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The inclusion of the supernatural in Moscow's urban spaces (flats, restaurants, theater halls, the writer’s house, office) is meant to enhance the understanding of reality in its paradoxical nature. The boundary between the real and the unreal blurs due to the integration of opposing categories within the novel, aiming to reveal the complexity of the contemporary world. The inclusion of magic within real spaces, the sudden shifts between reality and imagination, and the metamorphosis of elements from one state to another support the syncretic nature of The Master and Margarita and Mikhail Bulgakov’s approach of maintaining a make-believe tone in recounting events through authorial reluctance. The text’s subtleties allow the author to express both personal and social critiques.

O presente artigo procura articular o percurso da angústia em Freud e Lacan às teorias queer e enquanto elemento disruptivo das práticas discursivas que tratam a sexualidade como um campo de determinação de identidades. A angústia, na leitura psicanalítica, é o sinal da presença do desejo do Outro enquanto Real, desvelando a sua inconsistência, sendo esse o perigo ao qual a angústia remete, o da perda dos limites do sujeito, pois o Outro não lhe oferece garantias. Nesse sentido, propõe-se pensar que ao se defrontar com as sexualidades que recusam a norma em um contexto civilizatório caracterizado pela hegemonia de uma gramática heteronormativa, a angústia surge como um afeto capaz de operar um rompimento dos processos sociais que promovem uma sustentação identitária dos indivíduos, indicando a presença de um Real inassimilável pela cultura que aponta não somente para o caráter sempre precário das identidades humanas mas, sobretudo, para a dimensão de impossível presente nos roteiros sexuais.

The desire of the mathematician is oriented by the real, by the science of this real, by logic, and by the writing of this real in letters empty of meaning. This desire gives Lacan a reference for thinking about the desire of the analyst with its relationship to the cipher of the unconscious and to its letter. The formula of the trimethylamine in Freud's dream provides an example. Lacan also recognises in Socrates' daimon, in the voice that orients him, his desire, and he correlates this with a resistance to recognising the status of the voice of the psychotic. Great classical clinicians, who built the clinic "before the analytical discourse" (Lacan), did not back down in the face of the reality of the clinic and in particular in the face of the reality of the voices whose sharpness the contemporary pseudo-clinic tries to abrade. They did not back down in the face of the desire of the psychotic, tied to his voices. Chaslin's desire is magnetized by the hallucinations of a psychotic in which a hand writes mathematical formulas. They evoke the writing of numbers and letters on the wall of the real, like the formula for trimethylamine in the dream of Irma's injection, or like the game of the meaningless letter in mathematics. [ABSTRACT FROM AUTHOR]

Psychoanalysis, as the clinic of unconscious desire invented by Freud, was taken up by Lacan as the dialectic of desire implied in the subversion of the subject divided by the signifier. However, what runs through desire and can never be caught is the saying of the demand that only the saying of interpretation can index, in the suspension of the signifying chain that it puts into act. When all is said and done, the clinic of desire would be a clinic of the saying: of saying well what cannot be forgotten by the one all alone. [ABSTRACT FROM AUTHOR]

Based on J. Lacan's Seminars IV and V, we will attempt to identify the knotting between the three registers of the symbolic, the real and the imaginary and the three subjective categories of lack, and to grasp their clinical significance [ABSTRACT FROM AUTHOR]

in this article, we attempt to shed light on how, placed by the law in a situation of identity suspension that is "impossible to bear," unaccompanied minors (UAMs) can construct themselves, caught as they are between a unique personal identity that they know they must mourn in order to be able to stay in the territory, and a projected identity, also constructed by and within the fantasy of the Other. In this context, we consider the possible scope for a relationship between UAMs and social workers or volunteers, and how the understanding of the topology of the Borromean knot can be used in the training of social workers and volunteers. [ABSTRACT FROM AUTHOR]

