By Brian Robertson
This booklet brings Jacques Lacan's paintings at the challenge of tension right into a jarring and fruitful disagreement with phenomenology, existentialism, and the 'jargon' of authenticity. Brian Robertson masterfully upends a number of obtained philosophical truths - such a lot significantly, and crucially, the concept anxiousness 'lacks an object.'
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Additional info for Lacanian Antiphilosophy and the Problem of Anxiety: An Uncanny Little Object
Pleasing anxiousness” (Kierkegaard 1844, 42), or of a mildly exhilarating sense of embarrassment before the Other’s gaze. Along the same lines, one could just as easily consider the example of the fascination solicited by street-performers who dress themselves up as frozen statues. Here too we find a game the precise function of which is to play with the gaze and to bait its uncanny power. By reducing the rest of the body to the frozen immobility of marble, the performer highlights the gaze and brings it to life in a thrilling (and mildly disturbing) way.
Without being able to make any real sense of it, or openly talk about it with her, he has somehow come to play the role of an enigmatic, fetishistic support holding his mother’s desire—indeed, her entire world—in place. ’ In the end, while the son can no longer tolerate the stifling proximity of his mother’s love, the mother, for her part, lives in the constant fear of provoking her son’s flight from her barbed, mantis-like pincers. Conclusion Lacan’s work on the fetish object offers a powerful means to reset (or as he would have it, to ‘brainwash’) the usual thought-patterns with which philosophers come to terms with the problem of erotic anxiety.
At the same time, without addressing himself to Sartre explicitly, Lacan has nothing but the fiercest criticism for the phenomenological approach to the study of sexual desire, anxiety, and the perversions. The crux of his disagreement hinges, as we shall see, on the problematic status of desire’s object. Whereas Sartre’s accounts of sadism and masochism fit quite snugly into the classic dialectical framework of the subject–object relation (as we shall see in more detail in the following chapter), Lacan will insist that there is something rather fishy going on with the pervert’s twisted little scenarios and scripted object-identifications, something that requires a little more phenomenological finesse.