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Art: Sublimation or Sympton by Parveen Adams

By Parveen Adams

All of the members addresses the theoretical questions through pursuing a distinct inventive challenge, together with an in depth examine the relation among the picture and the item in Hitchcock's Vertigo, the sexual aesthetics of Caravaggio, the creative pen of Barthes, and the way Cronenberg's movie Crash features as a sinthome.

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He has lost the image of her to w h i c h he had always related w i t h the passion of grief. H e had always tried to save, we may say conserve, that image through his identification, i n w h i c h the w o r k of keeping the image alive gave h i m a vicarious sense of animation. T h i s places h i m i n an odd relation to Freud's (1917) account of the sequence of the elements of m o u r n i n g i n Mourning and Melancholia. There, a sudden and u n ­ controllable identification w i t h the dead beloved sets up a household w i t h i n the subject that cannot be sustained indefinitely.

One is reminded of Freud's famous anecdote i n "The Interpretation of Dreams ' about the m a n w h o gives three incompatible reasons to 1 excuse h i m from having damaged a b o r r o w e d kettle: each reason might stand alone as an excuse, but together they cancel one another out [cf. F r e u d 1900, p. ) One of the principal aims of Critical Theory i n rereading F r e u d , of course, had been to show that what psychoanalysis had posited as " h u m a n nature" was i n fact an eminently h i s t o r i c a l construct, the product of a coercive, even a specifically "repressive" civilization.

T h e fundamental question, however, is h o w are these terms themselves to be interpreted? If it is thought that having said " m o t h e r " or "father" the search for the origin is over, one can surely observe that it never began. O n c e the image is treated as the substitute for an original, the answer is already given. But it is a purely tautological form of reasoning. T h e fact is that the term mother or father s h o u l d be treated not as persons but as functions or posi­ tions. There must be an alternative account that does not reduce the reality of the series and does not repress the centrality of the image as such.

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