Hasil Pencarian  ::  Simpan CSV :: Kembali

"What do we know about Hegel? What do we know about Marx? What do we know about democracy and totalitarianism? Communism and psychoanalysis? What do we know that isn't a platitude that we've heard a thousand times or a self-satisfied certainty? Through his brilliant reading of Hegel, Slavoj Zizek,one of the most provocative and widely-read thinkers of our time, upends our traditional understanding, dynamites every cliché and undermines every conviction in order to clear the ground for new ways of answering these questions. When Lacan described Hegel as the most sublime hysteric, he was referring to the way that the hysteric asks questions because he experiences his own desire as if it were the Other's desire. In the dialectical process, the question asked of the Other is resolved through a reflexive turn in which the question begins to function as its own answer. We had made Hegel into the theorist of abstraction and reaction, but by reading Hegel with Lacan, Zizek unveils a Hegel of the concrete and of revolution, his own, and the one to come."

"This is the first book to explore the full range and import of Lacan's theory of poetry and its relationship to his understandingof the subject and historicity. Gilbert Chaitin provides a lucid and accessible study of this famously complex thinker. He shows howLacan moves beyond the traditionally hostile polarities of mythos and logos, poetics and philosophy, to conceive of the subject as acomplex interplay between symbolic systems, desire and history.Lacan incorporates the function of historical contingency into theformation of subjectivity, a combination which in turn illuminatesthe role literature plays in the creation of selfhood. Lacan'smetaphor of the subject, Chaitin argues, drew not only on Saussure, Jakobson, Freud, Heidegger and Hegel, but on hitherto unacknowledged influences such as Bertrand Russell and I. A. Richards. Chaitin explores the ambiguities, contradictions and singularities of Lacan's immensely influential work to provide a definitive account of Lacan's theoretical development across theentire career."

"Schopenhauer mengemukakan kesadaran hanya kulit permukaan dari sesuatu yang lebih dalam dan luas yakni dari kehendak yang buta, irasional, dan tidak sadar. Jacques Lacan, sang psikoanalis juga kurang lebih mendukung pernyataan tersebut. Adapun terbersit dalam pikiran penulis, hal ini identik dengan ajaran Buddha, maka penulis mencoba menganalisis film yang sarat Buddhisme, yaitu Shaolin (2011). Yang menjadi fokus perhatian penulis bukanlah simbol-simbol agama melainkan kaitan makna nasib para tokohnya, terutama tokoh antagonis yang kemudian menjadi protagonis—Hou Jie yang diperankan Andy Lau—serta tokoh yang menjadi antagonis sepanjang cerita—Cao Man, diperankan Nicholas Tse. Apa yang memungkinkan jalan kehidupan mereka berubah (ubah) adalah tepat kiranya ditelaah dengan konsep Lacan mengenai tiga fase perkembangan manusia.

---

Schopenhauer argued consciousness only skin surface of something deeper and broader than the will of a blind, irrational, and unconscious. Jacques Lacan, the psychoanalyst is also about supporting the statement. As occurred in the mind of the writer, it is quite synonymous with Buddhism, so the author tries to analyze the film that loaded Buddhism, Shaolin (2011). Which became the focus of attention of the author are not religious symbols but the fate of the characters meaning of terms, especially the antagonist who later became the protagonist--Hou Jie, played by Andy Lau--as well as the antagonist character throughout the story--Cao Man, starring Nicholas Tse. What allows them to change their way of life is precisely would be reviewed with Lacan's concept of the three phases of human development."

"Christine van Boheemen examines the relationship between Joyce's postmodern textuality and the traumatic history of colonialism in Ireland. Joyce's influence on Lacanian psychoanalysis and Derrida's philosophy, Van Boheemen suggests, ought to be viewed from a postcolonial perspective. Joyce's writing bears witness to a history that remains unspeakable, functioning as a material location for the inner voice of Irish cultural memory. This book engages with a wide range of contemporary critical theory and brings Joyce's work into dialogue with thinkers such as Zizek, Adorno, Lyotard, as well as feminism and postcolonial theory."

