Guide Psychoanalysis in Asia

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The psychoanalytical approach to affect and especially to anxiety implies its topological articulation. In this paper, starting from a question about the nature of our understanding of affect through psychoanalytical theory, we would like to examine two series of its psychoanalytical and namely Lacanian articulation. In the second and literary series, we will see how his discussions on tragedy follow as an extension of this articulation of closure, articulating it in terms of a particular sort of deadlock and tentatives of breakthrough.

We will conclude this paper by discussing the political and other implication of this closure underlying the psychoanalytical conception of affect. What might we learn of economies, both financial and libidinal, if we play with the notion of situating das Ding in the mythic body of the child? By tracing how desire crosses and re-crosses the span between the diagetic textual universe and the extradiagetic world in which the text moves as commodity, the paper explores how tales of sublimation in the lives of characters might become an instance of the sublime for readers. Mapping one such pathway of desire between queer subtext and reader, the paper crosses between homoerotic fanart postproductions and the popular manga series D.

For many of the fan readers who find their desire set in motion by D. Keywords: Sublimation, anime, manga, yaoi, economies, art, fanart, subtext, queer, child, sublime. It is by far a commonplace that biopolitics from an Agambenian perspective reigns over life at the threshold or the zone of indistinction and profanes many traditionally sanctified distinctions: life and death, human and nonhuman, animate and inanimate, etc.

My research project attempts to tackle with the possibility of this intervention. First of all, I will examine how psychoanalysis never falls short of the avatars of the undead in questiondrive, anxiety, objet a, jouissance, the Neighbor, for exampleand life conceptualized through them is densely biopolitical: the subject emerges exactly in the cut wielded by the law, while the Real is never grasped as any self-sufficient whole or thing in-itself.

Psychoanalysis in China: Literary Transformations, 1919-1949

What I aim at is not so much any survival kit for contemporary biopolitics as some psychoanalytically-informed politico-theological views on radical politics. Key Words: anxiety, bare life, biopolitics, death drive, jouissance, undead, University discourse.

According to Martin Heidgger, "rupture" means both "that which tears" fission and "the fissure" that it opens up. It is one of the modalities of the "ontological difference. The fission of the difference expropriates or makes things proper the world in doing what it is supposed to do, that is, to grant things. In "The Origin of the Work of Art" , Heidegger uses the word to characterize the strife between world and earth.

The fissure draws together world and earth which simultaneously turn against each other into the source of their unity. Rupture "Riss" is this drawing together into a unity of "Aufriss" tear up , "Grundriss" tear off , "Durchriss" tear through , and "Umriss" tear around Poetry, Language, Thought, The purpose of this presentation is to go into the particular of each poetic thinker in relation to the universal as well as how they struggle to grapple the problematic of the schism of poetry and philosophy in terms of border imagination.

This paper proposes to read Lacan side by side with Toni Morrison. Essential to my concern is how Lacanian psychoanalytic theories and the Morrisonian way of story-telling may enlighten and enrich each other, in that they usher history-writing into an ethical dimension of narratives and rhetorics. Psychoanalytic praxis as understood here rides on rhetoric exchanges—the turn of tropes—to enact the turn of histories.

Strongly resonating with this psychoanalytic effort to trace the human unconscious into rhetoric dialogism and signifying multiplicities, Morrison de-chronologizes the historical thread with a labyrinth of times in her novels. This explicitly implies that the melancholic loves himself from the very beginning. However, this return, which supposedly should fill the ego with psychical energy, paradoxically exhibits an ego-loss, a loss or impoverishment that empties the ego. In the former work, Freud mistakenly ruminates that, through identification, the lost object becomes the target of self-criticism; for identification should on the contrary establish the critical agency, as the latter work clarifies.

This confusion complicates the picture of melancholia.

Psychoanalysis in China: Literary Transformations, | East Asia Program

Furthermore, I will probe into the modification of affects in the process of mourning by considering the function of the comic in tackling the distressing affect. In The Interpretation of Dreams, Freud has shown that affects can be displaced from their proper object to an unrelated substitute, and from the due time to a delayed moment. In the film, we see the appearance of these two displacements.

However, these as an intrasubjective working fail to deal with the grief, in consequence of the fact that the traditional subject supposed to mourn, embodied by the professional mourner, is merely evoked but not practically enlisted in mourning. It can be effectuated by this ritualistic, exaggerated subject because, I will argue, she carries out the displacement of the ego and of the superego aggressivity.

Desire in Deleuzian philosophy tends to be ontologized into an infinitely persistent driving force of being. When desire is further associated with production, however, this distinction tends to be occluded. Paradoxically, a desire that produces has spent its productiveness.


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A desire that can flow into production without losing itself has to be non-productive. The pure body can perhaps be described as a form of pure desire. Sinthome is the concept that the later Lacan postulated for re-conceptualizing the subject in relation to his jouissance and to the larger picture of the symbolic.


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  5. Only as enigma can this joui-sens in turn produce endless other meanings. As the Tao permeates the world of the myriad things, so the real grounds the symbolic. Within psychoanalysis itself, the readings proceed largely in two separate trajectories: clinical and metapyschological. All subsequent Lacanian readings have largely followed the same pattern. The Shakespeare scholarship that borrows psychoanalysis does not seem to detect this minute, but critical, distinction between Freud and Lacan, for lack of sufficient psychoanalytic knowledge to pass judgments.

