Psychoanalytic Theory of Art

This paper reads Jacques Cazotte’s The Devil in Love as a proto-Lacanian narrative of desire, structured not as lack but as an invasive, self-perpetuating force emerging from the Other. Through the Persian parable of the bearskin and Lacan’s formulation of Che vuoi?, desire is reconceptualized as a “death-dream”: an alien agency that seizes the subject at the very moment it appears to be mastered. Alvare’s encounter with the demonic feminine figure stages the paradox of desire as extimate—both intimate and foreign—drawing the subject into a recursive loop of fascination, resistance, and entrapment. By mobilizing Lacan’s algebra of the signifier (S/s), the imaginary number √−1, and the structural lack within the Symbolic, the analysis demonstrates how meaning collapses at the point where the subject seeks coherence. Desire thus operates as a necromantic deferral, calling into being what is absent while binding the subject to an unresolvable question posed by the Other. The text ultimately argues that desire is not possessed by the subject but rather possesses it, functioning as a topological loop of attachment from which no exit is possible.

In Analyzed by Lacan: A Personal Account, Betty Milan1 offers a rare glimpse into the often-misunderstood clinical practice of Jacques Lacan. In her revealing anecdote, she recounts a conversation in which Lacan directly addressed the controversy surrounding his variable-length sessions. Lacan's habit for unexpected interruptions of the sessions is well-known. According to Milan, Lacan dismissed the accusation that he shortened sessions to increase the number of patients he could see, and therefore, his earnings. Instead, Lacan explained that his decision to end sessions before the traditional 45minute mark was driven by a more profound logic: it was not about the Chronos-the linear, quantitative time measured by the clockbut about Kairos-the opportune moment within the session when a crucial insight or shift in the patient's psychic structure could be reached.

This essay develops a psychoanalytic and mathematical reflection on singularity through the function y=1/x. Beginning with the apparent commutativity of multiplication, it argues that numerical equivalence can conceal structural asymmetry: 2×3 and 3×2 yield the same product while producing different orientations, groupings, and symbolic effects. This asymmetry becomes a model for desire, transference, and misrecognition, where the Symbolic and the Real never coincide even when their outcomes appear identical.

The paper links Lévi-Straussian classification, Lacanian topology, Freudian dream-work, and analytic geometry. Dream is treated not as the negation of reality but as its recursive fold: a rebus in which Word and Flesh contaminate one another through metaphor and metonymy. The curve y=1/x becomes the central topological figure: its asymptotes mark an unreachable Real, while the invariant triangle formed by any point on the curve and the coordinate axes suggests a constant remainder, analogous to objet a. Through Hoffmann’s Sandman, the diagonal flip y=x, complex rotation, Poincaré space, Möbius topology, and inversive geometry, the essay proposes singularity as the point where symbolic continuity breaks while still belonging to the structure. The result is a synthetic topology of the subject in which dream, desire, and mathematics converge around the same impossible center.

I examine introjection as it is elaborated by Freud in "Group Psychology and the Analysis of the Ego." Against Ferenczi, who invented the term to name a neurotic process, Freud theorizes introjection as a psychotic process. Through Freud's reinterpretation of introjection, I argue that the group, in Freud, is a psychotic formation, which has the structure of melancholia. I conclude by using introjection to shed light on how melancholia turns into mania, a question that Freud left unanswered in his first theorization of melancholia, the paper "Mourning and Melancholia.

Every traumatic parent is, in sum, in the same position as the psychoanalyst. The difference is that the psychoanalyst, from his position, reproduces the neurosis, whereas the traumatic parent produces it innocently. (2018, 130) My presentation today on the topic of traumatisms is an attempt to understand this statement. To understand why Lacan added the signifier ‘traumatic’ to ‘the action of the parents’ in producing the neurosis, and why he then identified the position of the traumatic parent with that of the psychoanalyst.

