Dissertations / Theses on the topic 'The Lacanian mirror stage'

This essay argues, with the help of Lacanian psychoanalysis, that Dorian Gray, the protagonist in Oscar Wilde’s novel, fails to abide by the rules governed by the culture of society. It is argued that Lacan’s theories about the mirror stage develop Dorian’s character and his realizations of his true self as part of the culture which shapes him. The mirror is represented by the four characters Basil Hallward, Lord Henry Wotton, Sibyl Vane, and Sibyl’s brother James. Basil, Henry, and Sibyl are all representations of different aspects of the mirror explained by Lacan’s theories, and these three characters help Dorian realize his true identity and self.

In this thesis I discuss some relationships and conversations that occur---and some that could occur in the future---among authors in men's studies in religion and those who work with Jacques Lacan's psychoanalytical model. I focus on how "male violence" is discussed in men's studies in religion. I do this to make projections about why trends in men's studies in religion regarding concepts about violence appear as they do. In the first chapter I attempt to present my theoretical and methodological bias. I locate my interpretation in Judith Butler's theories regarding performance and citation. I then present significant working definitions for the following chapters that remain consistent throughout the thesis. In the second chapter I present a literature review regarding men's studies in religion. I present French feminist ideas about God and masculinity as contributing to motivational ideologies in the field. I then identify mythopoetic and masculinist authors as producing the field's momentum. I lastly present a number of current authors and themes that show a central focus regarding a link between masculinities and violence in the field. In the third chapter I present a literature review about Lacan's psychoanalytic theories regarding the subject and signification. I begin by analyzing Lacan's primary sources in his two most substantial works: Ecrits and The Four Fundamental Concepts of Psycho-Analysis. I then explore how contemporary Lacanian theorists shift his ideas in productive and interesting ways. I lastly show how Lacanian signification can be used to interpret the ways in which authors who contribute to men's studies in religion signify such concepts as "masculinities" and "violence". In the fourth chapter I build upon a Lacanian theoretical model using a Foucauldian framework regarding institutional knowledge. I show how authors in men's studies in religion methodologically and implicitly cite a perceived institutional understanding about violence. Using Jeremy Carrette's focus on the importance of utterances in institutions, I will show that feminist ideologies compose "mechanisms of coercion" for authors who signify violence and masculinity. In the fifth chapter I combine Foucault's work concerning institutional knowledge with Lacan's theories about signification. I show that signification in men's studies in religion is coerced by a feminist re-definition regarding violence. I argue that this re-definition is best defined as Lacanian trauma, and that this trauma is so effective in the field because the traumatic event has to do with re-defining Jewish and Christian conceptions regarding God's masculinity. This thesis has implications for possible ways in which authors in men's studies in religion can approach violence in future work. This thesis composes, or highlights, a conversation between Lacanian psychoanalysis and studies about masculinity. The contribution is thus to two fields because it presents new avenues for discussion that are not yet explored, while drawing on current, relevant and productive work from significant contemporary authors.

The purpose of this study was to describe how mirrors affect contemporary dance pedagogy students’experiences of themselves. Empirical material was collected through semi-structured interviews with four dance pedagogy students at the School of Dance and Circus, and analyzed with the help of post-humanistic perspective and Lacanian mirror stage theory. The results suggest that mirrors are active agents that participate in several things, for example they create an evaluating gaze, objectification, alienation from the subject as a unity, experience of two-dimensional bodies and distraction. The results also suggest that the mirrors actively create afront and direction, and therefore they shield dancers from sensing their ‘inner selves’ as well as others in theroom, time and space. The feeling of success and mood affect the way dancers feel about their mirror images and themselves. In summary, this study stresses that the mirror, an object, is active and agentic, instead of thinking that the dancer is the only active part in the dancer-mirror relationship.

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Esta pesquisa propõe investigar as principais referências teóricas utilizadas por Jacques Lacan para a construção da teoria do estágio do espelho e visa especificar o papel desempenhado por cada uma delas nessa construção. O intuito é contextualizar os principais conceitos relevantes ao tema a partir das suas fontes primárias e analisar a arquitetura conceitual interna dos trabalhos elegidos – tendo em vista as produções do autor publicadas no final da década de 1930 até meados dos anos 1950. Com a finalidade de recapitular essa trajetória, este trabalho visa traçar a gênese teórica de alguns conceitos fundamentais que marcaram o pensamento lacaniano no início de sua obra e resgatar as origens dos principais alicerces a partir dos quais Lacan constrói a teoria do estágio do espelho. Dentro desse quadro, aborda-se as principais referências da psicologia infantil do desenvolvimento, presentes nas obras de Charlotte Bühler, James Mark Baldwin e, sobretudo, Henri Wallon. Em seguida, recupera os experimentos da psicologia comparada, nos estudos de Louis Bolk e Wolfgang Köhler. Por fim, a partir das evidências apresentadas, trata-se de situar, precisamente, as principais perspectivas que Lacan aborda e adere em seu objeto de estudo, evidenciando as diferenças de concepções adotadas, quando estas forem relevantes ou importantes para a compreensão da teoria.
This research proposes to investigate the main theoretical references used by Jacques Lacan for the construction of the theory of the stage of the mirror and aims to specify the role played by each of them in this construction. The aim is to contextualize the main concepts relevant to the theme from their primary sources and to analyze the internal conceptual architecture of the chosen works - in view of the author's productions published in the late 1930s until the mid 1950s. To recapitulate this trajectory, this work aims to trace the theoretical genesis of some fundamental concepts that marked the Lacanian thought at the beginning of its work and to rescue the origins of the main foundations from which Lacan constructs the theory of the stage of the mirror. Within this framework, the main references of developmental child psychology are presented in the works of Charlotte Bühler, James Mark Baldwin and, above all, Henri Wallon. Then retrieves the experiments of comparative psychology in the studies of Louis Bolk and Wolfgang Köhler. Finally, from the evidence presented, it is a question of precisely situating the main perspectives that Lacan approaches and adheres to in his object of study, highlighting the differences of conceptions adopted, when these are relevant or important to the understanding of the theory.