Alexandra-Monica Toma has been a university lecturer at the Cross-border Faculty of the “Dunarea de Jos” University of Galați since 2019. Having pursued her studies in philology at the same university, she successfully defended her doctoral thesis in 2011. Actively engaged in academic pursuits, she is affiliated with the “Limba noastră” Research Center. Her research interests primarily revolve around computer-mediated communication, pragmatics within the digital environment, and the pedagogy of teaching Romanian as a foreign language. The volume FORME ŞI STRUCTURI LITERARE ÎN COMUNICAREA MEDIATĂ DE CALCULATOR: INTERFERENŢE ÎNTRE VIRTUAL, FICŢIONAL ŞI REAL (LITERARY FORMS AND STRUCTURES IN COMPUTER-MEDIATED COMMUNICATION: INTERFERENCES BETWEEN VIRTUAL, FICTIONAL, AND REAL), Galati University Press, 2020, is based on the author’s doctoral thesis with the same title. The work comprises four chapters: (1) Virtual Reality and its Literary Perceptions, (2) The Email and the Revitalization of the Epistolary Style, (3) The Narrativity of Computer Games, and (4) Blogs as an Extension of the Traditional Diary.

Jacques Lacan’s first Seminars (1953-1959) offer a systematic elaboration of the notions of the Imaginary and the Symbolic, but only sporadic references to the notion of the Real. Despite the scarcity of references, the conception of the Real that can be deduced from them is precise and coherent, and confirmed by the subsequent seminars – at least until Seminar XI (1964). The Real is to be understood as an indeterminate matter that, while it suffers from the signifier, resists it. This constitutes an innovation, on Lacan’s part, with respect to the classical philosophical concept of matter (at least as it is to be found in Aristotle, for whom matter offers no resistance to its own formation) and prepares the basis for the theory of the object a as the signifier of the subject’s castration operated by language, as it is elaborated at the end of Seminar VI (1958-1959) and in Seminar X (1962-1963).

Considering performances with animals such as Going to the Dogs (Wim T. Schippers, 1986), Octavio and I (Linda Molenaar, 2010), Performances for Pets (Juurak/ Bailey 2014) and A Performance With an Ocean View (for a Dog) (Kokkonnen, 2008), I argue that these works illustrate three emergent effects of performing with animals: challenging a binary and exclusionary view of co-presence in performance; determining a modification of the performer’s interaction with a non- human animal audience; reversing the humanization of the animal, by rehearsing an animalization of human agency.

The present article represents a psychoanalytic reading not only of Ingmar Bergman's film The Hour of the Wolf/ Vargtimmen (1968), but also of Bergman's personal hour of the wolf, related to an inner pain, to an atmospheric silence and to the irreducible scar of anxiety. On the other hand, the article presents the expressionistic influences of the German school on the creation of the Swedish director, regarding the terror of the artist, the adventure of light and whiteness, the somnambulism, the soul and its double - the shadow, and so on. The nightmare of the main character Johan Borg starts with his visit to the von Merkens family: the members of this strange family can represent projections of his own psychotic reactions - cannibals, ghosts, vampires, living dead, parasites, spiders. In this context, the bed where Johan meets his "perfect" lover, Veronica Vogler, integrates a binary topos of agony and raw sexuality, a pietà and also a lying-in state of the corpse which allows the ovation and the consumption of the breath of the deceased by the participants. Ultimately, the bed hides the dramatization and the voyeurism of the self. [ABSTRACT FROM AUTHOR]

The impossibility of comprehension concerns not only the subject's relation to the other, but it also extends between the subject and his past. Just like Freud's navel of the dream, in Mohssen Makhmalbaf's film A Moment of Innocence (1996) the unravelling of the characters' lives and the spinning of their phantasmatic perspectives start from the same point of radical lack of sense. The movie's play between reality and fiction renders possible a shift from the violence of the past intrusion of real into the subject's life to the temporized acknowledgement of the inconsistencies in his own discourse. [ABSTRACT FROM AUTHOR]