This study aims to interpret the cinematic representation of melancholy and the melancholic subject within the framework of the new cinematic language that began to develop in Turkish cinema in the 1980s and to examine the function of melancholy within film narratives. In this context, Motherland Hotel (Anayurt Oteli, 1987), which focuses on the inner world of the individual and whose main character exhibits traits specific to melancholy, was selected as a sample, and analyses were conducted within the framework of psychoanalytic film theory. The theoretical framework for the analysis was based on Sigmund Freud's theory of mourning and melancholy, Jacques Lacan's theory of lack and desire, and Julia Kristeva's views on the collapse of language and the disruption of meaning production. Based on this theoretical foundation, the character analysis focused on Zebercet's pathological attachment to his lost objects, his inability to participate in the symbolic order, and his difficulty in expressing his desires. Zebercet's failure to undergo the mourning process prevents him from establishing a coherent sense of self, thereby trapping him in melancholy. According to Lacan's theory, which defines desire through lack, Zebercet, unable to tolerate the absence of the woman as the object of desire, can neither regain her nor establish her representation in the symbolic order. According to Kristeva, Zebercet's gradual silence, his fixation on repetitive routines, and the replacement of speech with silence indicate a disruption in his internal coherence. In this context, Motherland Hotel provides a concrete example of how loss is represented cinematically, allowing the identification of narrative and esthetic codes related to melancholy and the melancholic subject in Turkish cinema. The film demonstrates the thematic and narrative codes of the cinematic representation of melancholy, shows how the theme is depicted in narratives addressing the psychological depth of the individual, and illustrates how this representation contributes to the shaping of narrative structures. Bu çalışmada, 1980'li yıllarda Türk sinemasında gelişmeye başlayan yeni sinema dili çerçevesinde melankolinin ve melankolik öznenin sinemasal temsilini anlamlandırmak ve film anlatısında melankolinin nasıl bir işlev kazandığını ortaya koymak amaçlanmaktadır. Bu bağlamda sinematografik yapısı itibarıyla bireyin içsel dünyasına odaklanan ve ana karakterin melankoliye özgü özellikleri barındırdığı belirlenen Anayurt Oteli (1987) örneklem olarak belirlenmiş, psikanalitik film kuramı bağlamında çözümlemeler gerçekleştirilmiştir. Çözümlemede Sigmund Freud'un yas ve melankoli kuramı, Jacques Lacan'ın eksiklik ve arzu teorisi, Julia Kristeva'nın dilin çöküşü ve anlam üretiminin sekteye uğramasına ilişkin görüşleri teorik çerçeve olarak benimsenmiştir. Bu kuramsal zemin üzerinden gerçekleştirilen karakter analizinde, ana karakter Zebercet'in kayıp nesneleriyle kurduğu patolojik bağa, simgesel düzene katılamayışına ve arzularını ifade edemeyişine odaklanılmıştır. Zebercet'in yas sürecine girememesi, onun kimlik bütünlüğünü kurmasını engellemekte ve onu melankoliye hapsetmektedir. Jacques Lacan'ın arzuyu eksiklik üzerinden tanımlayan teorisine göre, arzu nesnesi konumundaki kadının yokluğunu tolere edemeyen Zebercet ne onu yeniden elde edebilmekte ne de simgesel evrende temsilini kurabilmektedir. Julia Kristeva'nın yaklaşımına göre ise Zebercet'in giderek sessizleşmesi, tekrarlayan rutinlere saplanması ve söylemin yerini suskunluğa bırakması, öznenin içsel bütünlüğünde bir sarsıntıya işaret etmektedir. Bu bağlamda Türk sinemasında melankolinin ve melankolik bireyin anlatı ve estetik kodlarının tanımlanmasını sağlayan Anayurt Oteli sinematografik temsil yoluyla kaybın inşasına dair somut bir örnek teşkil etmektedir. Filmin, melankolinin sinemasal temsiline dair tematik ve anlatı kodlarını

The break that Hegel introduces into the history of philosophy stems from the way that he transforms the basis for philosophical work from argument to drama. For this project, he takes Shakespeare as a paradigmatic figure and models his works on the structure of Shakespeare’s tragedies. Rather than asserting and defending concepts, Hegel places them in a drama. Whereas Shakespeare’s characters undergo a tragic denouement, Hegel’s concepts reveal their own inadequacy when Hegel reveals how they play out in the course of the Phenomenology of Spirit and the Science of Logic. By examining Hegel’s philosophy through the lens of Shakespeare’s plays, we can discover the nature of the epochal change that Hegel presents and what makes him such a divisive figure in the history of philosophy.

Chris Cornell (1964-2017), the frontman of Soundgarden, Audioslave, and Temple of the Dog, stands as one of the most emblematic figures of the 1990s rock landscape. His voice, at once powerful and wounded, articulates a distinct psychic drama-an oscillation between omnipotent mastery and depressive collapse. This article explores Cornell's life and work through a psychoanalytic lens, situating his music within a constellation of melancholia, sublimation, and symbolic failure. Drawing upon Freud's Mourning and Melancholia, Winnicott's concept of the false self and transitional phenomena, and Lacan's theory of desire, I argue that Cornell's voice functioned as both symptom and act of sublimation-a space where inner annihilation found temporary symbolic form. Through lyrical and musical analysis, I demonstrate how Cornell's work stages an unresolved struggle with the lost object and the impossible reconciliation of self and other, rendering his artistry a sonic manifestation of the death drive.

