There is genuine jouissance in this historical theater, but hardly any complexity.
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Agustin Fernandez: Paradoxe de la Jouissance continues at the Mairie du 4e arrondissement (2 Place Baudoyer, 4th arrondissement, Paris) through June 16.
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FB: Porn and sex apps definitely seem to provide disgust as much as desire, brokering an endless pickiness, a phallic jouissance of gambling that never ends.
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But in turning away from the human world you are invariably turning away from the complications of being a sexed person — it's a new asexuality, an anti-jouissance.
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Not so in Paradoxe de la Jouissance ("Paradox of Pleasure"), the chutzpah-packed exhibition of Fernandez's controversial late work insightfully curated by Jeanette Zwingenberger at the city hall of Paris's fourth arrondissement.
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Dark and death-obsessed as they are, so too do they possess an unmistakable jouissance — a kind of poetic YOLO expressed through wordplay — as well as a Dickinsonian compression and linguistic virtuosity.
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She applauds Wells's novel "Ann Veronica" for the "jouissance it purveys" and "The Island of Doctor Moreau" for the "hybridity it literalises", and refers to his work being "washed by waves of violence and decimation".
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Ce fantasme du paradis, largement présenté comme espace de jouissance, avec sexe et vin, parures d'or et vêtements de soie, est le contraire de la vie d'ici — et des frustrations des pays arabes touchés par les échecs économiques, les guerres et les dictatures sanglantes.
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It is circular and self-reflexively postmodern—Øyehaug's text enacts what Barthes theorizes, exalting an "object" that is itself just a sentence—while also registering some brief flash of consciousness, some small explosion of longing, that, like Anna Bae's discovery in Rimbaud's biography, seems true to our own experience of passionate reading: jouissance , to be precise.
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Jacques Lacan, The Ethics of Psychoanalysis (1992) p. 194 In his seminar "The Other Side of Psychoanalysis" (1969–1970) Lacan introduced the concept of "surplus-enjoyment" (French plus-de-jouir) inspired by Marx's concept of surplus-value: he considered objet petit a is the excess of jouissance which has no use value, and which persists for the mere sake of jouissance. Lacan considered that jouissance is essentially phallic, meaning that it does not relate to the "Other" as such. In his seminar "Encore" (1972–1973), however, Lacan introduced the idea of specifically feminine jouissance, saying that women have "in relation to what the phallic function designates of jouissance, a supplementary jouissance...a jouissance of the body which is...beyond the phallus".
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English editions of the works of Jacques Lacan have generally left jouissance untranslated in order to help convey its specialised usage.Dylan Evans, An Introductory Dictionary of Lacanian Psychoanalysis Lacan first developed his concept of an opposition between jouissance and the pleasure principle in his Seminar "The Ethics of Psychoanalysis" (1959–1960). Lacan considered that "there is a jouissance beyond the pleasure principle"Lacan, p. 184 linked to the partial drive; a jouissance which compels the subject to constantly attempt to transgress the prohibitions imposed on his enjoyment, to go beyond the pleasure principle.
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The French feminist writer Hélène Cixous uses the term jouissance to describe a form of women's pleasure or sexual rapture that combines mental, physical and spiritual aspects of female experience, bordering on mystical communion: "explosion, diffusion, effervescence, abundance...takes pleasure (jouit) in being limitless".Quoted in E. D. Ermarth, Sequel to History (1992) p. 160 Cixous maintains that jouissance is the source of a woman's creative power and that the suppression of jouissance prevents women from finding their own fully empowered voice.Introduction to Cixous The concept of jouissance is explored by Cixous and other authors in their writings on Écriture féminine, a strain of feminist literary theory that originated in France in the early 1970s.
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Other feminists have argued that Freudian "hysteria" is jouissance distorted by patriarchal culture and say that jouissance is a transcendent state that represents freedom from oppressive linearities. In her introduction to Cixous' The Newly Born Woman, literary critic Sandra Gilbert writes: "to escape hierarchical bonds and thereby come closer to what Cixous calls jouissance, which can be defined as a virtually metaphysical fulfillment of desire that goes far beyond [mere] satisfaction... [It is a] fusion of the erotic, the mystical, and the political."Gilbert, Sandra M. Introduction. The Newly Born Woman.