It is here a question of approaching the issues raised by the transmission of psychoanalysis via the presentation of clinical situations. Beyond the possible theoretical compilation, there’s no transmission without considering a profound contradiction between what the presentation of a clinical case aims at and its analytical purpose. A return to the history of the clinic with Foucault and Freud, and taking into account Lacan’s contribution on the real as that which does not stop not being written, allows us to approach these issues. [ABSTRACT FROM AUTHOR]

From the series Event of the Night in 1972 to Neige in 2003, via Gouttes d'eau (1979-2013), the painter Kim Tschang Yeul has developed a poetics of formlessness in which negation, emptiness and absence direct the creative process. The Korean plastic artist offers through the materiality of the work a meditation on the fluence of worlds and forms. The drop of water expresses the precariousness of things, but also evokes a beyond of representation whose richness is as great as its restraint. Water is the metaphor of the void without which the full cannot unfold; it introduces the practice of non-action, which does not consist in doing nothing but in letting the supporting factors at work in the form happen. The creative process abstains from any intentional action, to let the invisible power of the tao act. [ABSTRACT FROM AUTHOR]

The present article questions, starting from the teaching of Jacques Lacan, the particularities of the image in the nightmare, and in what way does this lead to a certain awakening of the subject. We will also try to underline how several works by David Lynch, very close to the structure of the nightmare, express this mechanism in their own specific approach. [ABSTRACT FROM AUTHOR]

En este artículo se expondrá en primer lugar la crítica de Badiou sobre el sujeto humanista y su propio concepto de sujeto, un sujeto que está claramente inspirado en Lacan pero que va más allá de la subjetivación de la falta de este. Luego me dirigiré al colega de Badiou en el campo antihumanista, Slavoj Žižek, y su crítica lacaniana de Badiou. Se afirmará que es su interpretación diferente del Real lacaniano lo que explica la disputa subyacente entre ellos. Mientras que el sujeto de Žižek es infundado, por otro lado, la concepción de Badiou de forzar lo Real confiere al sujeto un grado de consistencia que facilita la articulación de proyectos políticos específicos.

The essay focuses on Don DeLillo’s novel White Noise with the aim to understand its author’s reaction to the advent of the ‘civilization of appearance’. This analysis shows how DeLillo’s view is ambivalent: despite being indeed fascinated by the coming of the new world, he still is deeply interested in real-life events that can be concretely experienced in opposition to their representations and simulations. What strikes him the most is individual death, namely a problem that cannot be subsumed within the symbolic order of new society. In a certain sense, the novel depicts a ‘return of the repressed’ built on a disturbing ‘return of reality’. The novel oscillates between a sense of tragedy and a sense of irony (if not of ridiculous). Therefore, from one side, it testifies the arrival of what will be called ‘postmodernity’; from another side, it criticizes postmodernity by showing how its ideologists are silly, trivial and grotesque.

Copyright of Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper seeks to reconstruct transcendental phenomenology building upon Maurice Merleau-Ponty's work The Visible and the Invisible. The author makes the remark that such an endeavor presupposes, among other things, the reevaluation of both the psychoanalytic hypothesis of the unconscious as well as of the main operation through which the unconscious can be analyzed, namely the famous Freudian operation of après coup. In this thematic context, Merleau-Ponty becomes interested in the new type of phenomena that occur in the intervals between different phases of our apperception as an effect of a particular type of trans-eidetic "serpentine" which represent a new version of the Husserlian zigzag. The architectural problem of resonance and transfer (Übergang) thus becomes a central one. The paper argues that Merleau-Ponty goes beyond the inter-subjective context of the fifth Cartesian Meditation, thus opening the horizon of a secondary experience that arises in the very discontinuity of apperceptive time redefined as forgetting. The paper concludes that the shift analyzed by Merleau-Ponty indicates a very particular "synthesis" à double fond without a determined schematism. [ABSTRACT FROM AUTHOR]

From the hermeneutics reading of the short story “O segredo do Bonzo”, of Machado de Assis, this article will pursue the reflection about climate change denial nowadays, bringing concepts of imaginary, real and illusion found in the work of Clément Rosset and Gilbert Durand. Based on the readings, a reflection on the possibilities of action of environmental education is introduced facing the movement to deny the emergence of environmental issues. The methodology used is bibliographical, exploratory and guided by a philosophical and hermeneutic perspective. As a result, the research pointed out that climate denialism is built in the same way as the illusion in Machado's tale, by replacing a concrete and unpleasant fact with an opinion that matches the desire. An environmental education that wants to transform the environment will have to face the challenge of dispelling illusions and proposing an imaginary that helps to effectively understand reality.