    Due also to this lack, most readings of Hamlet that seek to criticize psychoanalysis from the feminist camp in particular tends to misfire. It is not until do we begin to see a better grip of the psychoanalytic paradigm to read Hamlet in a productive manner. This project fights then on two fronts. On the one hand, a drastic rework is launched to streamline all readings of Hamlet ranging from Freud to Jones to Lacan. All these traits have been picked up here and there by many a Shakespeare scholar, to the extent that these traits are, to psychoanalysis, merely puzzle pieces for forming a coherent whole.

    If so, the impossibility for Hamlet to be a Man i. Thus comes the second front: this is how diverse interpretations of Hamlet—as distant as Bloom from Freud—can be looked at, as this project seeks to prove, as one selfsame comment on one selfsame character. By doing so, this project seeks a closure to the as-yet open-ended rift between psychoanalytic and anti-psychoanalytic readings of Hamlet.

    Sudhir Kakar

    An island inhabits an irony. Surrounded by the sea, it is wide open on all sides, unbounded by any immediate neighbors, free to come and go. Yet the ocean is one nearly unscalable wall, if horizontal, teasing, daring islanders to cross by seafaring or imaginary flight.

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    In terms of the natural world, an island and the ocean mate for life; they checkmate each other. On the one hand, any circum- or trans-island huandao road trip draws a centripetal circle onto itself, a proverbial cocoon of sanctuary. The back-and-forth along the coastal circumference or city-hopping arc appears to testify to self-sufficiency.

    Indeed, one embarks upon a pilgrimage away from home for the true, spiritual home; away from the self of here and now for an intangible, Quixotic vision; away from materiality for the transcendent voice. The voice, by definition, is ephemeral and incorporeal, the very vocalization on the cusp of fading into silence. Likewise, an island like the postcolonial, millennial Taiwan produces multilingual cinema, which gravitates to moments that render tongue-tied even this voluble filmic discourse of many tongues.

    Deemed a renegade province by China and interdicted worldwide, Taiwan is a country that is not recognized as such by the international community, except a handful of small nations heavily financed by Taiwan, such as Tuvalu. Its political illegitimacy and dysfunctional identity strip the twenty-three million Taiwanese of their presence and voice. This fantasy of choral transcendence culminates, ironically, in its own denial.

    Hence, the forked-tongued Taiwan cinema repeatedly, compulsively launches a quest beyond multilinguality in intense cinematic moments, as if to transport the protagonists across the high seas, outside of any national jurisdiction or cultural border. The prose of film script and dialogues bursts into song and the poetry of music; even the song lyrics give way to sustained vibratos approximating the highest possible male pitch—the high Cs—before cracking, rising above the high seas before crashing.

    Making sense in various tongues in these films is sublimated as speaking in tongues, a possessed state of mind over and beyond the multilingual, multifaceted reality, a lull with no dialogue or human sound save theme music. A Baudelaire-Benjamin flaneur wannabe, Ah Ming is a representative islander seized by the frenzy of huandao circum-island tour , whose loafing is as severely constricted as his senses are flawed.

    After all, to be in the sound world is to be shut out and deprived of soundlessness.

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    Unable to hear the ocean waves distinctly, unable to communicate with others effectively, Ah Ming crystallizes this irony, one that almost lies beyond words and one that is etherealized as soaring music—so close to the boundless waters yet so locked in; speeding along a circular coastal highway as if borne on sea wings yet landing at the exact place where he has started. Thus, it epitomizes a slew of virtual pilgrimages—feature films, documentaries, YouTube clips, photograph exhibitions, Web site blogs, tour packages—along the circumference of Taiwan.

    Fraught with ambiguous longings, these documentary-style pilgrimages in virtual reality and on screen from, around, to, and within the island itself pay tribute to the beloved home as a near-holy shrine. However, a pilgrimage usually entails taking leave in order to return a new man or woman. To be conjured up suggests it is not quite real, as film audience and Web surfer imagine the pilgrimage as if it were, virtually, their reality.

    With the defeat of World War II, approximately , Allied forces servicemen, mainly American servicemen came to Japan with the mission of democratizing the military nation. The Headquarter of the occupation army mandated "non-fraternity policy" between Japanese women and American servicemen, however, it is reported that many of them had intimate relationships. Babysan is a cartoon book drawn by Bill Hume along with a commentary of John Annario. The cartoon is composed of three series.

    This book received popularity among American servicemen, and two books, Babysan's World , When We Get Back Home were soon published after the success of the first one. These series are out of print now and have received any academic attention or analysis before. This presentation deals with the three books for the discussion.


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    4. Hume was sent by the Navy to the occupied Japan in as an officer in charge of damage control. He contributed his "Babysan" to the base newspaper "the Oppaman," of which Annario was the editor. In Babysan series, Hume and Annario mockingly portrayed Japanese women as flirtatious, whimsical, money-monger, and hyper-sexy. Objectification and eroticization of Asian women in the gaze of Western men is a recurring psychoanalytic and feminist theory's theme.

      We can see how Hume and Annario objectified and eroticized Japanese women in their Babysan series. For example, in When We Get Back Home, Annario writes: When it comes time for him to pack his bags and head for the States, he finds it hard to leave the charming things he has found in Japan. It is so hard, in fact, that there are some things he just refused to leave behind p6,emphasis added. These sentences are followed by a Hume's cartoon in which an American serviceman holds a Japanese woman when he tries to pass a customs inspection.

      The cartoon says, "how much duty does he pay on something he's declared priceless? Hume and Annario see Japanese women as "things" and if they cannot bring them back to the US, it was easy for American servicemen to dump them. An irresponsible aftermath between Japanese women and American servicemen is actually a social problem at the time of occupation.