Bellesa, quin bell neguit

Arte, belleza, realidad. A partir de la confesión de Freud según la qual el psicoanálisis no tenía nada que decir de la belleza (El malestar en la cultura), el autor se pregunta si semejante confesión se confirma realmente en los textos o si, por el contrario, es posible rastrear en ellos algunas ideas acerca del problema. Quizá sea posible encontrar un (origen), de la idea de belleza en una atracción sexual posteriormente desviada de su cauce por efecto de la cultura (Kultur) en su sentido más general. La aparición de la (belleza) es tal vez el resultado de una progresiva espiritualización del objeto del deseo sexual al mismo tiempo que un efecto tranquilizador frente a una naturaleza cuyo poder es siempre amenazante para el hombre. Al fin y al cabo hay en el principio de la idea de bellesa un movimiento de repulsión, una sensación de asco. ¿Qué relación podemos encontrar entonces entre la teoría kantiana de lo bello y las observaciones que hace Freud al mismo respecto? La atribución de bellesa encuentra su origen remoto en la atracción de los sexos.Art, beauty, reality. Taking as a departure a confession in which Freud warns us that psychoanalysis has nothing to say about beauty (Das Unbehagen in der Kultur), the author inquires whether such an avowal really confirms itself in Freudian writings, or whether, on the contrary, it is possible to trace there certain ideas about the problem. It would perhaps be possible to find an <<origin,) for the beauty idea in some kind of sexual attraction, which would later be deviated from its source as a result of culture (Kultur) in its general meaning. Beauty's appearance may be, perhaps, a result of a spiritual evolution of the object of sexual desire, and so at the time it is a calming effect vis-á-vis a nature whose power is always menacing for man. At least, in the origin of the idea of beauty there is a movement of refusal, a sensation of loathing. What relationship can we see between the Kantian theory on beauty and Freud's comments on the same matter? The attribution of beauty finds its remote origin in the attraction of the sexes

"Wenn du aber betest, ...". Das Gespräch mit Gott - eine empirische Studie

Die Textsorte Gebet hat zwar eine klare formale Struktur und auch aus sprech- akttheoretischer Perspektive lassen sich einige Aussagen treffen. Über den Inhalt von Gebeten liegen uns jedoch noch zu wenige Erkenntnisse vor. Dabei sehen sich Linguisten vor allem methodischen Problemen gegenüber. So ist der Wortlaut privater Gebete kaum zugänglich. Im vorliegenden Aufsatz wird eine als Pretest konzipierte Fragebogenstudie vorgestellt, die verschiedene Aspekte des Betens thematisiert. Es werden Tendenzen aufgezeigt, ob und wie Menschen im Gebet Emotionen verbalisieren. Auch über die Konzeptualisierung von Gott, die der Kommunikation zugrunde liegt, lassen sich Annahmen ableiten. In diesem Zusammenhang werden die Textsortenspezifika des Gebets diskutiert

Keep your fingers crossed! The influence of superstition on subsequent task performance and its mediating mechanism

Superstitious thoughts or behaviors have been demonstrated to occur frequently and persistently in our current population. Typically, they are held or performed in the context of an important performance task with the aim to gain good luck or prevent bad luck. However, to date, little is known about the reason for the maintenance of this seemingly irrational phenomenon, its psychological functions, or its behavioral consequences. The current analysis suggests that superstitions exert a causal influence on subsequent task performance. In particular, I contend that superstitions associated with the concept of good luck that are activated prior to a performance task enhance performance. Furthermore, I argue that this influence is explained by the underlying mechanism of increased levels of perceived task-specific self-efficacy beliefs. Results of one explorative analysis and 5 experimental studies support these assumptions. Specifically, Study 1 demonstrates the widespread prevalence of superstitions within the present population of undergraduate students at the University of Cologne and explores several specific superstitions that appear to be particularly common. In each of the subsequent studies, these common superstitions such as �lucky charms�, �keeping fingers crossed�, or the plain superstitious constructs of good or bad luck are manipulated between participants prior to various motor or cognitive performance tasks using manifold empirical methods. Results of Studies 2 through 4 demonstrate that performance in a golf-putting task or a motor dexterity game indeed is enhanced subsequent to the implementation of a good luck superstition, compared to a bad luck superstition or no superstition at all. Studies 5 and 6 replicate the effect of superstition on superior performance in cognitive tasks such as a Tetris-game and a Memory-game. Additionally, the results of these latter studies provide empirical evidence for the notion of the mediating function of self-efficacy beliefs on the observed effect of superstition on performance. In this regard, the reported findings uniquely contribute to our understanding of superstitions and their effect on psychological as well as behavioral consequences. The present findings are in line with previous research on self-efficacy and performance factors in general. At the same time, these findings suggest new questions for future research on the subject of superstitions. Possible applications to the athletic or the educational field are discussed

O desaparecimento da imagem

Os historiadores da arte não são, necessariamente, “visuais”, no sentido freudiano do termo. No entanto, a história da arte tem em comum com a histeria, ou melhor, com a cura da histeria, a circunstância de promover um retorno sem precedentes das imagens.Retorno material, pois, por seu intermédio, diversas imagens são reintroduzidasno mercado e no circuito crítico; mas também retorno psíquico, no sentido propriamente arqueológico, sob a forma de rememoração, de anamnese, de invenção

Marcel Mauss, l’esthétique et le “phénomène social total”

Pas de programme, mais, puisqu’il me revient d’introduire ce séminaire, une question, que je poserai pour l’heure dans ces termes, tout provisoires, en espérant que nos travaux nous conduiront à la formuler de façon plus satisfaisante : quelle part peut, ou doit être faite à l’esthétique, quoi qu’on entende par là, dans le cadre de quelque chose comme une anthropologie ? À en poser ainsi la question, on voit bien que la réponse ne saurait aller en retour sans incidence sur le programme même q..