Our study analyzes the relationship between the imaginary / imagination and scientific rationalism while mirroring seemingly contrasting aspects. Just as the imaginary has its own reasoning (structures, archetypes, the capacity to produce meaning – analyzed by Gilbert Durand, Gaston Bachelard and Northrop Frye), rationalism is subject to its own logic (cause- effect, arguments, deduction/ induction, etc.) which may surface in the realm of the imaginary. We further analyze the cognitive function of the imaginary, which is at the core of analogy-based knowledge and manifests itself through the metaphorical side of language. Thus a subtle, yet rigorous game emerges between clarity (characteristic to science) and ambiguity (a feature of the imaginary), between visible and invisible, further leading towards an understanding of reality beyond abstract rationalism which, in its turn, may lead to fiction while exploring possible worlds.

We use the concept of experience to show that the relation between experience an dthe ideal is indissoluble in both Aristotle and Schelling in their production as a whole. There is therefore no order of priority between the real and the ideal with regard to the parts of their system, as they only assume an order of anteriority and posteriority in terms of a methodological need. With this analysis, therefore, we want to show that the order of experience and the ideal is not excluding but that, on the contrary, they are in order of dependence thanks to which we have as a result an absolute philosophy or philosophy without more, which eliminates any unilateralism that wants to grant any primacy either to the ideal or to the real or the existence in the philosophy of both authors.

The starting point of this article is the intersection of two global phenomena—the pandemic and the internet. The pandemic and its possible social consequences are viewed from the perspective of two differences that constitute the human world: the difference between certainty and uncertainty, as well as the difference between the real and the unreal. A new mixture of the Real (the accidental, the unexpected, the uncertain, the dangerous, etc.) and the Non-real upsets the balance between them in favor of the Non-real each time a certain system of meanings is expressed in different texts in the broadest sense of the word. The Non-real is not unreal (absurd, contradictory) and not the Illusory. The latter belongs only to the Real. Furthermore, not only the role of philosophy and science in the formation of the virtual world and non-illusory consciousness is discussed, but also the issue of the freedom of thought in an era of the expansion of various kinds of texts, from comprehensive physical theories and literary works to advertisements for certain products.

With the missed encounter, that is repetition, we will examine Freud’s new path for analytical treatment… and how Lacan, with the logical track of the links of language and enjoyment, has opened the way of the possible answer to the impasse left by Freud. [ABSTRACT FROM AUTHOR]

This paper reads Chantal's Akerman oeuvre with regards to contingency and loss, in a psychoanalytic Lacanian perspective. Womanhood in anxiety and jouissance, the time of the singular and the subject's identity entwined with the Other and with the contingency of the real are thus correlated with Akerman's production, particularly Jeanne Dielman and her written journal. The short essay also opens the path of articulating the singular and the unary trait in the Lacanian sense in Akerman's cinematic style. The protagonists are drawn within a repetition that cannot be mastered or directed but pertains to an impossible encounter on "the other stage", whose rhythm out of meaning affects the meaningful dailiness of life. [ABSTRACT FROM AUTHOR]

Neste artigo analisa-se as formas da subsunção do trabalho ao capital na agroindústria do óleo de palma da microrregião de Tomé-Açu (PA), a partir da implantação do Programa Nacional de Produção e Uso de Biodiesel (PNPB), em 2004. O exercício de interpretação se faz por considerar importante a retomado do tema trabalho nas ciências geográficas. A discussão está fundamentada na crítica da economia política, de Karl Marx. Chega-se à conclusão, a partir das primeiras aproximações de campo, de que as formas são as da subsunção real, presente nas usinas processadoras; da subsunção formal, dominante nos campos de dendezeiros empresariais; e da subsunção ideal, uma forma não especificamente capitalista, presente na integração com a propriedade camponesa, mas uma relação reproduzida pelo próprio capital, em razão de seu caráter contraditório.