The poems in this collection draw, firstly, on my interest in a tradition of American confessionalism, which, particularly in the poems of John Berryman, seems to re-articulate the 'fragmented self of Anglo-American Modernism. A second major interest is in the more radical dislocations oflyric voice in John Ashbery's poetry. In the following poems, these two influences combine in the exploration of linguistic constructions of SUbjectivity, especially that of a knowing and knowable author figure. Specific practical concerns which stem from this central interest include translation and focalization strategies, polyphony, and oblique responses to philosophical, cultural, and literary contexts. These poems also explore questions of lyrical SUbjectivity in relation to constructions of gender and sexuality, with a particular focus on masculinity. I work from the premise that the authorial voice and its claims to truth, power, and sexual and gendered identity are . continually undermined by inner incoherencies and contradictions, a process of selfsubversion which these poems work to emphasize. Inmany places, this emphasis relates to a tension between a 'disembodied' authorial/lyrical voice and the 'embodied' form of the poem, which exposes that voice to textual inconclusiveness. This tension is also examined through the problematics of lyrical address and gendered relations between the'!' and 'you'. The Linguistic Subject of William Carlos Williams' Spring and All This thesis explores the discourse of authorial subjectivity at work in the declarative prose of William Carlos Williams' 1923 book, Spring and All, now regarded as a seminal text of American Modernism. In order to re-examine what has proven for critics to be a variously interpretable relationship between subject and object in Williams' early thinking, I read Spring and All here through an interconnected chain of conceptual frameworks. More. specifically, in hopes of remapping Spring and All's fragmented notion of authorial SUbjectivity against a more diverse history of ideas, these four chapters bring the longestablished influences of visual arts and Romanticism on Williams into juxtaposition with the less biographically or historically derived contexts of structuralist linguistics and Lacanian psychoanalytic theory. By drawing on correspondences among these contexts.this thesis finally argues for a notion of radically 'linguistic' SUbjectivity underlying Williams' early poetics, which may be productively compared to earlier philosophies of a mutually constitutive dialectic between external objects and a persistent centrality of the self, as well as later 20th-century revisions which emphasize the formalistic and linguistic nature of this relationship.

In my thesis, Philip K. Dick's Do Androids Dream of Electric Sheep? is examined using French psychoanalyst Jacques Lacan's mirror stage theory. In the novel, humans have built androids that are almost indistinguishable from humans except that they lack a sense of empathy, or so the humans believe. The Voigt-Kampff Machine is a polygraph-like device used to determine if a subject shows signs of empathy in order to confirm if one is an android or a human. Yet, should empathy be the defining quality of determining humanity? In his article "The mirror stage as formative of the function of the ‘I’ as revealed in psychoanalytic experience," Lacan refers to a particular critical milestone in an infant's psychological development. When the baby looks in a mirror, they come to the realization that the image they are seeing is not just any ordinary image; it is actually themselves in the mirror. This "a-ha" moment of self-realization is what Lacan's Mirror Stage Theory is based on. According to Lacan's theory, the image that the child sees in a mirror becomes an "Other" through which they will always scrutinize and pass judgment on, for it is not how they have pictured themselves to be in their mind’s eye. I hypothesize that the androids are humans' artificial and technological Other. It is my thought that Dick uses the conflict of determining the biological from the artificial, the effort to differentiate humans from androids and biological animals from artificial ones, to illustrate Lacan's psychoanalysis of the mirror stage and its importance in our continual search for determining what humanity is and who we really are.

For many years, theorists have turned to popular movies and books to help interpret the difficult principles of Jacques Lacan. However, one story that has gotten very little attention is Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde and its derivative body of film adaptations. Both the novella and Rouben Mamoulian’s 1931 film are a small part of an intertextual body of work which contains scenes that play out the Lacanian principles of the mirror stage and the gaze very well. Since art imitates life, an in depth exploration of the way that these scenes play out can illuminate how Lacan’s abstract theories might look in the real life formation of identity and in male/female relations.

