Lacan stated only that music and architecture are the supreme arts non-published seminar, the reference for which I am unable to find. Diego Masson introduced him to the work of Gesualdo. He regularly attended concerts at the Domaine musical. He seemed unwilling to decide on music. A symptom, in both writers, of a non-relation. This non-relation might be supported if I dare say so! We can easily see that there is a difference between the passions we experience and the feelings that music arouses in us. Commentators get away with unjustified projections: that day the composer was feeling depressed, triumphant, in love.
It is always true, and thus always non-provable. How should the question be posed? This without being too careful about dates, for Freud was objectively a contemporary of the Vienna School in music, but certainly not subjectively. He was even contemporary with Mahler, whom he received for consultation. This visible audible connivance does not arise in any case from applied psychoanalysis.
Psychoanalysis, which is not applied to an entire work, nonetheless allows for local applications which are really interpretations. Thus we can distinguish here between the operation of word displacement carried out by Lacan, and the clinical diagnosis of Hamlet, something which he refuses to do. Let us start once again from a general point of view, taking into account what is generally said about music: that is has a musical side and an expressive or affective side.
Let us not scorn these common views. This concerns the mathematical part of music. A Borromean knot: can a definition of music by psychoanalysis be given? Yes, if psychoanalysis becomes aware of its impossible relations to music, which, it seems to me, are of three orders taking up the three impossibilities mentioned at the start :.
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The subject becomes aware that the afterthought returns upon what was already there, etc. In the same way, music delineates time, to the point that Mozart claimed in a letter that he could encompass in one single look or one single inner perception, immediate or instantaneous, the entire piece which he had just composed in his head, and which he only had to transcribe. In the same way as every clinical case is an exception to the structure within which it would be placed, in the same way every Bach fugue reveals what escapes the laws of fugue.
It is a well-known fact that many popular songs served as cantus firmus for religious music — not because, in those happy times, the difference between the sacred and the profane was ignored, but rather because there was a discourse effect affirmation in such phrases. From this point of view, music is the unconscious itself.
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A sentence that must be withdrawn as soon as it is stated, but anyway. It is even a non-barred Other to which we would have some sort of access, while ignoring nonetheless what he may say: a latent discourse become manifest while remaining incomprehensible. It is an oral thesis of Alain Badiou that music deals with the two passions of joy and sadness and with no other — or at least other passions must present themselves through the mediation or under the guise of these two.
These are analogical affects: the proof lies in the distribution that Greek modal music made between the contrasting natures of these modes, through the distribution made by tonal music between the major and the minor mode that is to say, between diatonic and chromatic scales , or the distribution made by a large number of extra-European musical theories between pacifying and exciting modes, to the political fears of certain States regarding the effects of jazz, etc.
Music has a therapeutic function in the largest non-clinical sense: it saddens, annihilates, appeases, wakes up, reassures, encourages, etc. This is even a music term which has its own price. Hence the idea of a Borromean knot which would fasten the structure of music, which is of the order of the Real; Discourse, which is of the order of the symbolic; and the two affects of joy and sadness, which are of the order of the imaginary. From the point of view of psychoanalysis, there is then the following triple relation: analogy with the structure, allusion to discourse, catharsis in affects.
For the subject is in the structure. It is a symbolic phrase. It returns Real , and it saves imaginary. Translated by J. London: Kegan Paul, Thus there is no music therapy. Or rather, in the same way as there is psychotherapy in disjunction with psychoanalysis, music therapy and psychoanalysis exclude each other. In particular p. For example, he characterizes architecture as organization around the void, and gives the temple as an example.
The same goes for Freud, but this time with regard to the metaphysics of love, supplement XLIV to the fourth book.
https://ttitaclohyd.tk In Latin this would be I will not change animus ensubjectum :. Why is structuralism serious? For the serious to be truly serious, there must be the serial, which is made up of elements, of results, of configurations, of homologies, of repetitions. What is serious for Lacan is the logic of the signifier, that is to say the opposite of a philosophy, inasmuch as every philosophy rests on the appropriateness, transparency, agreement, harmony of thought with itself. The unconscious means that thought is caused by the non-thought that one cannot recapture in the present, except by capturing it in its consequences.
You wanted it, Georges Dandin. He makes time stop to recapture in the consequence what was caused by the non-thought. It is important to bear in mind the two primary meanings of Anstoss in German: check, obstacle, hindrance, something that resists the boundless expansion of our striving, but also impetus, stimulus, something that incites our activity. Anstoss is not simply the obstacle the absolute I posits to itself in order to stimulate its activity so that, by overcoming the self-posited obstacle, it asserts its creative power, like the games the proverbial perverted ascetic saint plays with himself by inventing ever new temptations and then, in successfully resisting them, confirming his strength.
Fichte would effectively be a solipsist another commonplace reproach against his philosophy. I saw myself as taking an author from behind and giving him a child that would be his own offspring, yet monstrous.