Schleiermacher is a philosopher and theologist, widely known in Protestant society, whose philosophy, after the turn of the nineteenth and twentieth centuries, has only just begun to be rediscovered in Russia nowadays. One of the central works of Schleiermacher is the lecture on dialectics, which he read at the University of Berlin. In these lectures on dialectics Schleiermacher presents his system of philosophy. He tries to unite the world of action and the world of science, revealing their common root, and give us his own view on the solution of the problem of post-Kantian philosophy. Action and cognition, writes Schleiermacher, are not two different worlds irreducible to each other in which a person is ought to live, but they are only two different views on reality, and since they can be described in the same concepts, dominance of one or another side depends from which of the concepts common to both “worlds” exceed. Moreover, in these lectures one can see how Schleiermacher understands the connection between theology and philosophy. Theology, the validity of the ground of which are confirmed by the obviosity of a religious feeling - the revelation of the Absolute - and philosophy, which gradually goes back to the Absolute, describing it as a higher concept, which has no opposition, therefore, which the mind cannot determine, has its common foundation in the Absolute or God, who is given to us in feeling, and implied to every act of being and thinking. So, Schleiermacher's “Dialectics” can rightfully be considered not only an exposition of his philosophical system, but also a key to understanding the interconnectedness of philosophy and theology and their connection through the concept of God.

In A. Ernaux's steps, É. Louis writes to account for truth, to bear witness for the real. They experience sounds, noises and silences as particularly meaningful signs of the social classes that they live in. Their original, popular environment is made of constant noise, whether coming from inside the body or the surrounding working-place. Later as they rise socially, they realise that more privileged classes live in a filtered, muffled world. But being loud may also be a move toward freedom, an expression of the lived experience. The theatre stage is a particularly apt media for the telling of É. Louis's stories as it enables the varied experiences to be heard and felt through their vibrations, and all noises on stage make sense. [ABSTRACT FROM AUTHOR]

En el presente capítulo realizaremos un análisis textual de la película Amor (Amour, 2012) de Michael Haneke. Hemos seleccionado el fragmento —localizado en la tercera secuencia del filme— en que la protagonista Anne se queda mirando al vacío en estado de catatonia mientras su marido Georges intenta reanimarla sin éxito. Para ello, haremos uso metodológico de la Teoría del Texto y tomaremos como marco conceptual el estudio de lo real elaborado por Jesús González Requena dentro del campo psicoanalítico. Más concretamente, nos centraremos en su teorización en base a la función de la Imago Primordial en el surgimiento de la consciencia aplicada a la técnica del plano contraplano. Planteamos como hipótesis explorativa que, más allá de la dimensión comunicativa de esta técnica, persiste una huella de lo real que desactiva todo enunciado denotativo.

Film as Not-Film – Samuel Beckett and the Vivid Show of Anxiety. This paper aims to offer a psychoanalytic reading of the living suffering of Samuel Beckett concerning the trauma of birth doubled by the sin of being born with particular reference to his theatrical work Film from 1965. In Film the real nothing is converted into the image of multiple eyes (“I”s) which, beyond the idea of tragedy, translates the multiple division of the subject into Eye and Object, an acting out of the self-consciousness through the concentric circles of the anxiety. In this sense, the theatrical play between in-between and out-between grasps anxiety as the symptom of every event of the real. With his (not)film, Beckett represents I and Eye, Not I and Not Eye at the same time. [ABSTRACT FROM AUTHOR]

