Antonio Di Ciaccia (psicoanalista) firstname.lastname@example.org
Lacan and agalma
Lacan uses the terminology agalma to solve the problem present in his teaching, exactly at the end of Seminary VII, Ethic of the psychoanalysis, about the direction of the cure. The study of Socrates in the Symposium of Platon gives him, in Seminary VIII The Transfert, the possibility to overcome the difficulty.
Keywords: Psychoanalisis, Socrates, Lacan, direction of the cure
María Jesús Martínez Silvente (Università Málaga, Spagna), email@example.com
The shadow of Freud in the early avant-garde: an approach beyond surrealism
Sigmund Freud’s position towards contemporary art was more than prudent, ambivalent. The disbelief of the father of psychoanalysis towards avant-garde movements did not prevent figures such as André Breton or Salvador Dalí from appropriating their research for their own benefit. Picasso never met the Viennese master but his way of constructing the dream image makes one suspect that the painter understood the logic of the functioning of the unconscious before the birth of Surrealism.
Keywords: Picasso, Dalí, surrealism, psychoanalysis, Freud, modern art, Juan Gris
Sergio Benvenuto (CNR-ISTC, Roma; Centro Elvio Fachinelli), firstname.lastname@example.org
Alienation and Separation. The Farce of Love
The author reconstructs and explains the Lacanian concept that distinguishes Alienation and Separation. In particular, he appeals to the concepts of set theory which inspired Lacan, those of union and the intersection of sets. The author shows how Lacan appropriates these mathematical figures to develop a dialectic of choice that goes beyond the mathematical field. And to illustrate this dialectic, the author evokes and comments on a successful farce of 1921, The Magnificent Cuckold, which seems to rotate, in a perverse key, around a delirium of jealousy. The author shows how the plot of the farce renders the Lacanian difference between Alienation and Separation understandable.
Keywords: Jacques Lacan, alienation, separation, “The Magnificent Cuckold”, jealousy, enjoyment and desire
Lucilla Albano (Università Roma Tre), email@example.com
A cinematographic figure: the specular identification in L’année dernière à Marienbad
After having clarified the concepts of cinematographic figure and specular identification, the essay investigates scene 11 of the film L’Année dernière à Marienbad by Alain Resnais (1961), a scene of specular identification where the protagonist is mirrored several times and through several mirrors, but she does not look at herself. This scene has the characteristic of having different degrees of transgression of the film syntax, causing a disorientation not only in the character but also in the viewer. The spectator identifies with an absent object, an elusive and uncatchable object that evokes Lacan’s small object a.
Keywords: cinema, psychoanalysis, cinematic figure, specular identification, object little
Antonio Rainone (ricercatore indipendente), firstname.lastname@example.org
Representation, Figuration and Fantasy in Lacan
This paper analyzes synthetically the Lacanian theory of representation in relation with the modern concept of pictorial figuration. The difference between geometrical figuration and theorical representation is also put in relation with the functions that the Fantasy and the imaginary order have in the field of psychoanalytical analysis. It also aims at a non-phenomenological reading of the Lacanian concept of “ the way the aesthetical object exists”.
Keywords: Lacan, representation, theory of figuration, Surrealism, topology
Cristina Fiordimela, Freddy Paul Grunert Architect Museographer and Philosopher Curator (Independents researchers), email@example.com, firstname.lastname@example.org
Chambre d’amour. Writing in the form of a room
Writing love in space. Writing space in love. Domestic rooms, sets of rooms like visceral microcircuits, labyrinthine landscapes, unexpected openings suspended between earth and sky, half-hidden cavities, biotechnological grafts, non-standard itineraries: chambres d’amour, rooms designed for love, recurring theme in architecture and in art, they give substance to the psychoanalytic plunge by drawing a transverse direction beyond the architectural typologies and artistic categorisations. The chambre d’amour is taken on as a pre-text to weave a loving discourse between writing body space, body as a room, as a performative unit that gives word to philosophy, to the philosophy of living as a philosophy of life. Some passages of the architectural-artistic work are opened by analytical and philosophical incursions that enter the spaces of sexuality, starting from the search for love and from writing as an act that shapes distances.
