Ryan and Todd dive into Jacques Lacan's Seminar X, unpacking the intriguing concept of the objet a and its ties to anxiety. They cleverly juxtapose Lacan’s views on anxiety against existentialism, especially through Kafka’s literature and cinematic soundscapes. The conversation explores the philosophical dimensions of nothingness, desire, and sacrifice, revealing how absence shapes our emotional experiences. They also highlight how music and sound elevate anxiety in film, intertwining art and philosophy in a captivating narrative.
Lacan's Seminar X redefines anxiety as tied to the elusive objet a, contrasting it with fear that is linked to specific objects.
The seminar critiques existentialism by presenting anxiety as a confrontation with unexpected presence rather than a void or nothingness.
Lacan explores the social dimensions of anxiety, emphasizing how sacrificial rituals help individuals navigate their conflicts with the desires of others.
Deep dives
The Significance of Lacan's Seminar 10
Lacan's Seminar 10 marks a pivotal shift in his approach to anxiety, transitioning from Freud's understanding, which states that anxiety has no object, to suggesting that anxiety is indeed tied to an object, albeit one that is not substantial. The concept of Das Ding, which Lacan acknowledges, evolves into the notion of abjaya, a critical focus of this seminar that is explored in greater detail in Seminar 11. This redefinition emphasizes a nuanced relationship with anxiety, arguing that it is intense because of an overwhelming presence rather than a void. Lacan’s innovative perspectives not only redefine existing psychoanalytic concepts but also signal a move towards greater accessibility in Lacanian thought, a necessary progression as his seminars begin to be published in English by Polity Press instead of Norton.
Contrasting Anxiety and Fear
Lacan articulates a significant distinction between anxiety and fear, arguing that while fear is linked to specific objects, anxiety is characterized by a lack of stable reference points. He infers that anxiety arises when there is an expectation for nothingness but encounters something unexpected, creating confusion and discomfort. This stands in contrast to Sartre and Heidegger, who center their frameworks around the confrontation with nothingness and the freedom that comes with it. By redefining these terms, Lacan challenges existing existentialist frameworks and offers a fresh perspective that reverberates through contemporary psychoanalytic discourse.
The Role of the Object Cause of Desire
In Lacan's framework, the concept of objet-ah emerges as an object that elicits desire while simultaneously remaining elusive, positioning it as a core element of the experience of anxiety. He argues that unlike concrete objects of desire, the objet-ah invokes a sense of lack and disruption, causing anxiety when it is confronted without the mediating presence of a tangible object. This framework highlights the complexity of desire, suggesting that individuals often sacrifice their own pursuits or conform to societal expectations to avoid facing the consequences of their anxieties. By exploring this tension, Lacan opens new avenues for understanding the dynamics of human relationships and the unconscious motivations that shape behavior.
Anxiety and the Other's Desire
The seminar delves into the social dimensions of anxiety, illustrating how it is often a product of one’s confrontation with the desires of others. Lacan posits that the fear of confronting the guiding desires of the 'big Other' leads individuals to engage in compensatory behaviors or rituals that defer genuine engagement with their own desires. He contextualizes the concept of sacrifice within this framework, arguing that rituals of sacrifice aim to appease the desires of the Other, thereby deflecting personal anxiety. This exploration not only enhances our understanding of individual's psychological states but also reflects broader sociocultural dynamics and their impact on personal identity.
Cinematic Analogies: Anxiety in Film
Lacan's ideas on anxiety find a compelling parallel in cinematic narratives, particularly in films that utilize tension and sound effectively to evoke feelings of anxiety. For instance, in The Great Escape, the sound design and silence play a crucial role in building a palpable sense of anxiety, as characters navigate their escape within a high-stakes environment. These films often manifest anxiety through existential situations where characters confront overwhelming odds, mirroring Lacan's examination of anxiety arising from the presence of something rather than just the absence of nothingness. By analyzing cinematic techniques and their psychological implications, one can gain insights into the multifaceted nature of anxiety and the roles that sound and silence play in shaping narrative tension.
Ryan and Todd work through Jacques Lacan’s Seminar X: Anxiety. Since this is the seminar that provides a great deal of Lacan’s initial theorizing of the objet a, they devote much of their time to this concept. Additionally, they discuss how Lacan responds in this seminar to existentialism, especially through his redefinition of anxiety. They conclude with an analysis of the role that sacrifice plays relative to anxiety.
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