Through practice-led research this thesis will explore the phenomenology of interactions between the digital 'other', and the lived experience of the subject through real-time video performance practice. It challenges the assumption that the digital video image is merely or simply other to the subject and aims to re-position the 'other' as an integral part of self where we perform the other. It does this by drawing on Jacques Lacan's Mirror Stage and claims that through digital performance we can suspend divisions between the self and the digital other. By being immersed within the real-time video image the thesis argues we re-enter the Mirror Stage and become captivated within the digital counterpart. Through a disruption in the proprioception of the body there is a crossover of the actual self and digital other which are suspended in each other. Through the use of Head Mounted Display Systems in the work In[bodi]lmental it is claimed that the actual body can In[body] the other subject as part of self. The thesis argues that the digital other is a component of self mediated through new digital technologies to be understood as an augmented self. Therefore it is through an In[bodied] Mirror Stage we momentarily access the loss of the Lacanian real encountered through the uncanny experience. This investigation has been conducted in the form of four digital performance projects defined as Inter-Reactive Explorations I-REs (i-iv).The I-REs were subjected to critical analysis and reflection using a variety of disciplines including: psychoanalysis, philosophy, the study of perception, phenomenology, and ethnography. The methodological framework for this research has been coined 'auto-ethnophenomenology'; a mixed-method approach utilizing auto-ethnography and the phenomenological lived experiences of informants. This model has enabled both the 'I' of the researcher and the other to be equally represented from both first person and third person perspectives. The symbiotic relationship between the theory and the practice is exemplified through the phenomenology of interactions between the digital 'other', and the lived experience of the subjects supported by the writings of Sigmund Freud, Jacques Lacan, Maurice Merleau-Ponty, Drew Leder and Rane Willerslev.

This study explores how motherhood is depicted in Margaret Atwood’s and Louis Lowry’s dystopian novels The Handmaid’s Tale and The Giver. It examines the negative social and psychological consequences of forced surrogacy in the novels’ state-constructed nuclear families, looking closely at a lack of maternal love and care. Using feminist and psychoanalytic criticism, this essay examines the link between the broken connection of mother and child and the protagonists’ search for maternal love in other relationships. It contrasts the protagonists’ rebellion to the social backlash effect and shows how motherhood emerges as a form of resistance against the social engineering of the dystopian societies.

Écrivaine prolifique, anticonformiste, rebelle et provocatrice, Doris Lessing est considérée par la critique comme ayant été à l'avant-garde du féminisme, du communisme, de l'anticolonialisme et de la lutte contre l'apartheid. En lui accordant le prix Nobel de littérature en 2007, l'académie suédoise récompensait une « conteuse épique de l'expérience féminine, qui avec scepticisme, ardeur et une force visionnaire, scrute une civilisation divisée ». Cependant, ne retenir de Doris Lessing que des combats politiques d'ordre public, c'est oublier un thème essentiel et omniprésent dans ses écrits, celui de la quête de soi et du désir de connaissance de soi qui anime le sujet féminin. Pour atteindre ce but et au bout du compte se reconstruire, celui-ci passe d'abord par la déconstruction. C'est pourquoi ce travail se propose d'analyser l'approche déconstructionniste de Doris Lessing vis-à-vis de la question de l'identité féminine. Cette déconstruction ne doit pas être comprise au sens strictement derridien du terme, mais dans une perspective plus large qui est celle de la vision universelle et prophétique de l'auteure. En effet, Doris Lessing tente de déconstruire une conception essentialiste qui renverrait à une conception universaliste de l'identité féminine. Elle nie toute pensée logocentrique et remet en cause l'unité et le fixisme identitaire, et partant la généralité de la quête. Ceci révèle le nomadisme d'une pensée qui doit s'entendre, dans le sens deleuzien, comme une conception de l'identité de la femme comme fluide, changeante, sans frontières, ouverte à de nouvelles possibilités et avec un grand potentiel pour se re-désigner et se re-définir
A prolific, anti-conformist, rebellious and provocative writer, Doris Lessing has been considered by critics as the forerunner of feminism, communism, anti-colonialism and anti-aparteid. By attributing to her the Nobel Price for Literature in 2007, the Swedish Academy rewarded an « epicist of the female experience, who, with skepticism, fire and visionary power subjected a divided civilization to scrutiny ». Reducing her work, however, to political issues means overlooking a crucial and omnipotent theme related to the quest for selfhood and the desire for self-knowledge animating the female subject, In order to gain this goal, it is first important to go through the experience of deconstruction. This is why this work will analyse Doris Lessing's deconstructive approach to the female identity. This deconstruction is not to be understood in the strict Derridian sense but in a broader persepective residing in the writer's universal and prophetic vision. In fact, Doris Lessing endeavors to deconstruct an essentialist conception which would lead to a universal apprehension of the female identity. She denies all logocentric thinking and questions fixed and unified identities, and by the same token, the universality of the quest. This reveals a nomadic thought, which in Deleuzian sense, entails that the female identity is fluid, changing, without frontiers, open to all possibilities and with a great potential to re-construct and re-define itself

This study employs psychoanalytical theories to explore how the conscious, unconscious, and subconscious workings of the mind, combined with a search for identity, are presented and dealt with in Toni Morrison’s novel Beloved (1987). It is done through a close reading and in-depth textual analysis of thematic concerns raised in the work. Previous research has primarily relied on some specific aspects of psychoanalytic theory and applied it to Beloved. The theoretical framework provides a rationale for this paper to research two events in particular that highlight the mother-daughter relationships between Sethe and her Ma’am and between Sethe and her daughter Beloved. These relationships are consequently analyzed by employing psychoanalytical concepts offered by Freud, Lacan and Kristeva. By utilizing psychoanalytical criticism, the characters’ conscious and unconscious motives and feelings are revealed and explained, as well as the meanings and the undercurrents that lie underneath the text’s consciousness. The results suggest that Sethe murdered her daughter Beloved to keep her from becoming a slave and enduring the dreadful and traumatic consequences of slavery, which was similar to what Sethe went through when she was abandoned by her Ma'am. Sethe’s childhood psychological principles and trauma shaped her identity as a mother as she witnessed her mother abandoning her at a young age by being tortured and killed. The events around Sethe’s mother’s death and the fact that Sethe never identifies her mother’s dead body, scar Sethe for life and instill in Sethe a sense of “lack” and an abnormal feeling of maternal love where she is ready to kill her children to save them from the horror of slavery.

