疯狂的凝视:休伯特·达米施,在每一个光

IF 0.4 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
OCTOBER Pub Date : 2023-01-01 DOI:10.1162/octo_a_00499
Rosalind E. Krauss
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引用次数: 0

摘要

在他的研讨会“眼睛与凝视”中,雅克·拉康被迫通过笛卡尔的“我思”来看待无意识的问题。在“我思故我在”的确定性中,它表达了自我对其自身理解的完全透明,没有给无意识的不可言喻留下空间。拉康看到这种原始启蒙的确定性贯穿于所有的知觉机制,就像保罗·瓦尔康里的诗“年轻的公园”,它宣称,“我看见我自己看见我自己。”拉康转向变形作为一个知觉的例外,其中有两个观察点转向同一个对象,既不与另一个一致,这样,古典视角的感知主体的基本统一与它自己疏远了——一个Spaltung,或分裂,使神秘的无意识存在和它的阉割的死亡印象。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Madness of the Gaze: for Hubert Damisch, in every light
Abstract In his seminar “The Eye and the Gaze,” Jacques Lacan is forced to regard the problem of the unconscious through the grid of the Cartesian cogito. In the certainty of “I think, therefore I am,” which expresses the complete transparency of the self to its own apprehension, leaves no space for the ineffability of the unconscious. Lacan sees this proto-enlightenment certainty running through all perceptual mechanisms, as in Paul Valèry's poem “La Jeune Parque,” which declares, “I saw myself seeing myself.” Lacan turns to anamorphosis as a perceptual exception, in which there are two viewing points turned on the same object, neither coinciding with the other, such that classical perspective's fundamental unity of the perceiving subject is alienated from itself—a Spaltung, or split, that enables the unconscious presence of the uncanny and its castrative impression of death.
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来源期刊
OCTOBER
OCTOBER HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.10
自引率
33.30%
发文量
0
期刊介绍: At the forefront of art criticism and theory, October focuses critical attention on the contemporary arts and their various contexts of interpretation: film, painting, music, media, photography, performance, sculpture, and literature. Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers. Original, innovative, provocative, each issue presents the best, most current texts by and about today"s artistic, intellectual, and critical vanguard.
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