Maynard James Keenan's musical oeuvre-spanning Tool, A Perfect Circle, and Puscifer-can be approached as a continuous psychoanalytic exploration of the divided subject, negotiating the interplay of repression, mourning, and drive fulfillment. Tool operates in the register of analytic rigor and the confrontation with the Real; A Perfect Circle mediates melancholic identification with lost objects; Puscifer stages the return of the repressed through parody, absurdity, and embodied jouissance. Keenan's stage presence further enacts the dynamics of transference and object choice, performing the barred subject ($) while channeling collective desire. This article situates Keenan's lyrics, musical structures, and performance within a framework informed by Freud, Lacan, Kristeva, and Barthes, elucidating the psychodynamic architecture of contemporary alternative rock performance.

This chapter focuses on the question of the origin of humans' moral sense - where do we get our awareness of good and bad/evil, and our ability to choose between the two, from? While many thinkers have argued that we are divinely endowed with this 'moral sense', and others claim that it is simply a result of our education and the social as well as cultural influences on individuals as they grow up, the sustained answer provided here amounts to demonstrating that, as Freud has argued, the ground or psychic basis for moral awareness lies in the unconscious. It is through prohibition of certain actions - whether the originary prohibition of desire for the mother, or prohibition of certain social behaviour - that these desires are repressed, and henceforth comprise the basis for our moral sense, and the awareness that certain acts are forbidden while others are encouraged. The work of Lacan is further utilised to demonstrate in detail that, because - as he says - the 'unconscious is structured like a language', one can show moral choice to be made possible by the fact that this linguistically structured 'discourse of the Other' (that is, the unconscious system of language in which the ethical values and moral norms of society are embedded) is the source of our ability to make moral and ethical judgements. After all, as Freud recognised, the unconscious is originarily constituted by repression of desire.

The concept of a train of thought, understood as a sequence of interconnected mental processes with a coherent unifying character, provides a valuable framework for examining human reasoning and behavior. While adult actions are often interpreted as rational or conscious, psychological theory, particularly the Freudian perspective, suggests that many behaviors have origins in early-life experiences and unconscious drives. Infantile pressures-such as deprivation, hunger, and emotional insecurity-can encode enduring psychological imperatives within the id, which influence later decision-making, fears, and actions. This essay examines the relationship between early psychological pressures and adult behavioral patterns, focusing on scarcity anxiety and its manifestations, including frugality, hoarding, financial scheming, and, in extreme cases, theft. Through integrating philosophical analysis of thought coherence, Freudian psychoanalytic theory, and behavioral observation, this study elucidates how seemingly rational adult behaviors may be traced to early psychological trains of thought. It also considers clinical, ethical, and societal implications, highlighting the importance of understanding the origins of human behavior to foster moral, psychological, and social integration.

Whimsical, anthropomorphic taxidermy of the Victorian era has historically been dismissed as a marginal novelty. Yet why do we feel it to be, in some undefined way, emblematic of Victorian culture? Anthropomorphic works—such as studious rabbits intent at their desks in a rural village schoolroom, athletic toads playing a frenetic game of stick-and-hoop, or elegantly attired kittens sharing tea at a communal table—represent a conflation of human and animal, of death and life, which simultaneously evokes
fascination and repulsion. A closer look compels questions about the historical context of its development and the creative process driving its creators: why did such grotesque anthropomorphic expression flourish at this precise point in history? On careful scrutiny, its encoded meanings reveal rich veins of information about the quality and meaning of
anthropomorphism within the Victorian psyche, suggestive of a wider anxiety surrounding the shifting association between humans and animals in Victorian Britain, a shift which itself was representative of a cascade—a series of shocks—of changing social and cultural inter-relationships. With an interpretation of the creative process based upon attachment theory, anthropomorphic taxidermy is seen as a creative response to the
devastating effects of industrialism and startling developments in science, tempered by traditions of anthropomorphism and existing on a continuum with related concurrent trends in visual art.

Conflicts and tensions are central both to psychoanalysis and to Nietzsche’s philosophy. Nevertheless, while Freud conceives psychic life as structured by conflicts among psychic instances, Nietzsche generalizes conflict as an ontological condition of reality. This article explores the intersections between these two perspectives through the analysis of Freud’s case of the Wolf-Man. The general problem addressed is whether psychic conflicts, often interpreted by Freud in their destructive or traumatic dimensions, can also be understood as productive forces constitutive of subjectivity. The hypothesis of investigation is that the Wolf-Man’s dream reveals what may be called “psychic agonistics,” in which irresolvable tensions operate not only as sources of suffering, but also as generative conditions of becoming. Evidence of this hypothesis lies in the agonistic character of the primal scene, the Oedipus complex, and the castration complex, which Freud interprets as violent or threatening but which, from a Nietzschean agonistic perspective, may also be read as productive dynamics. Methodologically, the article combines a close reading of Freud’s text with a conceptual framework drawn from Nietzsche, aiming to reinterpret psychic conflicts as creative rather than merely pathological. This approach suggests that health may consist not in resolving conflicts but in learning to live with their irresolvable and transformative tensions.

