure. Ways of discerning this structure in textual matter outside of the analytic setting are then considered. Four ways are proposed here. These are the unified or unbounded use of personal pronouns; evidence of thinking towards resolution or disintegration; denial or tolerance of difference and fourthly, the manifestation of regressive or libidinal speech actions. These four provide the basis for approaching the analysis of the selected data sets, which consist of carefully selected instances of Jacob Zuma‟s ostensibly unscripted public utterances. It is proposed that the four ways identified can be used in the analysis of other extra-analytic material.