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In French, jouissance means enjoyment, in terms both of rights and property,Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis (1994) p. 281 and of sexual orgasm. The latter has a meaning partially lacking in the English word "enjoyment". Poststructuralism has developed the latter sense of jouissance in complex ways, so as to denote a transgressive, excessive kind of pleasure linked to the division and splitting of the subject involved.
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Quoted in J. Mitchell/J. Rose eds., Feminine Sexuality (1982) p. 145. This feminine jouissance is ineffable, for both women and men may experience it, yet know nothing about it.
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Lacan, p. xvi and p. 234 Lacan also linked jouissance to the castration complex,Jacques Lacan, Écrits: A Selection (1997) p. 319-24 and to the aggression of the death drive.
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French psychoanalyst Jacques Lacan linked psychoanalysis with Kantian ethics in his works The Ethics of Psychoanalysis and Kant avec Sade, comparing Kant with the Marquis de Sade.Martyn 2003, p. 171. Lacan argued that Sade's maxim of jouissance—the pursuit of sexual pleasure or enjoyment—is morally acceptable by Kant's criteria because it can be universalised. He proposed that, while Kant presented human freedom as critical to the moral law, Sade further argued that human freedom is only fully realised through the maxim of jouissance.
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In Memoriam: Monique Wittig, The Women's Review of Books, January 2004, Vol. XXI, No. 4., quoted in Trivia Magazine, Wittig Obituary. Hélène Cixous,Kelly Ives, Cixous, Irigaray, Kristeva: The Jouissance of French Feminism, Crescent Moon Publishing, 2016.
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" Image—Music—Text. Trans. and ed. Stephen Heath. New York: Hill, 1977 As Richard Middleton puts it, "Plaisir results, then, from the operation of the structures of signification through which the subject knows himself or herself; jouissance fractures these structures.
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Yet according to Lacan, the result of transgressing the pleasure principle is not more pleasure, but instead pain, since there is only a certain amount of pleasure that the subject can bear. Beyond this limit, pleasure becomes pain, and this "painful principle" is what Lacan calls jouissance.Dylan Evans, An Introductory Dictionary of Lacanian Psychoanalysis (2002) p.93 Thus jouissance is suffering (ethics), something that may be linked to the influence of the erotic philosophy of Bataille, and epitomised in Lacan's remark about "the recoil imposed on everyone, in so far as it involves terrible promises, by the approach of jouissance as such".
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It was released later in France as Liz et Helen () and also with added adult scenes involving actress Alice Arno as Chaleur et Jouissance ().Lucas, Tim. Blood and Black Lace DVD, Image Entertainment, 2005. ASIN: B000BB1926 It was released in the United States as Puzzle of Horrors.
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As a person matures, Lacan claims that they still feel separated from themselves by language, which is incomplete, and so a person continually strives to become whole. He uses the term "jouissance" to refer to the lost object or feeling of absence (see manque) which a person believes to be unobtainable.
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"Lumière sur les finalistes des Prix littéraires du Gouverneur général". Le Devoir, October 4, 2018. She previously published the Zan series of children's books, as well as the novel La jouissance du loup à l'instant de mordre. She was a Green Party of Canada candidate in Hochelaga in the 2015 federal election.
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He has also argued that terrorists kill for the sake of "jouissance," not to act upon suicidal ideation. Benslama is the co-founder of a deradicalization center for French youths who return to France after visiting Syria. In the wake of the 2016 Nice truck attack, he called for the press to stop publishing the pictures and names of terrorists to avoid their "glorification".
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Bruce Fink is an American Lacanian psychoanalyst and a major translator of Jacques Lacan. He is the author of numerous books on Lacan and Lacanian psychoanalysis, prominent among which are Lacan to the Letter: Reading Écrits Closely, The Lacanian Subject: Between Language and Jouissance (1995), Lacan on Love: An Exploration of Lacan's Seminar VIII and A Clinical Introduction to Lacanian Psychoanalysis: Theory and Technique.
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Hanover: Wehrhahn. Frederick planned to make him a count. Challenged by Algarotti that northern Europeans lacked passion, Frederick penned for him an erotic poem, La Jouissance, which imagined Algarotti in the throes of sexual intercourse with another partner, a female named Chloris. Not all Frederick scholars have interpreted the poem in such a way; some have read it as describing a tryst between two men.