This article presents The New Theory of Phantasmatic Death, a contemporary psychoanalytic framework developed by Deivede Eder Ferreira and published by the Brazilian Association of Philosophy and Psychoanalysis (ABRAFP). The theory proposes that the unconscious does not determine when a subject dies, but may shape how the subject approaches death through symbolic structures, aesthetic patterns, and repetitive scenes of disappearance. Integrating Freud, Lacan, Green, Winnicott, and philosophical perspectives from Heidegger to Blanchot, the article argues that death possesses a fantasmatic form expressed through the subject’s relational style, risk-taking behaviors, and the aesthetics of vanishing. Clinical implications include new tools for identifying symbolic collapses, understanding indirect self-harm, and interpreting the unconscious choreography of disappearance in contemporary psychoanalytic practice.

In direct contrast to psychological views of the 'self' that claim the very possibility to 'get inside' the subject's head, this project argues that there is no subject in the first place. It proposes that drawing on Lacan's theorising on the imaginary, the symbolic and the real allows for experiencing glimpses of the fleeting subject. The central aim this project seeks to address is to trace the readers' subjectivity through the Lacanian triad of orders. Six respondents aged 18 and above participated. An excerpt from 'The Little Prince' by de Saint Exupéry was identified as a literary example of the text, which can be psychoanalytically read and explored. There were two stages of the data gathering process. Task 1 involved retelling of the story by using their own words. Task 2 involved writing down their own reflections or thoughts related to the read excerpt. The project demonstrates that the inquiry into the human subject was marked by fundamental impossibility. In other words, what a particular reader is, that is not him/her, belongs to the realm of the real, which both escapes the imaginary and the symbolic. Lacan's theorising on subjectivity is very intricate and cryptic, therefore, the findings of this project are open to challenge.

This paper aims to explore William Shakespeare’s Hamlet as one of the most intense, profound, and complicated tragedies in the literary canon. The objective is to analyze revenge as the central theme in the drama through the lens of Aristotelian tragedy; to trace its origin and connections to the Senecan, and Kydian model of tragedy, with due regard to the socio-political conventions of the Elizabethan period. The Renaissance drama in English literature was marked with literary innovations, more nuanced characters and complex plots, a lot of which is credited to Shakespearean brilliance. This paper critically delves into examining Hamlet as a tragic hero, deciphering his tragic flaw, and philosophical dilemmas in his pursuit of vengeance, along with highlighting the ambit of drama that transcended the historical context, as a timeless exploration of the human nature.

This paper reinterprets William Shakespeare's Hamlet through the lenses of psychoanalysis and performance theory, positing that Hamlet's soliloquies function as staged therapy sessions-dramatic enactments of his unconscious conflicts. Rather than treating them as literary constructs, the analysis views these soliloquies as acts of self-analysis, with Hamlet, assuming both the roles of patient and analyst, performing his mourning, guilt, and repressed desires before a silent witness: the audience. Drawing on Freudian and Lacanian discourse, the paper examines how Hamlet's feigned madness, Oedipal tensions, and philosophical ambivalence are theatrically embodied in his speech, transforming the stage into a metaphorical mental landscape. By interpreting the soliloquies as psychoanalytic performances, the research offers a fresh perspective on Hamlet's psychological depth and Shakespeare's intuitive understanding of the human psyche. Ultimately, this study proposes that Hamlet's soliloquies are not merely introspective monologues but performative enactments of psychoanalysis, where the stage becomes a site of psychic revelation and dramatic introspection.

This article re-examines Freud’s Wolf Man case by questioning the limits of the primal scene theory and the reduction of the wolf figure to a purely paternal function. It argues that the central difficulty in the case lies not in repressed desire, but in the failure to establish symbolic boundaries within early relational experiences. The wolf image is interpreted not solely as a threatening representation of the father, but as an archetypal figure intrinsic to nature, endowed with regulatory and guiding functions. Within this framework, the dream is approached as a compensatory psychic attempt to restore order in the absence of an internalized law. The article further examines how maternal withdrawal, the weakening of language and representation, and processes of idealization and guilt contribute to the disintegration of the subject’s psychic structure. Ultimately, it is proposed that the Wolf Man case occupies a structural threshold situated between neurosis and psychotic vulnerability.

