Talk and silence: instantiations and articulations

This paper considers the desire for unity, reconciliation and consensus underpinning three models of talking – namely, 'the meeting', 'the dyadic love relationship', and 'the psychoanalytic session'. We highlight the three domains’ shared intellectual and historical heritage wherein talk is seen as a mode of achieving unity (of the group, of the dyad, or of the self) and conversely 'silence' is seen as pathology. Through looking at the role of silence in the works of Lacan, Joyce, and Beckett, we then examine how conversations with a collective, an Other, the self, etc. can all be enriched by ambivalence, antagonism and, in particular, silence. In contrast to the conventional understanding, silence is not the 'end' of understanding, but rather a new beginning. From this perspective, silence can be the basis upon which we can begin to imagine a principled relationship with the Other.

Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer

This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean’s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar’s, The Man Who Looked Back, 2010, and Lucy Skaer’s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, André Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue’s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death.