14 research outputs found
Der Trieb Salome
Ein Versuch der Identifizierung von »Trieben« fĂŒhrt in einen Bereich, in dem es schwer ist, Zeichenlosigkeit oder Instanzen, die nicht als solche deutlich auszumachen sind, von anderen zu unterscheiden, die sich gerade im vielgeformten Insistieren von Evidenzen als GetĂŒmmel von Anzeichen entziehen. Der spĂ€tere Freud drĂŒckt das âșDarstellungsproblemâč der Triebe gerne mittels Gestalten sowie mithilfe von akustischen oder phonetischen Eigenschaften, die diesen zugeschrieben werden, aus
Liebe, Situation, Sprache
Die Dissidenz der Literatur und der auf sie als solche zielenden LektĂŒre zur Wissenschaft ist mindestens so alt wie die Entstehung dieser beiden Begriffe, »Literatur« und »Wissenschaft«, ihrer Bildungen und ihrer Einrichtungen selbst, wenngleich ihre gegenseitige UnvertrĂ€glichkeit den Gegenstand eines weit gestreuten aber stets abtauchenden Wissens bildet, gewissermaĂen einer VerdrĂ€ngung durch Gemeinplatz unterliegt
An Eclipse of the Screen:Jorge SemprĂșnâs Scripts for Alain Resnais
The film script is a challenging entity for criticism. Its destiny is to disappear, its function to contribute to the production of a screen of image, music, and voice, behind which it dissolves and is forgotten. Film scripts are in principle not meant to be read. Nor are they meant to be inscribed directly into our archives and libraries. They are transient and âfunctionalâ
Dire diese dike : Anmerkung zu: Werner Hamacher, Sprachgerechtigkeit
Rezension zu Werner Hamacher, Sprachgerechtigkeit, Frankfurt a. M. 2018: Fischer
Prolegomena k pisanju afekta
The article is a critical discussion of the concepts of âaffectâ in some of those positions of contemporary political theory that are based in (a critique of) psychoanalysis. Freudâs definition of âidentificationâ â the key notion in his Group Psychology and the Analysis of Ego â as both a psychic mechanism and an affect â helps to elucidate the aporetic status of affects (and mechanisms) in psychoanalysis and thus in psychoanalytically informed political theory. Instead of providing a link or shuttle between psychoanalysis and political thought and practice, affect, understood as the fundamental âHilsfslosigkeitâ, and as the enigma of identification, severs psychoanalysis from the political. This cleavage is a place of incalculable invention: writing might be a name for it.PriÄujoÄi Älanek je kritiÄna razprava o pojmu afekta, kot nastopa v tistih staliĆĄÄih sodobne politiÄne terorije, ki se opirajo na psihoanalizo oziroma jo kritizirajo. Freudova definicija »identifikacije« â kljuÄnega pojma v njegovi MnoĆŸiÄni psihologiji in analizi jaza â kot psihiÄnega mehanizma in hkrati afekta â nam omogoÄa pojasniti aporetiÄni status afektov (in mehanizmov) v psihoanalizi in, poslediÄno, v politiÄni teoriji, kolikor se opira na psihoanalizo. Namesto da bi vzpostavil vez med psihoanalizo in politiÄno mislijo ter prakso, afekt, dojet kot izvorna »Hilsfslosigkeit« in kot zagonetka identifikacije, odreĆŸe psihoanalizo od politike. Ta razcep je obenem kraj za nepredvidljivo invencijo: pisanje bi lahko bilo ime za tako invencijo
An eclipse of the screen : Jorge SemprĂșn's scripts for Alain Resnais
Marcus Coelen's essay 'An Eclipse of the Screen: Jorge SemprĂșn's Scripts for Alain Resnais' starts from the assumption that the peculiar status of film scripts (not written to be read as such) can be illustrated by the figure of their eclipse. For they are, in inverting the very logic of the figure they invite, eclipsed for the sake of and by the fractured light on the screen they help to produce. Yet just as the sun, obscured by the 'black writing' of the moon, leaves an ephemeral contour in the skies - a spectacle to many when happening - so too can the script that is made to disappear by the screen be assumed to draw its own particular and even more vanishing traits into the movie that is given not only to sight but also to thought. The analyses and critical constructions proposed by Coelen try to detect such traits in the work of Jorge SemprĂșn the screen writer. Writing not only for movies by Alain Resnais - most notably "La guerre est finie" (1966) and "Stavisky" (1974) - but also publishing versions of them after their release and calling those versions 'scĂ©narios' despite various divergences and subtly violent inversions of the movies' images, the screenwriter's figure describes yet another twist of the eclipse. It can be assumed not only that SemprĂșn strongly resisted the influence of the constellation formed by writing and cinematographic shooting, as well as projecting, but furthermore that this writing was almost imperceptibly yet essentially directed against the eclipse it was drawn into. No minor forces are conjured up in this enterprise. Driven by the desire to re-appropriate cinema's a-personal and anti-psychological movement, to domesticate the images of scribbling lights drifting away from the mental and into thought - as well as into a history not mastered -, SemprĂșn attempted to shape mastery itself and most traditional forms of authorship, along with memory and agency, in order to cloud the eclipse of script - that is, we might add, to conjure up a ghost recovering the trace of what has been eclipsed so that it may continue to haunt
Contribution
Marcus Coelen, Contribution to the symposium The Social Life of Things, ICI Berlin, 3â4 March 2022, video recording, mp4, 33:25 <https://doi.org/10.25620/e220303_7
Introduction
Marcus Coelen, Introduction to the discussion The Literary Absolute, ICI Berlin, 1 February 2016, video recording, mp4, 07:00 <https://doi.org/10.25620/e160201_1
Der Trieb Salome
Mit den Begriffen des Triebes und der Triebschicksale nimmt Marcus Coelen die wahrscheinlich meistdiskutierten Termini der Psychoanalyse neu auf. Er verleiht den Fragen nach Trieb und Triebschicksal neue Geltung, indem er sie mit derjenigen nach den Möglichkeiten der Darstellung, der Bildlichkeit, der ErzĂ€hlung und Sprache verbindet. Trieblehre und Literatur als Analogon behandelnd, prĂ€pariert Coelen mit dem "Trieb der Salome" eine besondere Konstellation heraus, die Versuche der Darstellung und ihr Scheitern auf besondere Weise verkörpert und die - als Salome des Richard Strauss - der frĂŒhen Triebtheorie und Psychoanalyse um 1905 eine Art Schwester ist. Trieb und Triebschicksal mĂŒssen genauso Bewegung und BemĂŒhen um Darstellung wie ihre Kehrseite bleiben