Stillmark Theory
A Treatise on Presence, Vanishing, and the Discipline of the Fleeting
By Dorian Vale

Can something fleeting leave a mark deeper than permanence?

In this paradigm-shifting treatise, Dorian Vale presents Stillmark Theory, a foundational pillar in the Post-Interpretive Movement and a radical aesthetic philosophy that places presence above permanence, and vanishing above possession.

Stillmark is the name given to a mark that does not remain physically, but remains ethically — a residue of presence that lives on not through its duration, but through the way it demanded your attention. Like a footprint in water, or a pause in ritual, it is a mark felt rather than seen. And it asks not: what did you see? but were you there when it passed?

This treatise explores how the fleeting — the ephemeral artwork, the disappearing gesture, the unsaved voice — disciplines the viewer into reverent attention. Through philosophical engagement with ritual, silence, and the aesthetics of loss, Vale outlines how fleeting experiences, if witnessed properly, can alter perception more profoundly than enduring monuments.

Stillmark Theory is not about minimalism or aesthetic reduction. It is about ethical witnessing: the ability to stay present before something that will not wait for you to interpret it. It urges a return to encounter, to stillness, to restraint — and proposes a new mode of value: not what lasts, but what requires moral presence while it lives.

This is a crucial contribution to Post-Interpretive Criticism, and a necessary framework for curators, critics, artists, and institutions seeking to engage works of art that resist documentation, defy collection, and demand presence without possession.

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The present thesis considers the function of law in the political from the perspective of psychoanalysis, a discipline which foregrounds the subject. Drawing from the Lacanian contributions to psychoanalytic theory, I begin by assessing the validity of the Oedipal hypothesis for the purposes of understanding the dynamics of collective life. My analysis of civilisation in psychoanalytic terms will expose the subject as the seat of 'certain key phenomena which, despite their deeply intimate character, play themselves out in the field of law, in the confines of the institution, or again in the political realm: essentially, culpability, belief and love. I will argue that, although these phenomena irretrievably obstruct the rational unfolding of discourse, they also impel the precipitation of the subject's attachment to the political, and permit the consolidation thereof through the medium of transference. Yet, and in contradistinction to other strands of psychoanalytic jurisprud...

Jacques Marie Émile Lacan was a French psychoanalyst and psychiatrist. Described as "the most controversial psycho-analyst since Freud", Lacan gave yearly seminars in Paris, from 1953 to 1981, and published papers that were later collected in the book Écrits.

This paper aims to explore William Shakespeare's Hamlet as one of the most intense, profound, and complicated tragedies in the literary canon. The objective is to analyze revenge as the central theme in the drama through the lens of Aristotelian tragedy; to trace its origin and connections to the Senecan, and Kydian model of tragedy, with due regard to the socio-political conventions of the Elizabethan period. The Renaissance drama in English literature was marked with literary innovations, more nuanced characters and complex plots, a lot of which is credited to Shakespearean brilliance. This paper critically delves into examining Hamlet as a tragic hero, deciphering his tragic flaw, and philosophical dilemmas in his pursuit of vengeance, along with highlighting the ambit of drama that transcended the historical context, as a timeless exploration of the human nature.