Through a close reading of Tsitsi Dangarembga’s Nervous Conditions, this essay shows the key links between the novel and Frantz Fanon’s major works. In addition to providing a deeper understanding of Dangarembga’s narrative as a whole, it takes into particular consideration the em­bedded criticism of colonialism in the text. The psychological conditions implied by the title play a central role: the essay shows how these conditions relate to the colonial situation and how refusing to consent to subjugation can be understood as radical criticism of colonial, Christian, as well as patriarchal superstructures as well as forming clear opposition to the colonial institution. The analysis is primarily based on Fanon and his comprehension of other theorists. It also draws on the ideas of Homi K. Bhabha, which will provide an additional level of understanding regarding questions about colonial identities in general, and Dangarembga’s characters Tambu, Nyasha, and Babamukuru in particular.

La clinique de l'enfant en situation de handicap est une clinique très complexe. Les défenses psychiques mises en place par les familles et plus particulièrement par les mères pour faire face à la souffrance engendrée par le handicap rendent les relations transférentielles très difficiles à mettre en place. Les principales observations mettent en évidence des faits cliniques qui apparaissent avec une certaine fréquence dans la plupart des familles : omniprésence de la mère autour de la prise en charge de l'enfant et disparition du père symbolique du dispositif familial. L'absence de tiers paternel quiest sensé symboliser la métaphore oedipienne, entraîne une attitude de la mère ambivalente à la suite de laquelle l'enfant devient une sorte d'objet de jouissance à l'instar du fétiche pour le pervers. Sans altérité, sans tiers, faire le deuil du diagnostic devient bien souvent impossible et cela entraîne souvent un déni du handicap accompagné de l'apparition d'un discours teinté de persécution et d'une rivalité entre les différentes personnes qui gravitent autour de l'enfant et les mères. À l'instar de l'enfant unique qui, à la naissance d'un petit frère, peut régresser psycho-affectivement (ex : il était propre, il redevient sale) la mère à la suite du traumatisme engendré par l'annonce du handicap subirait une régression psychique causée par l'effondrement de l'idéal que l'enfant en situation handicap mental produit chez la mère. Cette thèse veut démontrer que ces attitudes sont, selon nous, le fruit d'un bouleversement principalement surmoïque. Nous avons voulu aborder cette thèse sous l'angle du Surmoi car nous pensons qu'aucune clinique comme celle de l'enfant en situation de handicap ne nous confronte autant à cette notion de critique, censure et jugement pour départager le normal du pathologique.Nous avons émis l'hypothèse que suite à l'annonce du handicap, la mère normalement pacifiée par le Surmoi paternel oedipien (le Surmoi Freudien), basculerait dans un positionnement surmoïque pré-oedipien (le Surmoi Lacanien etKleinien). À travers une étude du concept de Surmoi et la mise en lien avec le féminin nous nous proposons, par le biais de cette thèse, de faire des liens entre la clinique et la théorie. Plusieurs vignettes cliniques viendront étayer nos propos et in fine, nous décrirons notre démarche clinique thérapeutique qui vise à la ré-introduction du tiers paternel symbolique et de permettre à la mère de faire le chemin inverse.

This is an explication of Lacan’s Seminar XVII. The introduction situates the Seminar in its time and in relation to other theories of discourse. In part one I examine the changes which it brings to a variety of ideas already known in Lacan’s oeuvre such as Jouissance, Master Signifier(s) and Oedipus. Part two looks the four discourses in detail after considering the positions common to each. I provide accounts of each discourse as taking place internally to a subject and between subjects. The coda examines areas where further research is possible, reviews and critiques some scholarship on this seminar and inquires into the use value of the discourse theory, both generally and as a means of getting beyond Lacan.

Le scénographe tchèque Josef Svoboda (1920 – 2002), auteur de près de sept cents scénographies sur les scènes du monde entier, est souvent présenté comme un maître de la lumière et de l’utilisation de technologies avancées à la scène. Mais quel est le contexte qui lui a permis de cumuler tant de réalisations et faire entrer en scène tant de procédés innovants, tout en vivant derrière le rideau de fer ? Quelle place tiennent la technique, l’image et la lumière dans sa pensée de l’espace dramatique ? Et quelle est la nature exacte de cette maîtrise de la lumière qu’on lui attribue ?Pour répondre à ces questions, cette étude s’articule autour d’entretiens inédits menés avec Josef Svoboda en 1993. Elle invite à le suivre en coulisses, pour découvrir la façon dont la lumière se pense et se construit au théâtre et à l’opéra. L’étude emprunte aux écrits sur le théâtre des contributeurs du Cercle Linguistique de Prague (1928 – 1939), dont la pensée, méconnue en France, a forgé celle de Svoboda et éclaire d’un jour nouveau les interactions entre les différents composants de la représentation. Il est ici question de lumière, mais aussi de réflexion, de projection, de cinétique scénique ou de traitement du signal en temps réel, autant de moyens immatériels, impalpables dans leur manifestation scénique, que Svoboda a développés et qui sont devenus les ingrédients majeurs de la scénographie du XXIe siècle
The Czech scenographer Josef Svoboda (1920 - 2002), author of approximately 700 scenographies performed around the world, is often presented as a master of light and advanced technologies for the stage. The thesis questions the contextual conditions which enabled him to cumulate so many achievements and introduce numerous innovative processes for the stage, while living behind the Iron Curtain? What place does technique, image and light have in his thinking of dramatic space? And what is the precise nature of the mastery of the lighting that we endow him ?To answer these questions, this study is based on unpublished interviews with Josef Svoboda which took place in 1993. The study invites us to examine off stage content to discover how light is reflected and built in theatre and opera. The thesis builds on the writings of the Linguistic Circle of Prague (1928 - 1939), whose thoughts, unknown in France, forged that of Svoboda and shed new light on the interactions between the different components of performance. This addresses the question of light, but also of reflection, projection, kinetics and signal processing in real time.The accumulation of these immaterial means that Svoboda developed, impalpable by their scenic manifestation for actors and spectators, have become the major ingredients of scenography of the 21st century

