1,586 research outputs found
The powers of emptiness
No full textFoucault is often considered to be the commensurate theorist of power. His late work provides an impressive array of concepts that enables a multi-dimensional analysis of the historical, material, and discursive facets of power. What is missing from this approach, however, is the factor of passionate attachments, or what we might term the sublime motivations that underlie any regime of control. Lacan’s ethical thought prioritizes precisely the issue of the sublime, and, more to the point, the process of sublimation which establishes an effective “short-circuit” between socially valorized objects and direct drive satisfactions of individuals. Key here is the notion of das Ding, the place of the absent object of primordial satisfaction that generates libidinal enjoyment and draws the subject toward the pinnacle of social valorization. Lacan thus shows us what Foucault cannot theorize. That is to say, if sublimation consists of a relation to the real of das Ding, then it cannot be limited in the terms of its activation to the powers of discursive domain alone; it remains a self-initiating and self-regulating form of power
Series: Lacan and Phenomenology
No full textAlso check out Dr. Derek Hook\u27s video series on Lacan\u27s relationship to phenomenology.https://dsc.duq.edu/phen-intro-videos/1009/thumbnail.jp
Ekphrasis through otherness: the transformation of imagery in Derek Walcott's White Egrets
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2015.Abstract : Opposing the contemporary literary reductionism of ekphrasis to a verbal representation of a painting, a sculpture, a drawing, or a photograph, this research views otherness as the object of contemplation. Through the present rereading of ekphrasis, the investigation will seek 1) to analyze how the ekphrastic characteristics of Walcott`s poetry in his latest work White Egrets promote more companionship than antagonistic views between poetry and painting, and; 2) to analyze how ekphrasis transforms the imagery of Derek Walcott`s créole identity into an aesthetic object of contemplation, depicting it in the similar way of a work of art. More specifically, the discussion analyses how the cultural relations/representations between the self and the other provide an ?ekphrastic situation? for Derek Walcott in the Caribbean?s complex colonial legacy. The poet`s ekphrastic act to render private and personal identity intimacies will lean on the nonfixity of the image, or its motion in stasis. The main theoretical concepts that sustain this investigation are drawn from the works of W.J.T. Mitchell (1980, 1986, 1994, 1996), Cheeke (2008), Loizeaux (2008), and Hall (1989, 1993, 1996, 1997).Opondo-se ao reducionismo literário contemporâneo de que a écfrase seja somente uma representação verbal de uma pintura, uma escultura, um desenho ou uma fotografia, esta pesquisa vê a própria alteridade como objeto de contemplação. Através desta releitura da écfrase, a presente investigação visa 1) analisar como as características ecfrásticas da poesia de Derek Walcott em sua última coleção de poesias intitulada White Egrets (Garças Brancas) propiciam mais companheirismo que visões antagônicas entre poesia e pintura, e; 2) analisar como a écfrase transforma a imagem da identidade crioula de Derek Walcott em um objeto estético de contemplação, retratando-a de uma forma semelhante a uma obra de arte. Mais especificamente, a discussão analisa como as relações/representações culturais entre o eu-individual e o outro propiciam uma  situação ecfrástica para Derek Walcott no complexo legado colonial Caribenho. O ato ecfrástico do poeta ao relatar aspectos privados e pessoais de sua identidade revelar-se-á embasado na infixidez da imagem, ou seja, seu imobilismo em movimento. Os principais conceitos teóricos que sustentam esta investigação foram retirados das obras de W.J.T. Mitchell (1980, 1986, 1994, 1996), Cheeke (2008), Loizeaux (2008), e Hall (1989, 1993, 1996, 1997)
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