In the work of Raymond Lulle, there is a very original conception of speech which he called "affatus". For him, this speech was a sixth sense peculiar to humans, and it was through it that he had, crucially, a relationship with God. Based on this intuition and in light of the Lacanian approach, which holds that there is no unconsciousness except in a subject who speaks, the author tries to show that the transition (in light of the Darwinian theory of evolution) between the group of higher primates and the most primitive humans, those of the hunters-gatherers' Urkultur, can only be understood by the human access to speech and symbolic function. This implies language-signifying, entry into narcissism, and the enactment of hallucination as the "dream world", a place of ghosts and mythical ancestors, half-human and half-animal, omnipresent in the primitive horizon. Against all the reigning ideologies of geneticists, neuro-cerebral sciences, ethologists, and other sociobiologists, who continue to write that humans are merely slightly more evolved primates than chimpanzees, the link between speech and the manifestations of the unconscious, such as visions, trances, possessions, and somnambulistic Pythian speech, classical forms of religion associated with myths and rites, shows that "only religion can reveal the secret of man" as René Girard writes. In the conflict between Darwinian evolutionists and fundamentalist creationists, it is not a matter of denying the Darwinian theory of evolution, but of seeing that there is still a rupture and in this sense a certain creationism in the hominization process. As Jacques Lacan wrote, "there is no unconscious except in a subject who speaks" and "nothing in the animal world represents the subject". By pushing the Lacanian linguistic understanding of S. Freud's work to its limits, it turns out that Freud's metapsychology reveals a human whose psychology has no relation to that of the animal, even a higher primate, since it structures invocative (listening-speaking) and scopical (seeing and exhibition) partial impulses, fetish-narcissistic partial impulses as well as necrophilic-zoophilic partial impulses. If these typically human partial impulses appeared "aberrant" to S. Freud, it was because he assumed as an "a priori" that human psychology had to be based on animal instinctuality (a mistaken axiom of scientism). We know that a positivist like Gabriel Tarde theorized that humans were social beings grafted onto animal beings. However, this is not the case, and J. Lacan showed that the drive (Trieb) in psychoanalysis was not identifiable with the instincts of ethologists (Instinkt). Just as Christopher Columbus believed he had reached Cathay (China) but had actually discovered a new territory, S. Freud discovered a whole new domain specifically human and in rupture with animality, but it was only J. Lacan, among Freudian psychoanalysts, who succeeded in reformulating it by linking the unconscious with language and the symbolic function (the phallic function). Claude Lévi-Strauss could write that "science had rendered the world mute" and it is because modern humans have gagged the speech of the Other, depotentiated the unconscious soul, and substituted themselves for the Other (God) that they maintain this ridiculous proximity between humans and animals. However, this is not honest because the joint to be made in the process of hominization is between a group of higher primates and a most primitive human group, such as hunter-gatherers and their Urkultur, knowing that the most archaic religious form is shamanism with the importance given to ecstatic trances in which the returning ancestors and mythical figures that populate the "world of dreams" manifest themselves. Therefore, we can see that only the novelty of the symbolic function, namely speech and language-signifying in connection with hallucination and transference to the Other, allows us to understand this passage from the higher primate to the fundamentally religious primitive human.

Freud mistakes dispensable forms in the myth for essential content. 1 -In a semiotic system, there are family resemblances between the signs. No matter how arbitrary the relationship between the signifier and the signified ... the relationship between inter-relationship of the signifiers and those of the signifieds incorporated in a semiosis is less than arbitrary, most visible in semantic rules of suffixation and prefixation.-In a stoplight there is more family resemblance between red and yellow and between green and yellow than between red and green either as signifieds or as signifiers.-That yellow is phenomenologically between red and green parallels its intermediary semiotic functionality.

Art's episteme since modernism was in abstaining from prophane reality of utilitarian profit. Art has voluntarily got rid of its sensuous entanglement with reality and event since romanticism and onwards; the formalization of a concept, of an idea or of a theoretical stance was its cornerstone. Yet, in the postconceptual art activities of the latest 15 years, the neglection of reality and event-advocated hitherto by the modernist and conceptualist practices-is now often seen as a drawback. This explains art's recent overlapping with storytelling, theater, music, moving image, dance and various forms of performativity, in which it tries to shift from former conceptual discourse and theory towards senses, emotions and narratives. However, the paradox is that art's recurred interest in reality, sociality, narration-its attempt to deal with the event-more often ends up with dissolution in pop, mass and techno cultures, or in theorizing sociality with hardly any access to the event. Now, when the necessity to transmit the story or the event acquired importance again in post-conceptual practices, art found itself without the vocabulary to accomplish this goal. Within the institutional system and poetics of contemporary art it is problematic to regain the vocabulary of sensuousness which in pre-modernist art facilitated the grasp of reality and event.

The title of the presentation is a variation on a theme &a question introduced by T.Crow in 1997 in a seminal paper in the context of a genetic theory that he was formulating at the time and which is, i believe, still in development. Slide2(goals) The goal of the presentation is 3fold: 1 st ,to pay homage to heterodoxy-T.Crow himself being one of the finest examples of heretical thought in the field of Biological Psychiatry. 2 nd ,to provide an exploration of the link language-Psychosis. 3d,to present a genetic mechanism of psychosis, associated with language, albeit a different mechanism to the one suggested by Professor Crow.

The colors red and blue have long been associated with psychological and emotional effects on human decision-making. During the Christmas holiday, these colors become even more prominent, symbolizing festivity, warmth, and tranquility. This research explores the influence of red and blue on human decision-making within the context of the Christmas season. By analyzing cultural, psychological, and consumer behavior patterns, this study investigates how these colors impact purchasing decisions, gift preferences, and emotional states. Using a survey-based approach with 100 participants exposed to red and blue holiday-themed stimuli, findings indicate that red enhances impulsive decision-making, while blue promotes thoughtful and tranquil choices. Implications for marketing strategies, consumer behavior, and emotional well-being are discussed.

