Dit gesprek vond plaats op 19 maart 2009 naar aanleiding van de vertoning van Silvia Defrances (2009) film Candy DarZing in FilmPlateau te Gent. Haar film ging een jaar eerder in première en werd sindsdien geselecteerd voor een 40-tal internationale filmfestivals en sporadisch getoond in het circuit van de beeldende kunsten. De afgelopen twee jaar kreeg de film zeven internationale prijzen en één speciale vermelding toegewezen in het internationaal filmcircuit De belangrijkste daarvan waren: The Special Prize to the Best Short Film at the San Francisco Short Film Festival 2009; Award in the category Direction at The Chicago Short Film Festival 2009; Award in the category Editing at The New York Short Film Festival 2009; Award in the category Best Experimental Film at The European Independent Film Festival (ÉCU) 2009 in Paris. De film werd onlangs ook aangekocht door Canvas en zal spoedig op de Nationale zender uitgezonden worden.
We will try to demonstrate that the experience of Abbot Suger de Saint-Denis, creator of Gothic architecture, based on the logic of Lacanian sublimation, comes from the elevation of an object to the dignity of the Thing (Lacan, 1986 [1959-1960]: 133). On the one hand, this experience is a misguided elevation: Suger arrives (Lat. “surgit”) at the truth via material things, but also Suger (Lat. “surgit”), in architectural terms, ascends as the subject of desire. On the other hand, this experience illustrates the dichotomous relation between elevation/descent and creation/destruction in the sublimation that we call “sujerienne”. The architecture of Abbot Suger innovates and this singular experience allows us to address the choséité (thingness) of the architectural object: the void. It also allows us to relate the elevation of sublimation to elevation in architecture. And this highlights the correspondence between elevation of sublimation and the development of the imaginary representation of the Thing. This development cannot take place without an act of creative destruction of the Subject.
This comment on Werner Herzog’s film “Jeder für sich und Gott gegen alle” (1974) deals with the enigma of Kasper Hauser’s origins, with the precarious status of the body and with his introduction into language. This is related to the problem of becoming a subject. The question arises as to what in this becoming constitutes the first and necessary anchoring point: what is the necessary condition for becoming a human subject?
The evolution of Lacan’s theory of the body in psychosis is presented, starting from his seminar on the sinthome. Some points of rupture can be found retrospectively in Lacan’s theory. From his first conceptualization of the imaginary body, then of the symbolic body and finally of the real body, Lacan comes to the conclusion that the imaginary, the symbolic and the real must be knotted. Lacan’s latest teaching offers novel perspectives on the difficult relation between body, language and jouissance for every speaking being. This is illustrated by means of three short case studies about James Joyce, Antonin Artaud and Michel H.
This text aims to clarify the possibility of an ethics of the real. First, we define an ethics of desire, the kind of ethics this article wants to argue against. Next, we highlight the ethics of the real by indicating why the real is a crucial dimension for ethics (the real gives space to the free will) and by illustrating how modern society neglects the importance of dealing with the real. We unravel the ethics of the real by pointing to the ethics of Lacanian psychoanalysis and to the ethics of truth as conceptualized by the French philosopher Alain Badiou. Finally, we question whether the ethics of the real gives rise to evil.
This article has as a central reference Jelinek’s revised version of the fairytale “Sleeping Beauty”. The author describes how the two protagonists, Sleeping Beauty and her Prince, encounter, take up their positions and mark both relation and difference. Jelinek’s interpretation allows for one to address the question of femininity in a structural manner. The idea of a feminine position is explicated through a comparison of Sleeping Beauty with Antigone. In contrast with this feminine position, the position of the prince is characterized as a place of unity: the place of he that is who he is. This leads to the question of a(n) (im)possible relation between a crazy feminine desire and a unique phallic desire.