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A Lacanian Concept, he argues that the nucleus that holds psychoanalytical clinic and theory together is the concept of jouissance, which can be minimally defined as "the ways in which a body is affected by language". In this sense he argues that psychoanalysis can be understood as a sort of science of jouissance in the speaking being, a sophisticated knowledge that has been carefully constructed, first by Freud, continued by Lacan and still ongoing. In his last book published in French, Depuis Freud, Après Lacan (Ramonville, Érès, 2008) Braunstein posits his theory of three different periods in the history of psychoanalysis. They can be emblematically traced to the year 1900 (Freud's era, under the predominance of the discourse of the Master), 1950 (Lacan's times, under the hegemony of the discourse of the Capitalist) and our present age (year 2000), ruled by the omnipresent and anonymous discourse of the Markets.
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As the role of the real and of jouissance in opposing structure became more widely recognised, however, so too Lacanianism developed as a tool for the exploration of the divided subject of postmodernity.Anthony Elliott, Social Theory Since Freud (2013) p. 3-7 Since Lacan's death, however, much of the public attention focused on his work began to decline. Lacan had always been criticised for an obscurantist writing style;R.
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The fear of, say, heights really stands in the place of a much more primal fear: the fear caused by the breakdown of any distinction between subject and object, of any distinction between ourselves and the world of dead material objects. Kristeva also associates the abject with jouissance: "One does not know it, one does not desire it, one joys in it [on en jouit]. Violently and painfully. A passion" (Powers 9 ).
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"Phillip Hill, Lacan for Beginners (London 1997) p. 75 The goal of therapy thus became "la traversee du fantasme, the crossing over, traversal, or traversing of the fundamental fantasy."Bruce Fink, The Lacanian Subject: Between Language and Jouissance (Princeton 1997) p. 61 For Lacan, "The traversing of fantasy involves the subject's assumption of a new position with respect to the Other as language and the Other as desire ... a utopian moment beyond neurosis.
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Barthes sets out some of his ideas about literary theory. He divides the effects of texts into two: plaisir ("pleasure") and jouissance, translated as "bliss" but the French word also carries the meaning of "orgasm". The distinction corresponds to a further distinction Barthes makes between texte lisible and texte scriptible, translated respectively as "readerly" and "writerly" texts (a more literal translation would be "readable" and "writable"). Scriptible is a neologism in French.
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Accessed 16 Feb. 2017. Amber Jamilla Musser’s Sexual Excess: Queer Femininity and Brown Jouissance (2018) book includes a chapter about Ibarra's collaboration with performance artist Amber Hawk Swanson, “Untitled Fucking” (2013). Leticia Alvarado's Abject Performances: Aesthetic Strategies in Latino Cultural Production features Ibarra's performance work "Skins/Less Here" (2015) on the cover and within the book. Ivan Ramos, a Professor at the University of Maryland writes about La Chica Boom's performances ' Tortillera and Untitled Fucking.
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Parallels between humans and other living things on the planet were made obvious by the aforementioned. This is manifest in stories like H.P. Lovecraft’s "The Outsider" and Nicholson Baker's "Subsoil". Ghosts and monsters are closely related to this theme; they function as the spiritual equivalent of the abhuman and may be evocative of unseen realities, as in The Bostonians. Julia Kristeva's concepts of jouissance and abjection are employed by American Gothic authors such as Charlotte Perkins Gilman.
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One of the main methods of psychoanalysis is to drain the traumatic experiences of the real into the symbolic through free association. The analyst searches the analysand's discourse for sounds, words, or images of fixation and through dialectization attempt to bring these fixations to the regular metonymic flow of the (unconscious) symbolic order, thereby integrating the subject further into their fantasy, usually referred to as "traversing the fantasy."Bruce Fink, The Lacanian Subject: Between Language and Jouissance, Princeton University Press, 1997, p. 27.
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This is a shift from the linguistic definition of the symptom — as a signifier — to his assertion that "the symptom can only be defined as the way in which each subject enjoys (jouit) the unconscious in so far as the unconscious determines the subject." He goes from conceiving the symptom as a message which can be deciphered by reference to the unconscious structured like a language to seeing it as the trace of the particular modality of the subject's jouissance.