"Artikel ini membahas perdebatan dalam pemberian nama depan (le prénom) seorang anak yang dapat mempengaruhi pembentukan subjektivitas seorang individu dalam film Le Prénom karya Mathieu Delaporte dan Alexandre de la Patellière tahun 2012. Film ini mengangkat isu sosial mengenai perselisihan dalam menentukan nama depan (le prénom) seorang anak di Prancis yang menjadi fenomena sosial yang diperdebatkan. Film Le Prénom menceritakan sebuah reuni keluarga yang memanas ketika membicarakan mengenai pemberian nama depan (le prénom) seorang anak yang akan lahir. Berfokus pada tokoh Vincent, tujuan dari penelitian ini adalah mengidentifikasi bagaimana proses pembentukan subjektivitas Vincent melalui tatanan the imaginary (yang imajiner) dan the symbolic (yang simbolik) dan menganalisis bagaimana peran bahasa dalam menunjukkan proses terbentuknya subjektivitas Vincent. Metode Penelitian yang digunakan adalah metode kualitatif dengan teori struktur naratif milik A. J Greimas dan teori psikoanalisis Jacques Lacan yaitu the stade du miroir (1966) dan objet petit a (1973). Data penelitian yang digunakan berupa foto atau gambar, kata, ungkapan, dan kutipan atau cuplikan dialog yang diambil dari film tersebut. Hasil dari penelitian menunjukkan bahwa subjektivitas Vincent dibentuk oleh adanya konflik antara keinginan pribadi Vincent dengan tekanan sosial yang terjadi. Penggunaan bahasa berperan penting dalam pembentukan subjektivitas Vincent pada saat perdebatan le prénom (Adolphe) hingga di akhir cerita terdapat perubahan nama menjadi Françoise. Maka dari itu, dalam proses pembentukan subjektivitas Vincent, bahasa tidak hanya sebagai alat komunikasi melainkan berperan sebagai sistem simbolik, alat ekspresi diri, alat konflik dan sebagai proses transformasi dalam membentuk identitas serta menjadi faktor penting dalam perjalanan emosional pada diri Vincent.

---

This article discusses the debate over giving a child's first name (le prénom) which can affect the formation of an individual's subjectivity in the 2012 film Le Prénom by Mathieu Delaporte and Alexandre de la Patellière. The movie raises the social issue of the dispute over a child's first name (le prénom) in France, which has become a contentious social phenomenon. Le Prénom tells the story of a family reunion that gets heated when discussing the first name (le prénom) of a child who will be born. Focusing on the character Vincent, the purpose of this study is to identify how the process of forming Vincent's subjectivity through the order of the imaginary and the symbolic and analyze how the role of language in showing the process of forming Vincent's subjectivity. The research method used is qualitative method with A. J Greimas' narrative structure theory and Jacques Lacan's psychoanalysis theory, namely the stade du miroir (1966) and objet petit a (1973). The research data used are photos or images, words, expressions, quotes or snippets of dialog taken from the film. The results of the research show that Vincent's subjectivity is formed by the conflict between Vincent's personal desires and the social pressures that occur. The use of language plays an important role in the formation of Vincent's subjectivity during the debate over le prénom (Adolphe), so that at the end of the story there is a name change to Françoise. Therefore, in the process of forming Vincent's subjectivity, language is not only a means of communication but plays a role as a symbolic system, a means of self-expression, a means of conflict and as a transformation process in forming identity and an important factor in Vincent's emotional journey."

"Subjektivitas telah menjadi salah satu isu yang diperhatikan banyak orang, termasuk orang-orang industri musik folk. Hasilnya, subjektivitas sebagai tema dalam sebagian besar lagu musik folk. Sebagai genre musik yang ideologi awalnya adalah untuk melawan pemerintah, musik folk mengabaikan ideologinya sendiri dengan membuat lagu-lagu narsistik. Salah satu lagu tersebut adalah Helplessness Blues oleh Fleet Foxes, yang cukup kuat mengangkat subjektivitas sebagai tema. Jurnal ini akan menganalisa subjektivitas dalam lagu Helplessness Blues oleh Fleet Foxes. Dengan menggunakan teori subjektivitas Lacan, lagu ini akan diamati dengan menggunakan fase triadik Lacanian; the Imaginary, the Symbolic, and the Real. Dengan menghubungkan analisa lagu dengan wawancara dengan Robin Pecknold mengenai masyarakat, akan dibuktikan bahwa subjektivitas sebenarnya telah menjadi isu yang muncul dewasa ini.

---

Subjectivity has become one of the issues of which people are aware. People in the contemporary folk music industry are also concerned about this issue, resulting in the use of subjectivity as the theme in most of the songs. As a music genre whose initial ideology was to go against the government, folk music neglects its own ideology by making narcissistic songs. One of those songs is Fleet Foxes’ Helplessness Blues, in which subjectivity emerges as a theme rather strongly. This article will analyze the subjectivity in Fleet Foxes’ Helplessness Blues. By applying Lacan’s theory of subjectivity, this song will be scrutinized by using Lacanian triadic phase; the Imaginary, the Symbolic, and the Real. Relating the analysis of the song with the interview of Robin Pecknold about society, it will be proven that subjectivity actually has become an issue which occurs in this day."