The Women, the Silence and the Real in Ingmar Bergman. The main aim of this paper is to provide a psychoanalytic interpretation of the scream in the films of Ingmar Bergman, starting from Jacques Lacan’s consideration that the scream constitutes the abyss from which the silence emerges. After the outline of the difference between Silet and Taceo, the paper approaches three important aspects in the films of Bergman: the space of silence enveloping the silence of the film characters, the silence beyond the phallic, masculine order, and the silence as an empty void impossible to fill in the scream of Agnes (from Cries and Whispers). [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artigo tem o objetivo de investigar a concepção de real que está implicada na reflexão feita pelos teóricos do (neo)fantástico, já que é o modo como se concebe a realidade que estabelece o que é fantástico ou não. É a partir dessa relação movediça entre o “real” e o “imaginário” que o impacto gerado pela obra de Franz Kafka no século XX serve como ponto fundamental para que teóricos como Jaime Alazraki e David Roas postulem um neofantástico. Em termos semióticos, a reflexão desses autores está ligada à crise de veridicção a que aludem Greimas (2014) e Fiorin (2008) e indicia que o real, a partir dos escritos de Kafka, e em confluência com outros acontecimentos do mencionado século, passa a ser visto de modo concessivo (paradoxal). Será a partir desses pontos que, por fim, faremos uma análise do conto “A preocupação do pai de família”, a bem de ilustrarmos essas questões em um texto específico do escritor tcheco.

Este artigo tem como objetivo aprofundar o estudo de três temas destacados a partir de uma construção lacaniana em 1955, acerca de seu conceito de Outro. Construção na qual o autor sustenta seu Outro o referido às últimas hipóteses parmenidianas no texto platônico, a um real dito radical e a uma relação com o instinto de morte. Esse caminho visa, por fim, ratificar a tese de que a morte é causa primeira e eficiente do parlêtre. Em outras palavras, intentamos confirmar a proposição de que é possível compreender o problema da morte como primeiro em relação ao impasse sexual e que essa morte deve ser entendida e descrita como causa eficiente do falasser.

This essay focuses on the work of Japanese American writer Ruth Ozeki (b. 1956). Mainly discussing her novels My Year of Meats (1998) and A Tale for the Time Being (2013), I suggest that, through a sophisticated usage of paratextual, transmedial, and autofictional strategies, Ozeki claims for her work a ‘truth power’ that operates at the dialogical border between the textual world and the real world. Ozeki implements, in my view, a ‘truth search’ in which bare facts can be known, and told, only through the fictive, ‘magical’ power of the imagination; this collaboration between factuality and invention, in turn, makes narrative a performative object that can intervene, and foster practical intervention, in the real world.

En un punto avanzado de su enseñanza, Jacques Lacan resolvió calificarse a sí mismo como un "antifilósofo"; empleo enigmático de una palabra que, con razón o sin ella, despertaría la suspicacia de los filósofos. Alain Badiou, preocupado por los embates que la filosofía sufrió durante el siglo XX, advirtió en esta declaración lacaniana y, por ende, en el psicoanálisis mismo, la presencia de una amenaza para la filosofía que vaticinaba un litigio insalvable entre ambos campos. Partiendo del contraste entre sus respectivas nociones de lo real, se planteó como objetivo distinguir la concepción badiousiana de la antifilosofía del sentido que pudo haber tomado este significante al interior de la enseñanza lacaniana. Nuestra exploración no sólo puso de manifiesto que allí donde Badiou transitó de lo real como causa a lo real como consistencia, salvaguardó precisamente lo que exceptúa su filiación lacaniana, sino que el real lacaniano no es esa mostración eidética que el filósofo colige del acto matemático. En esa medida, y tras recurrir a la sofística gorgiana para iluminar este asunto, concluimos que es precisamente lo real lo que impide que aquella autoproclamación lacaniana pueda ser tomada como un estamento filosófico.