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.

Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship.

The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”.

On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?

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Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire.

Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.

Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature.

Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .

En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort?

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

碩士
國立政治大學
哲學學系
89
This thesis is derived from a worn question: what is Je/I?According to this question, this thesis mainly tries to illustrate the following points: 1 Subjectivity is formed by Other. 2 Desire is the core of the subjectivity. Due to the first proposition, Descartes’s Cogito is questioned. Due to the second proposition, Lacan’s subjectivity is founded. Therefore, this thesis tries to explain the significant status of the rational subjectivity constructed by Descartes leading the western civilization by historical discourse at first, and then gradually shows the important reasons of why the irrational subjectivity discoursed by Lacan was constructed. There are four chapters in this thesis. Chapter One, Introduction: proposing the issue that subjectivity is formed by Other. Chapter Two, The fundamental meaning of mirror stage: Explaining the rational subjectivity constructed in traditional philosophy and why Lacan based the subjectivity upon the mirror stage. Chapter Three, The formation of the imaginary ego: Given the desire, trying to explain the difference between Cogito and subjectivity, and point out the fallacy of constructing the rational subjectivity from imaginary ego furthermore. Chapter Four, The formation of the symbolic subjectivity: Trying to propose the subjectivity in terms of psychoanalysis, which is different from the approach of traditional philosophy, then completing the construction of Lacan’s subjectivity.

碩士
元智大學
資訊社會學研究所
96
A procedure is This research wants to inquire into of the part lie in the 2 dollars opposition which passes by female image to most likely be placed in "male body center- female body backland" to carry on treatise, however information social times, there are many females in the network photo album displaying an own body through the lens, can be regarded as a female to deliver to tell to say by the image oneself is who. So the no longer just pure dualism says, more important with female by himself [herself] of the position describe, through interview observation internality of how ego (ideal I) and outside image (reality I) are produce fluxion through the image. Study a detection female hold the post of the process of model in meeting under the influence of different personnel thing, then ideal I with reality I will produce different degree of flow variety, the factor which influences fluxion variety lies in ideal I am met rejection, and turn with reality I be become ideal I, however ideal I also will not disappear now, but is at the small to express, therefore, ideal I with reality I their airing continuous be changing a midstream to turn.

This research report presents a pilot study exploring the possibility of applying a Lacanian clinical methodology for analyzing unconscious dynamics in extra-analytic material. This research initially investigates the legitimacy and utility of this endeavour, followed by immersion in Lacanian thinking and the subsequent selection of potentially relevant data sets; samples of extra-analytic textual material. As this stage a recursive interaction between reading Lacanian theory and reflecting on the text is enacted. Five Lacanian concepts are identified (mirror phase, the three orders of the imaginary, the symbolic and the real, as well as the paternal agency). Although these concepts are, in process inextricable from another, they are presented as though discrete entities given that this allows for the foregrounding of different aspects in the process. The interaction between these concepts is considered with respect to Lacan‟s requirement in clinical practice of a tentative preliminary diagnosis of the patient into one of three diagnostic categories; perversion, neurosis and psychosis. Consequently, in a step that mirrors the clinical process, the textual subject of the data sets is tentatively classified as a (Lacanian) psychotic whose characteristic psychic structure is constituted out of foreclosure. Ways of discerning this structure in textual matter outside of the analytic setting are then considered. Four ways are proposed here. These are the unified or unbounded use of personal pronouns; evidence of thinking towards resolution or disintegration; denial or tolerance of difference and fourthly, the manifestation of regressive or libidinal speech actions. These four provide the basis for approaching the analysis of the selected data sets, which consist of carefully selected instances of Jacob Zuma‟s ostensibly unscripted public utterances. It is proposed that the four ways identified can be used in the analysis of other extra-analytic material.