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In Lacanian thought, a demand results when a lack in the Real is transformed into the Symbolic medium of language. Demands faithfully express unconscious signifying formations, but always leave behind a residue or kernel of desire, representing a lost surplus of jouissance for the subject, (because the Real is never totally symbolizable). As a result, for Lacan, "desire is situated in dependence on demand – which, by being articulated in signifiers, leaves a metonymic remainder which runs under it".Lacan, Four p.
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Jacques Lacan and the Other Side of Psychoanalysis: Reflections on Seminar XVII. London. p. 51.—despite his own earlier warning of the dangers if "one wishes to ignore the symbolic articulation that Freud discovered at the same time as the unconscious…his methodical reference to the Oedipus complex." Whether his development of the concept of jouissance, or "the 'identification with the sinthome' (as the naming of one's Real) advocated in Lacan's last works as the aim of psychoanalysis,"Chiesa, Lorenzo. 2007. Subjectivity and Otherness. London. p. 188.
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Throughout the final decade of his life, Lacan continued his widely followed seminars. During this period, he developed his concepts of masculine and feminine jouissance and placed an increased emphasis on the concept of "the Real" as a point of impossible contradiction in the "Symbolic order". Lacan continued to draw widely on various disciplines, working closely on classical Chinese literature with François ChengPrice, A., "Lacan's Remarks on Chinese Poetry". Hurly-Burly 2 (2009) and on the life and work of James Joyce with Jacques Aubert.
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Of the four concepts mentioned, three were developed between 1953 and 1963. As to drives, whose importance has increased since the study of objet a in the 1963 Seminar L'angoisse, Lacan considers them as different from biological needs in that they can never be satisfied. The purpose of the drive is not to reach a goal (a final destination) but to follow its aim (the way itself), which is to circle round the object. The real source of jouissance is the repetitive movement of this closed circuit.
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About feminist criticism of the character, the French critic Roger Martin du Gard wrote that primary purpose of Austen was to provide jouissance (enjoyment) to her readers, not preach, but the character of Elizabeth is able to manoeuvre within the male-dominated power structure of Regency England to assert her interests in a system that favours her father, Mr Darcy, and the other male characters.Gard, Roger "Questioning the Merit of Pride and Prejudice", pp. 111–117, in Readings on Pride and Prejudice ed. Clarice Swisher, San Diego: Greenhaven Press, 1999.
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For Giles MacDonogh, Algarotti's partner in the poem is Frederick himself; MacDonogh, whose 1999 biography of Frederick is ambiguous as to the king's sexual orientation, was convinced by the poem that Frederick was gay. It is known that other homoerotic poems were written by the king, but none, including La Jouissance, unequivocally exposes the king as being involved in such affairs. In 1733, Frederick was forced to marry Elisabeth Christine of Brunswick- Bevern, with whom he had no children. He immediately separated from his wife when his father died seven years later.
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The drives are partial, not in the sense that they are a part of a whole (a genital drive), but in that they only represent sexuality partially: they convey the dimension of jouissance. "The reality of the unconscious is sexual reality – an untenable truth," much as it cannot be separated from death. Objet petit a is something from which the subject, in order to constitute itself, has separated itself off as organ. This serves as symbol of the lack, of the phallus, not as such, but in so far as it is lacking.
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The sixties saw Lacan's attention increasingly focused on what he termed the Real—not external consensual reality, but rather that unconscious element in the personality, linked to trauma, dream and the drive, which resists signification.Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis (1994) p. 280 The Real was what was lacking or absent from every totalising structural theory;Y. Stavrakakis, The Lacanian Left (2007) and in the form of jouissance, and the persistence of the symptom or synthome, marked Lacan's shifting of psychoanalysis from modernity to postmodernity.
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49-54 his Fifties exploration of the Imaginary and the Symbolic; his concern with the Real and the lost object of desire, the objet petit a, during the Sixties; and a final phase highlighting jouissance and the mathematical formulation of psychoanalytic teaching. As the fifties Lacan developed a distinctive style of teaching based on a linguistic reading of Freud, so too he built up a substantial following within the Société Française de Psychanalyse [SFP], with Serge Leclaire only the first of many French "Lacanians".Élisabeth Roudinesco, Jacques Lacan (Cambridge 2005) p.
