الخريف ٢٠٢١، القاهرةمقرر قصير

View My Desire: Psychoanalysis and Film

التسجيل مغلق

تفاصيل المقرر

الدورة: الخريف ٢٠٢١، القاهرة
يبدأ: الأحد، ٢٦ سبتمبر
المواعيد: الأحد، ١٨:٣٠–٢٠:٣٠
المدة: ٣ أسابيع
طريقة الحضور: حضوري
لغة التدريس: الإنجليزية

ناقشه مع الذكاء الاصطناعي

اختر مساعد الذكاء الاصطناعي الذي تفضّله.
ستُفتح علامة تبويب جديدة، وستجد النص التوجيهي جاهزًا للاستخدام.
اضغط على إرسال لتبدأ استكشاف الصفحة من خلال الحوار، على طريقة سيلاس.

عن المقرر

This course will examine psychoanalysis from two perspectives: first, as a theory of subjectivity, and second, as a method of reading text. We will begin with an introduction to Lacanian psychoanalytic concepts in order to establish a mutual understanding of the Lacanian split subject. This split in subjectivity means that the subject is a mystery even to herself, and that meaning is revealed accidentally; any attempt at authentic self-expression is necessarily thwarted by our alienation from the world of language and, therefore, from ourselves. In the clinic, the analyst treats the patient’s words as a text, looking for slips, contradictions, and excesses that can expose some truth unacknowledged by the subject. Our work in this course will be to read cinematic text the same way that an analyst reads psychic text; we will seek to uncover meaning “through isolating the point at which meaning fails” (Lacan and Contemporary Film). Through these readings, we will gain a deeper understanding of desire, fantasy, ideology, and even political possibility.

مَن يقدّم المقرر

Cassidy Crawford completed an undergraduate degree in International Studies at American University in 2014. After graduation, she spent winters teaching in Cairo and summers sailing Penobscot Bay as the first mate on a hundred-year-old schooner in Camden, Maine. She recently completed her Master’s degree in Psychosocial Studies from Birkbeck in London, UK. Her thesis was entitled ‘The Me Too movement: a psychoanalytic exploration of the limits of Law and possibilities beyond it.’ Her interests include Lacanian psychoanalysis, post-Lacanian feminist inquiries.
من زميل التدريس
Class will meet once a week, but I would also like to host weekly movie nights at CILAS that are open to the public. Discussions/readings of the films will take place in class. I have included a list of proposed films, but all of these are subject to change with participant feedback; I prefer that we make our selections as a group.

مسار المقرر

يُعرض ٣ جلسات

سبتمبر ٢٠٢١

Key terms: -Mirror Stage -Split Subject -Oedipus Complex -Castration -Imaginary, Symbolic, Real -Phallus -Signifier, Signified -Objet Petit a -Unconscious -Big Other -Desire -Jouissance -Fantasy
- The mirror-stage as formative of the I function as revealed in psychoanalytic experienceLacan, J. (2006). In B. Fink (Trans.), Écrits. (pp 75-81). New York & London: W.W Norton.
- The mirror stage (Commentary on Lacan’s ‘The mirror-stage’)Neill, C. (2018).
- The function and field of speech and language in psychoanalysisLacan, J. (2006). In B. Fink (Trans.), Écrits. (pp. 197-268). New York & London: W.W Norton.
- Six Moments in LacanHook, D. (2018). Chapters 1-2.
- On dreamsFreud, S. (1905). SE: 5.
- The Lacanian SubjectFink, B. (1995). Princeton University Press. (Chapter 4: The Lacanian Subject).
- Lacan to the letterFink, B. (2004). Minneapolis: University of Minnesota Press. (Chapter 3: Reading “The instance of the letter in the unconscious”).
- Against Understanding: Commentary and Critique in a Lacanian Key, Volume 1Fink, B. (2014). London & New York. Routledge. (Chapter 1).
- How are we to understand the body, and embodiment, via the notion of the mirror stage?
- What is included within the remit of the imaginary?
- How can we differentiate between the imaginary and the symbolic registers?
- What is ‘the Other’, and how does this concept inform clinical work and forms of ideology critique?
- What crucial concepts from Freud’s analysis of dreams are foundational to the Lacanian credo that the unconscious is structured like a language?
- Why does the notion of the signifier feature so prominently in Lacan’s understanding of the unconscious?
- How should one understand Lacan’s idea that the unconscious can be understood as ‘the discourse of the Other’?
- How, following Lacan, are jouissance and desire to be differentiated?
- What is the relation of the phallus to language?
- Why is there a different relation to the phallus as signifier for those designated as ‘men’ opposed to those designated as ‘women’?

أكتوبر ٢٠٢١

- The Pervert’s Guide to Cinema (2006)Dir. Sophie Feinnes.
- Lacan and contemporary filmMcGowan, T., & Kunkle, S. (Eds.). (2004). Other Press (Introduction: Lacanian Psychoanalysis in Film Theory).
- How has Lacanian film theory changed in recent years?
- With which register(s) (Imaginary, Symbolic, and/or Real) does contemporary Lacanian film theory concern itself? In what way?
- What was/is the role of ideology in cinema and its critique?
- What is the role of the spectator?
Suggested films (subject to change with participant input):
- Vertigo (1958)
- The Objet petit a: Vertigo (1958)Simmons L. (2021). In: Žižek through Hitchcock. Palgrave Macmillan, Cham.
- Citizen Kane (1941)
- The Banality of Orson WellesMcGowan, T. (2007). In: The Real Gaze. State University of New York Press.
- Lost in Translation (2003)
- There is Nothing Lost in TranslationMcGowan, T. (2007). Quarterly Review of Film and Video, 24:1, 53-63
- Lost Highway (1997)
- Finding Ourselves on a Lost HighwayMcGowan, T. (2007). In: The Impossible David Lynch. Columbia University Press.
- Stalker (1979)
- The Overlapping Worlds of Andrei TarkovskyMcGowan, T. (2007). In: The Real Gaze. State University of New York Press.
- Safe (1995)
- Desire in the era of neoliberalism: a Lacanian reading of Haynes’ [Safe]Di Gianfrancesco, C. (2019).