Colors influence our human behavior by selecting activities in our daily habits. To explore the red and blue influence on appeal selection, this research investigates participants' selections between red and blue color-filled objects. Approximately 30 personnel were gathered to select six red or blue images. More than 70.0% of the participants selected blue as the color of delight than red. The significance test results showed that the effects of blue were statistically significant (p<0.001) on the status of the delight score. Setting up strong evidence to support the research hypothesis that the artwork's visual color influences color ecstatic. This research will create an experience of learning the perception behavior being influenced by a familiar red or blue color shape.

This volume is the first book-length investigation into the psychoanalytic concept of extimacy (extimité). Extimacy is a neologism Jacques Lacan coined in 1960 but mentions no more than two or three times in his entire oeuvre. It describes an intimate exteriority, or, as Lacan himself puts it, the central place, as the intimate e teriorit or e timac , that is the Thing 1 Drawing on Freud, Lacan articulates e timac as the Thing [das Ding], hich designates the e cluded interior, or hat is e cluded in the interior. 2 In this sense, Lacan introduced extimacy to describe a topological zone of unconscious formations that disrupts the binaries inside/outside, essence/appearance, subject/object. It may of course seem curious to organize an entire volume around a neologism that was never explicitly presented as a concept by Lacan himself, but our claim is that, despite the paucit of its occurrence ithin Lacan s corpus, e timac does indeed have the status of a concept for Lacan a concept, moreover, that is absolutely central to his thought. This olume is concerned ith pursuing Lacan s elaboration of a ne concept ithin the theoretical field of psychoanalysis, a field that fundamentally assumes that ordinary sense making is already a delusional process that requires a savoir based on the belief in an Other. 3 The concept of extimacy navigates the rift between two orders of knowledge, connaissance and savoir. 4 The subject s estrangement from imaginar kno ledge (connaissance) is the operation by which psychoanalysis proceeds in order to reveal the contours of symbolic knowledge (savoir) that are unconsciously at work in the subject. This procedure, usually referred to as the split-subject of the signifier or the subject divided by enunciation and the statement of

to provide an explanatory framework. To achieve this objective, the paper engenders the concept of 'Text Phenomenon', a pivotal element in this dynamic. It posits that the text phenomenon generates potentiality, subsequently realised through the development of literary tools. The paper conducts a comprehensive examination of the diverse functions of these tools. Furthermore, the paper challenges the notion of confining literature creation within the confines of a single tool or prescribed set of tools. Ultimately, the paper establishes a cyclical relationship between the text and tools, elucidating the roles of each component in this process.

No matter how different the reasons may be, the result is always the same; the scandalous alleys and lanes disappear to the accompaniment of lavish self-praise from the bourgeoisie on account of this tremendous success, but they appear again immediately somewhere else. … The same economic necessity which produced them in the first place, produces them in the next place also. , 74-7) Everything happens as if the impasses inherent in the original situation moved to another point in the mythic network, as if what was not resolved here always turned up over there. , 415) 'Now where was I?' Leonard Shelby (Guy Pearce) in Memento (dir. Christopher Nolan, 2000) A map in a film prompts every spectator to consider bilocation. CONLEY (2007, 3) GEORGES FRANJU: Movies should have a beginning, a middle and an end. JEAN-LUC GODARD: Certainly, but not necessarily in that order. KNOWLES (1999, 342) 1 A brief episode from Freud's Notes Upon a Case of Obsessional Neurosisthe Rat Man case-history 2can serve as a kind of establishing shot, anticipating something of what is to come: for what follows can only be understood backwards, yet must be read forwards .

On the fateful day of December 6, 1992, a mob of Hindu nationalists demolished the Babri Masjid, leading to riots and violence against the Muslims all over India. This event culminated after a rigorous propaganda by the Vishwa Hindu Parishad and R.S.S. The movement gathered so much heat that India was entirely encompassed by the myth of Rama. The main reason behind this movement was to reclaim the site of Babri Masjid as the birthplace of Rama. In this article without referring to the legitimacy of their claim, I have tried to read this movement against the background of the advent of postmodernism and its challenge to History. In this article I have tried to do this through Lacanian psychoanalysis. I have wanted to show that even if the basic facts of History are obliterated through the advent of post-truth and conspiracy theories, still there is reason for History to be alive, still there is reason for us to be optimistic about if we take the lessons of psychoanalysis seriously. I wanted to show here that how present Historians are trying to battle this challenge by referring to crude positivistic empiricism is fundamentally useless, and by accepting the narrative nature of History we can transform History into a radical discipline and open its windows to the various theoretical innovations that are taking place in other disciplines.