Uma mulher, portanto: Le déjeuner sur l’herbe

Escrito em 1992, o ensaio discute a obra de Manet, Le déjeuner sur l’herbe, exposta no Salon des Refusés de 1863, um divisor de águas no universo da arte moderna que assinala uma mudança radical na abordagem do nu feminino e da ideia do belo na tradição artística. Conforme nota o autor, embora a pintura empreste a narrativa do célebre Julgamento de Páris, gravura de c. 1510-20, na qual Marcantonio Raimondi transcrevera obra de Rafael, Manet provocativamente projeta os personagens da narrativa clássica em um ambiente contemporâneo, além disso conferindo à figura feminina principal um olhar desafiador e provocativo, que visa diretamente o observador. Recorrendo a conceitos psicanalíticos, Damisch observa como o nu resulta dessublimado dessa pintura.Written in 1992, the essay examines Manet’s painting, Le déjeuner sur l’herbe, exhibited in the Salon des Refusés in 1863, a milestone in the universe of modern art, which marks a radical rupture in artistic tradition, showing the female body as well as the very notion of Beauty under a new light. According to the author, although the painting recreates a well-known classical narrative from Marcantonio Raimondi’s The Judgement of Paris, an engraving dated from c. 1510-20 that translates a design originally done by Rafael, Manet provocatively projects his characters in a contemporary setting, imbuing the main female figure with a defying and provoking gaze, directly targeted at the beholder. Resorting to psychoanalytic concepts, Damisch points out how nudity is desublimated in this painting

Die Geschichte und die Geometrie

Eignet sich das perspektivische System zur Repräsentation von Phänomenen, die die gewohnten Maße der menschlichen Ordnung sprengen? Anders gesagt: Bieten göttliche Handlungen, die diese Welt auf das Jenseits hin öffnen, und allgemeiner mystische - oder sogar nur physische - Begegnungen zwischen Himmel und Erde, bieten sie Stoff zur Repräsentation? ..

Hubert Damisch e Stephen Bann: uma conversa

Discípulo de Merleau-Ponty e Pierre Francastel, Hubert Damisch (1928) marca presença decisiva na renovação epistemológica da disciplina história da arte, franqueando-a às contribuições da psicanálise, da filosofia, da antropologia e da semiótica, e conferindo a ela inédita envergadura teórica, para muito além das demarcações tradicionais de competência que a separam da teoria da arte. Tendo sido músico de jazz na juventude e se dedicado inicialmente ao cinema antes de se voltar às artes visuais, manteve sempre uma perspectiva teórica forte da história da arte, visando um campo diversificado de interesses - a pintura, a estética, a arquitetura, a literatura, a fotografia, o cinema. Autor de livros fundamentais como Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) e La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001), Damish produziu reflexão crucial sobre a lógica da imagem, nos oferecendo uma prática nada convencional da história da arte, marcada pelo livre trânsito metodológico entre a arte do passado e a do presente. Foi professor na École Normale Supérieure e depois na École des Hautes Études en Sciences Sociales. A entrevista a seguir, concedida a um grupo de teóricos e críticos, entre eles, Stephen Bann, historiador da arte e um dos editores da Oxford Art Journal, apareceu, originalmente, em número especial dessa publicação [vol. 28, n. 2, 2005, p. 157-181], tendo resultado de seminário dedicado à obra de Damisch, promovido pela revista, em parceria com a Tate Britain, em outubro de 2003. Além de Stephen Bann, entrevistaram Hubert Damisch Margaret Iversen, John Goodman, Stephen Melville e Yve-Alain Bois.Having studied with Merleau-Ponty and Pierre Francastel, Hubert Damisch (1928) raises as a key figure in the epistemological renewing of the disciplinary field of art history, having opened it up for the contributions of psychoanalysis, philosophy, anthropology and semiotics, while assigning to it a unique theoretical scope – far beyond the traditional jurisdictions that have set apart art history from the concerns of the theory of art. A jazz musician in his youthful, and attracted firstly by film before being driven towards visual arts, Damisch have always claimed a theoretical density for the field of art history, where he would work from a multifarous horizon of interests – painting, architecture, literature, photography, ethnology. He has produced a crucial reflexion on the logics of image, being author of referential studies on the subject, such as Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) and La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001). His oeuvre shows a singular and unconventional way of dealing with art history, marked by his methodological freedom to move with boldness between the art of the present and the past. Damisch has teached at École Normale Supérieure and afterwards at École des Hautes Études en Sciences Sociales. This interview, given to a group of art historians, theoreticians and art critics, and conducted mostly by the art historian Stephen Bann, editor of Oxford Art Journal, originally appeared in a special issue of this publication [vol. 28, n. 2, 2005, p. 157-181], as a result of a conference dedicated do Hubert Damisch’s work. The conference was promoted by the journal in partnership with Tate Britain, in October 2003. Besides Stephan Bann, the discussions also involved the participation, as interviewers, of Margaret Iversen, John Goodman, Stephen Melville and Yve-Alain Bois