Copyright of Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper presents a reflection on semiological overlay and repression of the image in conceptualizing the linguistic sign. After Freud, a Lacanian reading - and a rereading of Lacan - allows reconsidering the relations between word, image and thing. Based on these three registers, the symbolic, the imaginary and the real, one may think of the functioning of the image as a sign, provided that it calls for the articulation of a text in regard to which the image can, at a given moment, become the signified. The image, however, retains a fundamental freedom with respect to what the text cannot say. This reflection concludes with some considerations on the unstable boundaries between word and image: processes where the signifier is treated as an image, where the image approaches the signifier without becoming it, or where the image defeats the signifier to release it, to remotivate it, and to represent it. [ABSTRACT FROM AUTHOR]

The Demon Women and Their Masquerades – a Few Symptoms of Japanese Cinema. The demon woman is a frequent theme in Japanese cinema, pertaining to more than an imaginary hypostasis of femininity. Jacques Lacan, in his brief and rare references to Japanese Cinema and particularly to Nagisa Oshima’s Realm of the Senses, points out the specific power of feminine eroticism which goes beyond the masquerade. This unanalysible « power of japanese women » is stated by Lacan within the context of what he calls the sinthome in his analysis of James Joyce’s oeuvre. This paper is a psychoanalytical approach of Kenji Mizoguchi’s Ugetsu Monogatari based on the aforementioned concepts and elaborations. Wakasa, the main feminine character, is thus connected to Lacan’s views on Woman (femme), on the relation between the Phallus and the feminine masquerade and, ultimately, to the Real dimension of the phantom. [ABSTRACT FROM AUTHOR]

The composer Arnold Schoenberg teaches us about what prompted him to renew the laws of musical composition of his time, despite taunts and criticism. From the writings he left us, we have been able to identify an essential void felt by the composer that his music allows him to treat, but not fill. The path that leads him to the invention of his atonal system follows a path similar to that of the drive: a deaf inner force pushes him in that direction, but never results in full satisfaction. The tension comes up again very quickly and leads him to keep composing. If his courage allows him to follow his own inclinations relentlessly, Arnold Schoenberg's position on what drives him to compose also contains a mystical, messianic side. His music is inspired by God and becomes a struggle. It seems necessary that his compositions keep an enigma for the public and critics, allowing Arnold Schoenberg to avoid a feeling of persecution and to continue to create. [ABSTRACT FROM AUTHOR]

The writer Grégoire Bouillier publishes a remarkable book entitled Le Dossier M (two volumes, 2017 and 2018), increased by extentions on a website. This disproportionate literary enterprise offers a real reading experience that extends by pushing over the limits of the object-book. The book offers the story of the impossibility of loving and telling. The author have the ambition of saying everything. Thus, the autobiographical narrative reenvited in this monumental format provides access to the meaning through a quest for self that the reader can share. [ABSTRACT FROM AUTHOR]

Não é anódino que, como o demonstra Rosset, o próprio conceito de natureza seja o fruto de uma incapacidade de aceitar a realidade do real. O real não se encerraria em nenhum par de noções; todo dualismo é por definição estranho ao real. Poder-se-ia objetar que o par real-duplo nada mais é que um novo dualismo, mas o conceito de duplo tem como função precisamente absorver todos os dualismos, nos quais o real não tem como se acomodar. A percepção do homem sobre os animais é reveladora de sua percepção geral do real, incapaz de simplicidade. Donde as representações tradicionais do animal como estando em falta de algo que não faltaria aos homens. O dualismo homem/animal omite portanto duas realidades inelutáveis: o homem é um animal como os outros; e a relação do homem com a existência é apenas uma versão degradada da relação do animal com a existência – pois não há além para o animal.

Texto de Clément Rosset publicado em 1990 na Encyclopédie Philosophique Universelle, Paris, PUF.

