Taking up Freud's positions on economy and mourning where they depend on the contact they organize with melancholia, Jukic proposes a critical reading of Jacques Derrida's assemblage of mourning and economy in Specters of Marx: the State of the Debt, the Work of Mourning and the New International. Given the fact that melancholia in Freud calls into question what psychoanalysis wants to define as economy, yet is conspicuously absent from Derrida's otherwise Freudian configuration of the work-and-economy of mourning in his book on Marx, Jukic addresses Freud's approach to work in "Trauer und Melancholie" and proposes that work in Marx be analyzed not against mourning but against Freudian and, more importantly still, pre-Freudian configurations of melancholia. Adapted from the source document.
Rad sagledava bunkerske sustave upisane u topografiju europskog kontinenta kao vrstu znakova koji označavaju rituale prijelaza iz jednog geopolitičkog i društveno-političkog stanja u drugo. Oni time funkcioniraju kao vrsta simbolizacije ratne traume, poput znakova koji ostaju urezani u kožu poslije rituala prijelaza kod "primitivnih naroda". Uzimajući u obzir teze socijalnog psihologa Richarda Koenigsberga da postoji identifikacija ega pojedinca s formacijom nacionalnog ega te teze Sigmunda Freuda da je ego uvijek povezan s površinom kože, naglašava se uloga arhitekture kao proizvoda označavanja kože pri ritualima prijelaza. Danas, kad migranti prolaze pokraj bunkera iz Drugog svjetskog rata na hrvatskomađarskoj granici da bi se provukli kroz novosagrađenu ogradu s čeličnim žiletima, stvara se novi ožiljak na koži Europe, formira se njezin novi identitet, a društvo u cijelosti sudjeluje u ritualu prijelaza iz starog u još uvijek nepoznato novo. ; This paper focuses on the bunker systems inscribed in the topography of the European continent as a sort of signs indicating rites of passage from one geopolitical and socio-political state into another. They symbolize the war trauma in a way, like signs that remain incised in one's skin after the rites of passage practiced by the "primitive peoples". In reference to the hypothesis of social psychologist Richard Koenigsbergad that the individual tends to identify himself with the formation of the national ego, and that of Sigmund Freud, for whom the Ego is always related to the surface of the skin, architecture is seen as a product of marking the skin in rites of passage. Today, when migrants pass by the bunkers from World War II at the Croatian-Hungarian border in order to squeeze themselves through the newly erected fence with steel blades, a new scar emerges on the skin of Europe, shaping its new identity, and the society as a whole participates in this rite of passage from the old state into a new one, still unforeseeable.
Inspiriran radom Erica Santnera (1996, 2011) o političkoj teologiji i kraljeva dva tijela, u ovom radu propitujem političku teologiju filma, tj. kako drugo tijelo kralja, tijelo njegove moći, migrira u novo tijelo, tijelo naroda, te sablasno, u raznim tragovima, prati filmski način proizvodnje koji je obilježio dvadeseto stoljeće. U radu dovodim u imaginarnu vezu dva lika (jedan stvarni, drugi fiktivni) koji na određeni način utjelovljuju to migriranje: (1) sudca Daniela Paula Schrebera (čiji je autobiografski zapis mentalne bolesti, od trenutka kada je objavljen 1903., okupirao pažnju ne samo psihijatara i psihoanalitičara nego i raznih teoretičara), i (2) doktora Caligarija, hipnotizera u filmu Kabinet doktora Caligarija (red. Robert Wiene, 1920.), jednog od najpoznatijih junaka njemačkog ekspresionističkog filma, kako bih analizirao kako njihovi slučajevi utjelovljuju »sublimno rojalističko meso« u nacionalnim fantazmagorijama dvadesetoga stoljeća (koje se sve više vraćaju i u naše vrijeme u doba rastućeg populizma i brojnih teorija zavjere). ; Inspired by the work of Eric Santner (1996, 2011) on political theology and the king's two bodies, in this paper, I question the political theology of film. I analyze how the carnal dimension of sovereignty (or king's second body, the body of his power), migrates into a new body, the body of the people, and in various traces appears in the filmic mode of production that marked the twentieth century. I analyse or instead bring into imaginary connection two characters (one real, the other fictional) who in a way embody this migration: (1) Judge Daniel Paul Schreber (whose autobiographical record of mental illness, from the moment it was published (in 1903), occupied the attention not only of psychiatrists and psychoanalysts but also of various theorists) and (2) Dr. Caligari, a hypnotist in the film The Office of Dr. Caligari (dir. Robert Wiene, 1920), one of the most famous characters of German expressionist film.
Austerity has in recent years become established as the European response to crisis. The necessity of fiscal consolidation is often expressed with a vocabulary evocative of guilt and imagined pleasure. It should therefore not surprise us that austerity recently became subject to Lacanian psychoanalysis, building on Todd McGowan's thesis on the transition from the society of prohibition to the society of commanded enjoyment. The current literature recognizes the dichotomy of spirits of capitalism: the first, ascetic and thrifty spirit demanding private sacrifice and the second, consumer spirit demanding specifically private enjoyment in the name of social duty. These spirits of capitalism are strategies for dealing with the loss of jouissance necessitated by the acceptance of symbolic order through socialization. The Phallic fantasy of full, uncastrated enjoyment is channelled through the strategy of deferral, aiming for full enjoyment in undetermined future (first spirit) or the repetitive attempt of immediate fulfilment (second spirit). Author supplements the existing argument in two crucial ways. Firstly, he traces the ways in which spirits of capitalism are mirrored in the changing positions of the political-economic mainstream. Secondly, using Arrighi's analysis of systemic cycles of accumulation, the author offers an additional structural component to the spirits of capitalism pendulum. Adapted from the source document.
The author analyzes the classical postulate of Hobbes' political theory, starting from the negation of man's social character, with which Hobbes broke from the Aristotelian tradition. The author also shows through Hobbes' theory that the category of fear is a crucial notion in modern political science. During the later development of political thought, however, the category of fear remained outside the main scope of interest of political theory, it was pushed on the margins of theoretical study & was thrown out of the field of politics. The author stresses that power, & the desire for it is Hobbes' political constant, seeing the thesis on power as one Hobbes' most significant politico-sociological or even anthropological theses. It could also be said that in Hobbes' model, fear produces power, namely, that power, to use the contemporary language of psychoanalysis, is a compensation for fear & insecurity. The author also shows that Hobbes built his entire political theory on conclusions which he drew from the analysis of an extreme situation, the situation of civil war, i.e. war of all against all. His doctrine of the natural state is based one the experience of civil war. People want the same things, of which there is not enough to go around, & so they become enemies. The author draws the conclusion that the superior sovereignty of Leviathan came about in the following categorical way: instinct for self-preservation -- fear of violent death -- distrust -- a conflict of all against all -- social contract -- sovereign power of the state of Leviathan. References. Adapted from the source document.