碩士
國立臺灣大學
外國語文學系研究所
91
The initial idea of the thesis is about the concept of travel in postmodern theories. It was an ambiguous idea. The only reason I chose it might be that traveling implies freedom. Not the usual freedom as manifested in law. Not the freedom postulated in philosophy that says you can choose. Not the freedom of the capitalist logic that says you are what you deserve. It is more like a plasticity that allows people to understand one another, a force to engender action and movement. After some study of the travel themes in postmodern and postcolonial theories, I found them not satisfactory for me. Why? It seems they all center on the problem of identity, which becomes flexible and hybrid but cannot be discarded. Everyone has to choose some kind of identity. Then I read a paper introducing Deleuze and I found it so hilarious and bold. I decided to do Deleuze. The first book I read is Foucault. Deleuze interprets Foucault in such a novel way. Like a magician, he conjures up terms like “a new archivist,” “a new cartographer,” “the visible and the articulable,” and “foldings, the inside of thought,” and so on. How does he break the empirical and reorganize it from new perspectives? I found the answer is that he breaks the categories. No more man and woman, no more persecutor and victim, no more history and space. It is completely a new world where time is not simply time and space is not simply space, not to mention the subject is not the subject. The thesis is divided into three chapters. The first chapter is a critique of Lacan’s theory of the mirror stage, which I want to argue is the foundation of his teaching. Deleuze and Guattari’s Anti-Oedipus is a well know attack on psychoanalysis. In order to read Anti-Oedipus, I found it necessary to read Lacan thoroughly. Lacan’s theory is based on a topology which is distinguished into the imaginary, the real, and the symbolic. This topology is meant to replace the Freudian topography of the psychical apparatus. While the Freudian topography, no matter it is the first one that specifies the psychical locality or the second one defined by the agencies of identification, is based on clinic experiences, Lacan’s three orders are more philosophical in that they cannot be defined either by locality or agency. It is basically an existential question that lays the foundation of Lacanism. That question is what does the Other want from me? A second question parallels the first one: who am I? The question who am I can only be answered from the perspective of the Other, who am I to the Other? The answer, I am “something,” necessarily consists of a predicate that is qualities and identities. However, having a sense of a unified self does not necessarily mean having an identity consisting of properties and, following Deleuze’s logic of sense, corporeal qualities. The existential question, I AM, cannot be reduced to the answer I am “something.” Considering Lacan’s philosophical tendencies, while Freud is concerned with pathological psychology which is aimed at deviated personalities, Lacan’s teaching is widely applied in literary criticism and social analysis. In Seminar XI, Lacan refers to Hegel concerning the impossible choice between freedom and life, being and meaning. This impossible choice becomes the formula “Kant with Sade” where the impossible choice is not resolved but, like bait, formed a void that cannot be assimilated by the symbolic order, that is, the real. How are we to understand this real? Lacan finds support from phenomenology, especially Merleau-Ponty, who postulates the regulatory function of form. This regulatory function of form meets Lacan’s theory of the mirror stage as essential to the formation of the ego. The question “who am I” can be supported by it. On this basis, Lacan relates the question of the real with the méconnaissance instituted in the mirror stage. According to phenomenology, perception is not in me, everything we perceive is already representation. However, we can still apprehend the world in a perception that seems to concern the immanence of the I, the operation of which is called the mode of communication in Deleuze. Why can we perceive this immanence even though it does not belong to me? Lacan’s answer is: because I see myself seeing myself, which is firstly fulfilled in the mirror stage. Thus, we can see that the unconscious is not Lacan’s concern. His concern is consciousness. Or the failure of consciousness. What is consciousness? Why does it fail? By introducing the technique of anamorphosis, Lacan explains that Cogito is actually a sort of geometral, that is, flat, point. Geometral optics distorts perspective optics by reprojecting the image back to another surface in an oblique angle. As discussed so far, we can already discern the structural similarity between this cogito as a geometral point and the ego formed in the mirror stage. The mirror and the eye are two surfaces that reflect each other. Consciousness operates following the principle of geometral optics. Consciousness fails because the body is erased from his identity. Images are bodiless, without thickness and floating. The failing consciousness cannot function otherwise, it is destined to think reflectively. The reflectivity thereby presupposes representation. Consciousness is itself representation. What about desire? The question of desire is explained by the objet a, which is again a product of méconnaissance of the subject. The second chapter introduces Deleuze’s ontological theory. Contrary to Lacan, Deleuze asks whether representation is indispensable, as far as ontology is concerned? The first objection raised by Deleuze is the opposition between being and becoming. Idea and matter. Plato condemns becoming for it is changing all the time and cannot be said to have a quality whatsoever. As quoted in The Logic of Sense, Plato condemns becoming for “hotter never stops where it is but is always going a point further.” As a result, Deleuze argues that the concept of Idea, not meant to oppose it with matter, is only useful by designating bad copies, that is, simulacra. Deleuze resorts to the Stoic concept of bodies and incorporeals to assert becoming, which is movement and change in itself that have been expelled from philosophy in the name of being. Bodies are things and states of affairs, which have qualities and quantities, all the characteristics of substance. Incoporeals are not beings, but ways of being. What does it mean? They can be understood as verb in the proposition. Infinitives such as “to cut,” “to be cut,” for example. Being and nonbeing (inclusive becoming) are no more the categories. Instead, both bodies and incorporeals, effects on the surface of being, are subsumed under extra-being. They are events rather than things or states of affairs. While beings exist, events and incorporeals subsist or inhere. Linguistics is then completely changed with Deleuze. In addition to denotation, manifestation, and signification, sense is the last foundation of a proposition, without which none of the above functions of the proposition can maintain. What is sense then? It does not exist in the proposition, that is, it is not directly said. However, it subsist in the proposition and cannot exist outside of proposition. In other words, sense does not appear before the proposition is said. It is an event just like incorporeals. By designating and defining sense, Deleuze is proposing a transcendental empiricism, which concerns a life better than the self. It is transcendental because it makes an effort to theorize the synthesis of the sensible. The second objection raised by Deleuze to representation, after reclaiming the equal status of becoming, is the homogenized conception of time and space. The multiplicity and the virtual are two very crucial concepts to apprehend duration, which is a becoming that endures. It sounds like a paradox for in Plato becoming can never be said enduring. The concept of duration reconciles continuity and heterogeneity, the two fundamental characteristics of duration. In some ways, duration is apprehended as lived or psychological experience, but, more importantly, it is a condition of experience, a datum. By asserting duration, Bergson objects to spatial thinking when posing questions. That is, to evaluate on the basis of resemblance and analogy, the exterior qualities. The concept of multiplicity is introduced here. Two types of multiplicity have to be distinguished. One is the multiplicity represented by space, that is, it is a numerical multiplicity, can be counted and divided without changing its property. Another multiplicity appears only in pure duration, it changes with time, and cannot be divided without changing in kind. It can be best conceived using Bergson’s metaphor of the cone. The multiplicity is the sum of the virtual, each level or section of the cone is a totality and any change of dimension will change its result of actualization. The cone is used by Bergson to represent the process of recollection, which actualizes the virtual by a movement and makes a pure recollection into a recollection image. The virtual is the sum that hasn’t been actualized. The virtual is subjective while the actual is all objective. The objective is that which has no virtuality. The past, instead of being the time that has passed, is contemporaneous with the present. The past is being in itself. The difficulty in understanding the past as pure being arises from the confusion between being and being present, according to Deleuze’s interpretation. By defining memory as unconscious movement, the concept of homogeneously divisible time can no longer maintain. Neither can the unconscious be defined from the perspective of repression, which is positive forgetting instead of a negative factor in the formation of subjectivity. The unconscious is movement itself, being in action all the time so that a unified sense of the self can be established. The third chapter reads two novels from the perspective of the process and function of representation. It tries to show that representation is not innate in the formation of subjectivity but a historical result of deterritorialization.