Over the centuries, "Hamlet" has been the subject of countless critical approaches from brilliant scholarly thinkers, from Samuel Johnson to Harold Bloom. The present article strives to investigate from an interdisciplinary critical perspective how Hamlet's psyche is affected by the appearance of his father's ghost. Drawing on sources as diverse as neo-classical, romantic, and psychoanalytical criticism, the article explores the inner changes that shift Hamlet's perception of the nature of his Self, resulting in the instability of his relationship with other characters. The second section investigates the particularities of Hamlet's desire concerning the women of the play to show how his malignant desire destroys familial and romantic bonds, finally leading to his traumatic influence on other characters such as Ophelia and Gertrude.

A 14 year old patient with an unusual and severe encephalitis undertakes a rehabilitation and recovery journey in art therapy through the medium of expressionist movies, model making, photography and conversation. A photo-art-therapy intervention

This is the first part of a small book I've been working on called "Bad Mothers," which circles around the Greek myth of Niobe, the.grief-stricken hyper-mother.  The other parts of the book dwell on reproductive justice, on geological/environmental devastation, on Benjamin's critique of mythic violence, and on necropolitics and "unchilding" (Nadera Shalhoub-Kevorkian) in Palestine,.  Feel free to get  in touch if you want to see more.

A truncated version of this essay was published in Mario Teló and Andrew Benjamin, eds.,Niobes: Antiquities Critical Modernity (Ohio State University Press, 2023) under the title "Nihil est in imagine vivum."  (You can cite from that if you want..)

This paper was presented at the 150th Ferenczi Conference in Budapest, June 9, 2023. We know Ferenczi as a prolific genius. Yet, Ferenczi used to be rather self-derogatory. This paper explores Ferenczi's modesty, shortcomings and feelings of smallness as being different from his concerns about infantile neurosis. Under a maternal language of tenderness, the former is considered as symptoms that question the sense of being and belonging, like in shame. On the other hand, infantile weakness appears to be associated with alienation and guilt within an Oedipal language.
This paper emphasizes the difference between maternal and paternal iatrogenic influences. Mother and father are different roles and experiences. However, an authoritarian, overly critical, or abusive father could also suggest a maternal role that fails in its function, and vice versa.

What separates the ancient tragic hero from the modern is the
alienation evinced in the modern figure. The contrast between Antigone’s
obedience to her ancestor and Hamlet’s questioning of his dead father
makes clear this split. The alienation evident in modern tragedy provides
the basis for emancipation because it reveals how subjectivity cannot
coincide with the injunctions of any form of social authority, even that
which challenges the ruling order.

Romeo and Juliet's action rushes headlong through a curiously suspended temporality. At the start, the Chorus reassures us of the tragic deaths we know will occur at the end, and the events of the play itself become a kind of recollection of how they come about. In this sense, the Prologue anticipates the familiarity with the basic plot of the play that nearly all audiences have today; that many would have had by the time of the 1597 quarto, which announces that the play has "been often (with great applause) plaid publiquely" (Shakespeare 1597); 1 and that at least some would have had at its first performance, if they knew the story from Arthur Brooke's Tragicall History of Romeus and Juliet or William Painter's Palace of Pleasure (or any of the preceding continental versions of the tale). 2 Shakespeare seems to have accelerated the story's pace in those sources with an eye to fixing it in a more memorable form, effecting, in Bruce Young's (2014) words, a "contraction and dislocation of time" (181). Of course, other plays with prologues or familiar sources make some dramatic use of what Johannes Birringer (1984), discussing Doctor Faustus, describes as "the paradoxical simultaneity of pre-determination and assumed performatory 'freedom,'" and each new performance of any enduring tragedy has either to overcome or to accommodate the faint background of its protagonists' many previous deaths (63). All tragic theater has, in this regard, an uncanny aspect, in Freud's sense of the unheimlich as the return of the repressed. No other early modern tragedy, however, is so thoroughly conditioned by "paradoxical simultaneity" as Romeo and Juliet, to the extent that its uncanny sense of tragic fate functions as a kind of Nachträglichkeit, weaving its unending future iterability back into its characters and its poetry. As I have argued elsewhere (Rzepka 2017), both Romeo and Juliet seem to be haunted by an intimation that they are not just fated to die young but, as Mercutio puts it, "already dead" (Shakespeare 2016a, 10.11)-their anticipation of a violent end is figured as a dim recollection that they have met it before. 3 The play winks relentlessly at this idea, from Mercutio's quip to Friar Laurence's suggestion that Romeo has hauled Juliet out of "a grave" "That Dim Monument"