Cet article analyse la manière dont le philosophe Clément Rosset a flirté avec certains concepts issus de la psychanalyse (notamment le Réel), sans toutefois aller jusqu’au bout de la démarche. Les questions et tentatives de réponse présentées par C. Rosset au sujet de l’indicible ont, néanmoins, eu le mérite de mettre en lumière une logique épistémologique proprement humaine, fondée sur un rapprochement sitôt suivi d’un détournement du Sujet, face à la question du Vide de langage. Clément Rosset ou l’histoire d’un philosophe pris entre le désir de savoir et le plaisir rassurant du déni…

Tout le long de sa pensée qui se donne à lire, à comprendre dans les nombreux ouvrages qu’il a pu écrire durant sa vie, Clément Rosset semble n’avoir eu affaire qu’à un seul occupation intellectuelle que l’on pourrait énoncer en ces termes : la philosophie est une jubilation qui prend sa source dans l’intuition de l’unicité et de la singularité du réel : il n’y a qu’une et une seule réalité et cette réalité est à la fois simple et singulière. Rosset incarnait pleinement la figure du philosophe, homme de pensée, esprit critique non de la réalité mais des perceptions et représentations que les humains se sont faites de la réalité, sans oublier les idéologies diverses par lesquelles, béquilles de circonstances ou assurance tout risque, les humains tentent d’apprivoiser l’inconfort qui caractérise leur rapport au réel. Là, il n’est pas seulement question d’intellection (rendre raison de la réalité, sauver les phénomènes), mais de se rapporter plus intégralement, au-delà de son intelligence, à ce qui est.

O objetivo deste artigo é realizar uma síntese da filosofia de Clément Rosset, a partir da discussão teórico-conceitual de suas principais obras, com especial atenção aos livros publicados na década de 1970, nos quais se desenvolvem o pensamento trágico, a ontologia do real e a ontologia negativa do duplo. O trágico é conceituado com as ideias de nada, acaso e convenção, enquanto o real é investigado a partir de sua relação com o duplo, a ilusão e o imaginário. O artigo conclui-se com o balanço de sua trajetória filosófica e indicações de trabalhos publicados sobre Rosset no exterior e no Brasil, com o intuito de fornecer ao leitor e pesquisador um mapa introdutório para a filosofia da aprovação.

O cerne da filosofia de Clément Rosset se encontra em uma tautologia, segundo a qual o que é, é, e o que não é, não é. A é igual a A, e não a B ou a A’. O real é único e, portanto, incontornável. Os objetos são singulares, e por isso mesmo insubstituíveis e finitos. A única forma de se esquivar da necessidade inelutável do real é pelo viés do escape oferecido pela imaginação, por uma recusa mental ao real, que se revela, contudo, sempre inoperante em seu objetivo alucinado de tornar o real inexistente e o inexistente existente. Afinal, toda afirmação do real é trágica, ou não há afirmação. Neste texto buscaremos analisar algumas das implicações psicológicas, mas também epistemológicas e éticas, em jogo nesta questão. Tarefa que demandará a compreensão de alguns dos conceitos e dos paradoxos propostos por Rosset, notadamente a distinção conceitual entre imaginação e imaginário, a adesão a um objeto inexistente como fundamento do duplo, a busca pela diferença que faz obstáculo à experiência singular e única do mesmo, e os expedientes da metafísica e do intelectualismo na recusa do real.

Copyright of Critical Hermeneutics: Biannual Journal of Philosophy is the property of Universita degli Studi di Cagliari and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jacques Lacan's ambiguous relation to Continental philosophy provides the perks of restoring the affinity between the "first philosophy" in an Aristotelian sense and Psychoanalysis as a practice, i.e. a re-writing of the subject, while at the same time assuming the failure of the so-called Metaphysical modern subject. According to Lacan, the redefined clinical Anxiety and the Freudian Unheimlich that indicate the Real as an impossible, prove the error of Descartes, who claimed to have forged a knowledge (savoir) based on the cogito. Therefore, the last revolution of Modern Philosophy would be the one of Lacanian psychoanalysis, bearing the mark of the Unconscious, of the object a and of the Thing (das Ding), reenacted within the confines of radical lack. [ABSTRACT FROM AUTHOR]

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