Keywords: room, write, viscera-love, body language, expanded body experience, intimacy
Mirella Schino (Università di Roma Tre), email@example.com
A journey through theatre and psychoanalysis
The author describes her first journey through the territories that may appear to be common between theatre and psychoanalysis: first of all the “theatre-that-heals”, but also the nomenclature that psychoanalysis derives from theatre; usages such as those by Moreno (psychodrama), or by the Actors Studio; theatre as a research on yourself. Despite the affinities between the two fields, the author is above all interested in theatre as a “third way” compared to illness and healing, a way parallel and independent from psychoanalytical approaches, and investigates it through two symbolic performances: the Marat-Sade, by Peter Brook and Marco Cavallo, by Giuliano Scabia.
Keywords: theatre, psychoanalysis, Scabia, Moreno, Brook
Rosamaria Salvatore (Università degli Studi di Padova), firstname.lastname@example.org
The Other’s embrace as a veil on the Real. Matteo Garrone narration through images
The essay analyses the films L’imbalsamatore, Primo amore and Dogman directed by Matteo Garrone who along with these three works subtly explores human nature and the tangled maze of bonds of dependancy between human beings. Single narrative and visual sequences are analysed through a Lacanian perspective showing how psychic phantasmatic processes are meant to shield a direct approach to “the Real”.
Keywords: cinema and psychoanalysis, psychic processes, phantom, jouissance, the Real, libido
Francesco Miano (professore ordinario di filosofia morale Università Tor Vergata Roma), email@example.com
Time as a duty. Letters from Lake of Como by Romano Guardini
This paper discusses the perspective of Romano Guardini about the role of the responsibility of the man facing technology. According to Romano Guardini, the man is not outside of time. The man is immersed in time, because time forms human responsibility. Therefore, a concrete and effective responsibility must constantly be addressed to the whole mankind, always considering the entire world. Man’s duty is to avoid losinghis humanity by continuously sustaining the responsibility for his actions over time.
Keywords: ethics, man, mankind, history, time, technology, responsibility, Romano Guardini
Marco Deodati (Università di Roma Tor Vergata), firstname.lastname@example.org
Bernhard Waldenfels’ Alienness of Feeling
The paper aims to take into account Waldenfels’ phenomenological analysis of the alien, showing how it can be useful in order to understand the pathos-response dynamics involved in the formation of the bodily Self. In particular, it will be considered the “responsive structure of the aisthesis” by analysing the sensual fields of voice/hearing, eye/sight, hand/touch, which present the constitutive role played by doubling, divergence, deviation, disruption, perturbation phenomena.
Keywords: aesthetics, alien, experience, feeling, pathos, responsivity
Carsten Juhl (Direttore Accademia Reale Danese delle Belle Arti, Copenaghen, 1991-2016).
Conditions for an ontology of freedom with an art-theoretical aim. Discussing the philosophical work of Mario Perniola in the 1990s
At stake there is a philosophical research into the transformation of visual art taking place in the West in the wake of important exhibitions around the beginning of the 1990s. Mario Perniola understood rapidly that such transformations were due to cultural forces also operating in philosophy.
Keywords: art theory, philosophy as art, attraction of the non-organic, Luigi Pareyson
Luigi A. Manfreda (Università Tor Vergata Roma), email@example.com
Philosophy of experience
The text analyses the book by Andrea Tagliapietra, Philosophy of experience. As it also emerges from the book of Tagliapietra, the question of experience is revealed as one of the most relevant and complex ones for the philosophical investigation. The appearance of new technologies changed the traditional field of experience, leading to a crisis of the modes of transmission of knowledge that had been maintained until the nineteenth century. In spite of this crisis it is necessary to go back to the meaning of ‘putting to the test’ and ‘crossing of a stranger’ that are inherent in the very meaning of the term experience.
Keywords: experience, technology, time, tradition, memory