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The seminar is a continuing elaboration of his topology, extending the previous seminar's focus (RSI) on the Borromean Knot and an exploration of the writings of James Joyce. Lacan redefines the psychoanalytic symptom in terms of his topology of the subject. In "Psychoanalysis and its Teachings" (Écrits) Lacan views the symptom as inscribed in a writing process, not as ciphered message which was the traditional notion. In his seminar "L'angoisse" (1962–63) he states that the symptom does not call for interpretation: in itself it is not a call to the Other but a pure jouissance addressed to no one.
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Lacan maintains Freud's distinction between drive (Trieb) and instinct (Instinkt). Drives differ from biological needs because they can never be satisfied and do not aim at an object but rather circle perpetually around it. He argues that the purpose of the drive (Triebziel) is not to reach a goal but to follow its aim, meaning "the way itself" instead of "the final destination", that is to circle around the object. The purpose of the drive is to return to its circular path and the true source of jouissance is the repetitive movement of this closed circuit.
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In the discourse of the Master, one signifier attempts to represent the subject for all other signifiers, but a surplus is always produced: this surplus is objet petit a, a surplus meaning, a surplus of jouissance. Slavoj Žižek explains this objet petit a in relation to Alfred Hitchcock's MacGuffin: "[The] MacGuffin is objet petit a pure and simple: the lack, the remainder of the Real that sets in motion the symbolic movement of interpretation, a hole at the center of the symbolic order, the mere appearance of some secret to be explained, interpreted, etc." (Love thy symptom as thyself).
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Aesthetics of music () is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant.
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The seminar is a continuing elaboration of his topology, extending the previous seminar's focus (RSI) on the Borromean Knot and an exploration of the writings of James Joyce. Lacan redefines the psychoanalytic symptom in terms of his topology of the subject. In "Psychoanalysis and its Teachings" (Écrits) Lacan views the symptom as inscribed in a writing process, not as ciphered message which was the traditional notion. In his seminar "L'angoisse" (1962–63) he states that the symptom does not call for interpretation: in itself it is not a call to the Other but a pure jouissance addressed to no one.
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The abject must also be distinguished from desire (which is tied up with the meaning-structures of the symbolic order). It is associated, rather, with both fear and jouissance. In phobia, Kristeva reads the trace of a pre-linguistic confrontation with the abject, a moment that precedes the recognition of any actual object of fear: "The phobic object shows up at the place of non-objectal states of drive and assumes all the mishaps of drive as disappointed desires or as desires diverted from their objects" (Powers 35 ). The object of fear is, in other words, a substitute formation for the subject's abject relation to drive.
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The Slovenian philosopher Slavoj Žižek, a known Lacanian theorist, has adopted the term in his philosophy; it may also be seen in the works, both joint and individual, of Gilles Deleuze and Félix Guattari, and it plays an important role in the writing of Julia Kristeva and Roland Barthes. In his 1973 literary theory book The Pleasure of the Text, Barthes divides the effects of texts into two: plaisir (translated as "pleasure") and jouissance. The distinction corresponds to a further distinction Barthes makes between "readerly" and "writerly" texts. The pleasure of the text corresponds to the readerly text, which does not challenge the reader's position as a subject.
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Michel Henry, La Barbarie, éd. Grasset, 1987, pp. 15, 23 et 80 For Michel Henry, life is essentially subjective force and affectivity Michel Henry, Voir l’invisible, éd. François Bourin, 1988, cover page — it consists of a pure subjective experience of oneself which perpetually oscillates between suffering and joy.Michel Henry, La Barbarie, éd. Grasset, 1987, p. 122 Paul Audi : Michel Henry : Une trajectoire philosophique, Les Belles Lettres, 2006, p. 109 : "Ainsi, en dépit de sa simplicité, et à cause de son caractère dynamique (force) et pathétique (affect), le "vivre" est affectivité (jouissance et souffrance), mais il est aussi pulsion, désir, volonté, agir (praxis), pensée (représentation)".
