是…这是一种融合了我在Derrida葬礼中

Till Heller
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引用次数: 0

摘要

本文主要探讨德里达解构主义作品《哀悼》中自我的幻像构成。与弗洛伊德不同的是,德里达不仅分析了只有在经历了可以成功处理的具体损失之后才会发生的内在精神哀悼过程。相反,他探索了一种“不可能的哀悼”的可能性,这种哀悼总是在真正失去一件想要的东西之前就开始了,而且永远不会结束。因为超越性他者的幻相结合,在哀悼的工作中,既开放又破坏了主体的自我关系,它被赋予了一种准先验的地位:准先验的程度在于,存在自己的可能性的条件,同时标志着不可能求助于一个自我存在和自我同一性的主体的条件。目的是找出德里达对超验想象的修正的关键作用,其综合作用是在他者的光谱图像中发挥作用,以幽灵般的方式困扰着我们。作为我内在的他者形象,在想象中凝视着我或影响着我,从而制约着我作为一个分裂自我的幻相构成,其内化的痕迹在哀悼的工作中形成了自我形成的不可接近的地方。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Der Andere in mir. Zur phantasmatischen Bildung des Selbst in der Trauerarbeit bei Derrida
The article focuses on the phantasmatic constitution of the self in Derrida’s deconstructive work of mourning. In contrast to Freud, Derrida does not merely analyse inner-psychic mourning processes that only occur after a concrete experience of loss which can be successfully processed. Rather, he explores the possibilities of an ‘impossible mourning’ that always-already begins before the actual loss of a desired object and never comes to a closure. Because the phantasmatic incorporation of the transcendent other both opens up and undermines the subject’s self-relation in the work of mourning, it is assigned a quasi-transcendental status: quasi-transcendental insofar as the conditions of the possibility of being oneself simultaneously mark the conditions of the impossibility of having recourse to a self-present and self-identical subject. The aim is to work out the key role of Derrida’s modification of transcendental imagination, whose syntheses are at work in the spectral images of the other that haunt us in a ghostly way. As an image of the other within me that gazes at or affects me in the imagination and thereby conditions my phantasmatic constitution as a split self, its internalised trace forms the inaccessible place of self-formation in the work of mourning.
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