碩士
國立臺北科技大學
互動媒體設計研究所
102
Under the impact of globalization, young generation have more choices to live their life, we often farewell with friends who wants to go aboard and pursue the so-called future &;quot;Perfect my-self&;quot;. According to Lacan&;apos;&;apos;s Mirror Stage theory (1936), we found out people consider the image of his own in the mirror and the image of other people as who they are in childhood, it’s same as when we grow up, how you will identify who you are is often depending on where you have been; which friends you keep, based on the observations of the existing social conditions, this article purposed a social problem which is &;quot;Modern people often lose them-self &;quot;, therefore, exploring how to deal with psychological level of modern people is a concept of Changer; on the other hand, the side of technology part of this paper is focused on how to make dancers who need to play different roles, changing clothes normally considered as change character for audience, following the observation of other performances, most theatrical dancers don’t have enough time to change clothes, however, the stage background while rapidly transforming that dancers can’t catch on, therefore, this paper will create a interactive platform and present a interactive art performance – Changer.

碩士
國立彰化師範大學
英語學系
97
Drawing on Lacanian psychoanalytic perspective, the thesis analyzes Othello and Iago in William Shakespeare’s Othello and the Duke, Lussurioso and Vindice in Cyril Tourneur’s The Revenger’s Tragedy. The thesis explores the characters’ identification with their images and fantasy from Lacanian perspective of the gaze. These characters can realize their misrecognition and establish subjectivity after traversing the fantasy. The thesis consists of five chapters. The first part is the introduction of various scholars’ argument about subjectivity. Review of criticism and chapter description will be presented in order. In Chapter One, the thesis aims at exploring Lacanian ego and subjectivity from the perspective of the gaze and desire. Three grammatical voices of the gaze (to gaze, to gaze oneself and to be gazed) manifests a subject’s misrecognition from the Mirror Stage to the Symbolic, but the passive voice leaves a hope for a subject to traverse the fantasy. Lacanian graph of desire indicates a path from traversing the fantasy to subjectivity. Chapter Two focuses on the ego formation of Othello, the Duke and Lussurioso based on Lacanian gaze. The thesis will analyze their desire and anxiety while they identify with their mirror reflection or the Other. Iago and Vindice, the gazers exploring their enemies’ desire, manipulate them through language or disguises. In Chapter Three, the thesis analyzes how the characters traverse the fantasy to subjectivity. Because of Emilia’s accusation, Othello traverses the fantasy. He accepts his lack and decides his future. Conversely, the Duke and Lussurioso fail to discover Vindice’s disguises and face their downfall. The thesis also explores the misidentification of Iago and Vindice and examines their reactions after traversing the fantasy. The final chapter compares misrecognition and subjectivity of each character. The thesis concludes that every man may be deluded in his images. Yet he can realize his misidentification after traversing the fantasy and establish subjectivity without the control of the Other.