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Kalakan Trio, performs an acoustic version of "Open Your Heart" during The MDNA Tour in 2012. Author Susan McClary in Culture/power/history reviewed the song saying that, it was more upbeat than previous single "Live to Tell" and "the play with closure in 'Open Your Heart' creates the image of open ended jouissance—an erotic energy that continually escapes containment". Author Taraborrelli called it as one of her most "earnest" songs and compared it with Aretha Franklin's song "Respect" as well as Barbra Streisand's "A House is Not a Home". According to him "it was a tune people could understand and latch on to, which is what makes a pop song memorable".
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At first these partial drives function independently (i.e. the polymorphous perversity of children), it is only in puberty that they become organized under the aegis of the genital organs.Freud, Three Essays on the Theory of Sexuality, S.E. VII Lacan accepts the partial nature of drives, but 1) rejects the notion that partial drives can ever attain any complete organization: the primacy of the genital zone, if achieved, is always precarious; and 2) he argues that drives are partial in that they only represent sexuality partially not in the sense that they are a part of the whole. Drives do not represent the reproductive function of sexuality but only the dimension of jouissance.
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Irrespective of the self-consciousness of the image, irrespective of the element of pastiche, what lifts the image above and beyond the influences and constraints that shape it is that sense of pleasure, of laughter, that lightness. Thereby, through laughter, through what Roland Barthes's famously termed jouissance or bliss, the iconic or representational quality of the work dissolves or, at least, is strategically foregrounded yet kept in abeyance. If the work is about race, about gender, it is also about something far greater: love. By this I mean that Rose has not only shown us the obvious, but through the obvious – racial conflict and sexual difference – she has managed to point a way forward.
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Jacques Lacan's désir follows Freud's concept of Wunsch and it is central to Lacanian theories. For the aim of the talking cure—psychoanalysis—is precisely to lead the analysand or patient to uncover the truth about their desire, but this is only possible if that desire is articulated, or spoken.Fink, Bruce, The Lacanian Subject: Between Language and Jouissance (Princeton University Press, 1996), Lacan said that "it is only once it is formulated, named in the presence of the other, that desire appears in the full sense of the term."Lacan, J., The Seminar of Jacques Lacan: Book I: Freud's Papers on Technique 1953-1954 "...what is important is to teach the subject to name, to articulate, to bring desire into existence" (W.
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Marie Peltier teaches at ISPG in Brussels, a training institution training primary and middle school teachers, situated in Schaerbeek. She teaches history to first year bachelors. Her Master's degree thesis, La justice des mineurs en temps de guerre. La pratique du tribunal pour enfants de Namur durant les années 1940, defended at université catholique de Louvain in 2003, regarded justice for minors during the 40s.cité dans « Une véritable frénésie de jouissance… » Prostitution juvénile et armées d’occupation en Belgique (1940-1945) Since 2011, Peltier has worked as a project leader at Be-Pax, the French-speaking section of Pax Christi, on intercultural issues, organising discussion groups — notably on the Syrian Civil War and on the Middle East— and had published articles on the internal journal of the association.
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Jacques Lacan, inspired by Heidegger and Ferdinand de Saussure, built on Freud's psychoanalytic model of the subject, in which the "split subject" is constituted by a double bind: alienated from jouissance when he or she leaves the Real, enters into the Imaginary (during the mirror stage), and separates from the Other when he or she comes into the realm of language, difference, and demand in the Symbolic or the Name of the Father.Elizabeth Stewart, Maire Jaanus, Richard Feldstein (eds.), Lacan in the German-Speaking World, SUNY Press, 2004, p. 16.. Thinkers such as structural Marxist Louis Althusser and poststructuralist Michel Foucault theorize the subject as a social construction, the so-called poststructuralist subject.Edel Heuven, "The Poststructuralist Subject and the Paradox of Internal Coherence", M.Sc. thesis, Wageningen University and Research, 2017, p. 2.
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A feminist line of logic about these attempts is that, because fine art was a leisure activity at this time, those who could afford to make art or produce supposed universal truths about how it is enjoyed would do so in a way that creates class and gender division. Even when those universal aesthetes did address gender, they categorized aesthetics into two categories: beauty and sublimity; with beauty being small and delicate (feminine) and sublimity being large and awe-inspiring (masculine). Feminist aesthetics analyzes why "feminine" traits are subservient compared to "masculine" traits in art and aesthetics. Another explanation for the male-domination of forming aesthetic theory is that feminists express their aesthetic pleasure differently than non-feminist aesthetes for "whom the pleasure of theorizing [...] is a form of jouissance".