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It was really important for it to be his own child, because the author had to actually say all I had him saying. But the child was bound to be monstrous too, because it resulted from all sorts of shifting, slipping, dislocations, and hidden emissions that I really enjoyed. This Deleuzian procedure has an unexpected theological precedent — not the Christian immaculate conception, to which he himself refers, but the Jewish legend about the birth of the Messiah, reported by Joseph in a monoscript from the 13th century.
God wants to give birth to the Messiah, but knows that all of the forces of evil are waiting in front of the vagina of Shekina to kill the Messiah the minute he is born.
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So God goes at night to his mistress, Lilith, the symbol of evil, and penetrates her anally the expression used can also mean that he pees into her vagina. The Messiah will come from Lilith after anal sex: this is the way God tricks the forces of evil, by bringing the Messiah through evil. If the founding move that establishes a symbolic universe is the empty gesture, how is a gesture emptied? How is its content neutralized? Through repetition. Giorgio Agamben tried to indicate this process with the notion of profanation: in the opposition between sacred and secular, profanation of the secular does not equal secularization; profanation puts the sacred text or practice into a different context, it subtracts it from its proper context and functioning.
To profanate a mass is to perform a black mass, not to study the mass as object of the psychology of religion. As such, profanation — not secularization — is the true materialist undermining of the Sacred: secularization always relies on its disavowed sacred foundation, which survives either as exception or as a formal structure.
Protestantism realizes this split between the Sacred and the secular at its most radical: it secularizes the material world, but keeps religion apart, plus it introduces the formal religious principle into the very capitalist economy. Mutatis mutandis , the same goes for the Stalinist Communism — it is secularized, not profaned religion.
There is thus a zero-level at which profanation cannot be distinguished from sacralization.
A thing which appears is experienced as sacred when viewed from behind, from a proper distance, is effectively a profane excess… To paraphrase Rilke, Sacred is the last veil that conceals the horror of the Profane. So what would the profanation of Christianity be? What if Christ himself — the embodiment of God in a ridiculous mortal, the comical aspect of it — already IS the profanation of divinity? Differentiality, in order to remain pure i. This is why, as Laclau put it, external difference is always also internal difference: it is not only that the difference between the field itself and its outside has to be reflected into the field itself, preventing its closure, thwarting its fullness; it is also that the differential identity of every element is simultaneously constituted and thwarted-curtailed by the differential network.
Both perceive the village as a circle; but for one sub-group, there is within this circle another circle of central houses, so that we have two concentric circles, while for the other sub-group, the circle is split into two by a clear dividing line. The two perceptions of the ground-plan are simply two mutually exclusive endeavors to cope with this traumatic antagonism, to heal its wound via the imposition of a balanced symbolic structure.
They not only occupy different places within the political space; each of them perceives differently the very disposition of the political space — a Leftist as the field that is inherently split by some fundamental antagonism, a Rightist as the organic unity of a Community disturbed only by foreign intruders. Or, to put it in more Deleuzian terms: the very counter-actualization, the move backwards from actuality to the virtual field that is its transcendental condition, has to occur WITHIN actuality, as a displacement, disorder, out-of-joint, of the elements within this order.
This self-relating move is crucial — and, along the same lines, what desire desires is not a determinate object but the unconditional assertion of desiring itself or, as Nietzsche put it, the will is at its most radical the will to will itself. The more fleeting or molecular the movement, the more intense its resonance through the web.
The web responds to the movements of a pure multiplicity before it has taken on any definite shape. When Deleuze talks about a process which creates and sees in a single movement, he thereby consciously evokes the formula of intellectual intuition, the prerogative of God alonbe. However, the Hegelian reply to this would have been: what if the distance of re-presentation, the distance that renders the thing inaccessible to us, is inscribed into the very heart of the thing itself, so that the very gap that separates us from the thing includes us into it — therein resides the core of the Hegelian Christology, in which our alienation from God coincides with the alienation of God from himself.
Deleuze says that propositions do not describe things but are the verb al actualization of those things, i. A finite being differs from other finite things because it is already not identical with itself. Deleuze accepts the Leibnizean hierarchy of monads: the difference between monads is ultimately quantitative, i. What, in a monad, resiststhe full expression of God is its stubborn attachment to its creatural delusion, to its particular ultimately material identity. This is why insofar as another name for this egotistic stubborn attachment is Evil Evil is a formal condition of the rise of the Good: it literally creates the space for the Good.
It is the absent X which circulates betweenh the multiple series of the social field economic, political, ideological, legal… , distributing them in their specific articulation. What depends on a free creative activity is also that which, independently and necessarily, posits itself in itself: the most subjective will be the most objective. WP For Deleuze, on the contrary, the masochist chooses pain in order to dissolve the pseudo-link of desire with pleasure as its extrinsic measure.