碩士
國立臺南大學
視覺藝術與設計學系碩士班
106
This research explores the phenomenon of the othering of inner self-awareness as a creative theme. The study is mostly conducted from the perspective of self-awareness in psychology to analyze social-oriented self views concerning psychology, introverted feelings, and social psychology, and further explores the influence of the environment on the relationship between the self and othering. Applying the definitions of self-awareness proposed by Western psychologists Carl Gustav Jung (1875) and Sigmund Freud (1856), this study examines self-awareness while the othering phenomenon is approached from the social-oriented self views concept in social psychology and Jacques Lacan’s (1901) theory about the other. This research explores the various types of cognitive consciousness and investigates the connection between self-awareness and the creative libido, the relationship between the subject and the self, the connection between self and others, the extimacy between self-awareness and social-oriented self views, contradiction, and realizes the importance of independent thinking. This study is based on the foundation of Western psychology, while concepts of Eastern philosophy are also applied in sections throughout the work description, adding variety to the meaning and interpretation of the style of the works. The first chapter outlines research motives, methodology, and scope of the study. The second chapter explores the origin and categories of consciousness, mostly from the definition of self-awareness proposed by psychologists Carl Gustav Jung and Sigmund Freud and the concept of constructing self-concept in social psychology to investigate the phenomenon of othering, which further enables the exploration of the relationship between self-awareness and social-oriented self views and the connection between consciousness and creativity. The third chapter discusses creative concepts, the creative style of symbolic methods, and the expressions of two-dimensional and three-dimensional creative expressions, as well as the applied media and techniques. The fourth chapter is work analysis and is mainly divided into the description of the work series and individual works. The fifth chapter is the conclusion of the entire study, thoughts on the research of creativity, and plans for creative work in the future.

碩士
華梵大學
外國語文學系碩士班
99
Jack London’s novels, The Call of the Wild , White Fang and The Sea-Wolf made him a well-known writer and made this legendary man one of the best authors in American literature. Nowadays, his works are still classic one century after his death. Readers and critics believe that the most attractive element of London’s novels is how he combined the adventurous elements with his exploratory experiences from his early life into vivid stories. I think that the creation of best selling novels not only depends on the author’s wisdom and talent in writing, but also depends on how the author expresses each character’s inner world in the novel to reflect/touch reader’s heart. The plot and background of London’s three heroes are different, but there are some points in common in these novels. First, none of them had the necessary ability to protect himself; the main characters were incomplete individuals in the beginning. Second, they admitted that they were unable to live alone and realized how weak they were after they entered a new environment. Third, they thought the only way to survive and not to be killed or eaten was to stand steady and try to be a sturdy individual. Fourth, they learned and experienced from both harmless and harmful life experiences, and then they became stronger. Finally, when they became a complete individual, they found their own value for existence and life and defined themselves. Under the theme of seeking identity, the heroes experienced an important identification process. I will interpret that process with Jacque Lacan’s the mirror stage. Further, “the Other” played a key role which impacted the heroes during the mirror stage. Introduction introduces the background of Jack London and his novels. Chapter One is the interpretation of Jacque Lacan, his mirror stage, “the Other.” Chapter Two analyzes the mirror stage of the three heroes of the novels. Chapter Three focuses on “the Other” that Jack London arranged in his novels, and linked it with “the Other” that Lacan explained. The conclusion examines whether the heroes found their identity or not after the mirror stage.

碩士
銘傳大學
設計創作研究所碩士班
95
Following the progress of high tech media, such as digital camera or digital video, the production of image creation is no longer limited to the request of professional technique. Everyone can easily create their own images or even, become the part of their images. In recently, there are many autodyne pictures appeared in the website world. This is a kind of a phenomenon of showing self gratification and getting more supports from public. Such using the way of autodyne to show high confidence and satisfaction for oneself indicates the place we stay now is ‘Narcissism’ time. This research based on the idea of ‘mirror and self’ in Lacan’s mirror stage attempts to explore the meaning of narcissism. In the content of the work, through the personal experience of the artist self to response the concept of the self-identity of Lacan. Moreover, the significant meaning between mirror image and narcissism in building personal culture will be expressed by the ways of surrealism and digital dynamical image.

碩士
南台科技大學
數位內容與動畫設計研究所
100
Filled with imaginary and symbolic signs, the art performance forms of animation with respect to human’s various emotions and events in lives express through motion pictures in order to achieve certain kind of emotional realization or experience. This essay studies the consciousness and techniques of surrealism and analyzes the French psychoanalyst Lacan’s Mirror Stage to demonstrate its basic concept that the Ego is the Other via animation techniques. Integrated the ideas of contrast and juxtaposition of surrealism into the animation script, this essay aims to express the symbols of the characters’ emotions by means of the realities within Surrealism and seeks to discover the real self-consciousness within human beings’ subconsciousness.

碩士
崑山科技大學
電子工程研究所
98
The main performance indices of operational amplifiers include high gain, wide bandwidth, high driving ability and low power dissipation. However, it is very challenging to achieve these goals simultaneously especially stability and circuit area specifications are also considered. In this thesis, multistage operational transconductance amplifiers (OTAs) based on differential Wilson current mirrors pre-amplify the input signal. At the output stage, a differential pair undertakes both driving and Miller compensation such that very high performance is achieved while only single and small Miller capacitor is required for an output end. Moreover, the circuit configuration advantageous additional constant phase over wide bandwidth. To prove the flexibility and novel performance of the proposed multistage amplifier, we analyze and simulate configurations with different number of amplifier stages. An exemplar four-stage amplifier is also implemented with TSMC 0.18?慆 technology and under 120pF and 25KΩ load, we measured 109dB DC gain, 9.6MHz UBW, 0.38mW power consumption, and 3.6v/us driving ability featuring the largest figure of merit (FOM) using the smallest Miller capacitance.