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Before Columbus arrived, no one defined Indian as other; there were only the indigenous peoples of various tribes (such as Anishinaabe or Dakota). (They defined "other" among themselves, often divided by languages and associated cultures.) To deconstruct the idea of "Indianness," Vizenor uses strategies of irony and Barthesian jouissance. For instance, in the lead-up to Columbus Day in 1992, he published the novel, The Heirs of Columbus, in which Columbus is portrayed as a Mayan Indian trying to return home to Central America. In Hotline Healers, he claims that Richard Nixon, the American president who he said did more for American Indians than any other in restoring sovereign rights and supporting self-determination, did so as part of a deal in exchange for traditional "virtual reality" technology.
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This is a shift from the linguistic definition of the symptom — as a signifier — to his assertion that "the symptom can only be defined as the way in which each subject enjoys (jouit) the unconscious in so far as the unconscious determines the subject." He goes from conceiving the symptom as a message which can be deciphered by reference to the unconscious structured like a language to seeing it as the trace of the particular modality of the subject's jouissance. This shift from linguistics to topology constitutes the status of the sinthome as unanalyzable. The seminar extends the theory of the Borromean knot, which in RSI (Real, Symbolic, Imaginary) had been proposed as the structure of the subject, by adding the sinthome as the fourth ring to the triad already mentioned, tying together a knot which constantly threatens to come undone.
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Braunstein recognizes the following authors as the main influences on his thought: Jacques Lacan, Sigmund Freud, Friedrich Nietzsche, Louis Althusser, Jorge Luis Borges, Jacques Derrida, Slavoj Žižek and Giorgio Agamben. His works have dealt with a variety of subjects in terms of the relationship between psychoanalysis and culture: philosophy from Plato to Wittgenstein and Derrida; literature from Sophocles to Sebald and Christa Wolf; the visual arts; music; opera; film theater; history; theology; medicine; neuroscience; law; linguistics; anthropology; academic psychology; pedagogy; politics; psychiatry and daily life in the 21st century. Since 2003 he has turned his attention to the subject of memory, articulating the meaning and research on the ability to remember in psychoanalysis and its constant references (Sigmund Freud and Jacques Lacan) and those sources that can be derived from other disciplines such as literature, philosophy, history and neuroscience. In his best known work Goce Jouissance.
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Lacan's concept of desire is related to Hegel's Begierde, a term that implies a continuous force, and therefore somehow differs from Freud's concept of Wunsch.Macey, David, "On the subject of Lacan" in Psychoanalysis in Contexts: Paths between Theory and Modern Culture (London: Routledge 1995). Lacan's desire refers always to unconscious desire because it is unconscious desire that forms the central concern of psychoanalysis. The aim of psychoanalysis is to lead the analysand to recognize his/her desire and by doing so to uncover the truth about his/her desire. However this is possible only if desire is articulated in speech:Fink, Bruce, The Lacanian Subject: Between Language and Jouissance (Princeton University Press, 1996), "It is only once it is formulated, named in the presence of the other, that desire appears in the full sense of the term."Lacan, J., The Seminar of Jacques Lacan: Book I: Freud's Papers on Technique 1953–1954(W.
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As a reaction to this, he wrote The Pleasure of the Text (1975), a study that focused on a subject matter he felt was equally outside the realm of both conservative society and militant leftist thinking: hedonism. By writing about a subject that was rejected by both social extremes of thought, Barthes felt he could avoid the dangers of the limiting language of the Doxa. The theory he developed out of this focus claimed that, while reading for pleasure is a kind of social act, through which the reader exposes him/herself to the ideas of the writer, the final cathartic climax of this pleasurable reading, which he termed the bliss in reading or jouissance, is a point in which one becomes lost within the text. This loss of self within the text or immersion in the text, signifies a final impact of reading that is experienced outside the social realm and free from the influence of culturally associative language and is thus neutral with regard to social progress.
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