Entre o belo e o feio: das Unheimliche como princípio estético em Freud

O presente trabalho visou estudar as considerações estéticas de Freud contidas no texto “O Estranho” (1919), como tais posicionamentos promovem uma verdadeira descontinuidade no pensamento estético ocidental. Neste sentido, ao nos mostrar como toda produção artística tem no material inconsciente seu principal motor e fonte de inspiração, Freud a insere no rol das demais produções do inconsciente (sonhos, chistes, neurose, etc). No entanto, no contexto de “O Estranho”, Freud passa a ver a arte não mais como uma produção de um aparelho psíquico movido pelo princípio do prazer, pois neste texto Freud antecipa a questão da pulsão de morte e o eterno retorno de materiais recalcados como funcionamento de uma subjetividade regida por um além do princípio do prazer, neste sentido, a morte, enquanto fim último da existência passa a ser a grande tônica das novas pesquisas freudianas, e o belo da arte estaria assim irremediavelmente implicado à angustia e desamparo ocasionados pelo retorno do recalcado. Neste sentido, o unheimlich, enquanto sentimento de assombro e inquietação provocados pela pulsão demoníaca que insiste em presentificar-se, passa a ser encarado por Freud como importante princípio estético.

Tatuagem, unheimliche e identificação: desvelamentos

The tattoo is a social phenomenon found in all social strata, with broad inclusion in all age groups and their motivation is commonly related to aesthetic pleasure, beauty and interest in body art. These references, however, are insufficient to understand the B side of the experience: the nightmares, attempts to erase, the compulsion and the concern about stop tattooing. Something happens between the search of beauty and the execution of the tattoo, that drags out the person to the anguish dimension. In detailing this, the specificity of distress Unheimliche will serve as our guide and, in the epistemological function of uncovering, allow an approximation to the concept of identification. Reading of the concept, the identification function will appear and, with it, the uncovering of the infinite pulse of desiring, when the object wants to talk,represent itself and manifest.The tattoos psychic function in the neurosis is the same for each step every morning: find the object and with this North, calibrate the compass of neurosis.

Tiedostumaton nykytaiteessa : Katse, ääni ja aika vuosituhannen taitteen suomalaisessa nykytaiteessa

Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykkä. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykkä s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

E. T. A. Hoffmann's gesammelte schriften.

1.-4. Die Serapions-brüder. 1. bd. Die fermate. Der dichter und der componist. Ein fragment aus dem leben dreier freunde. Der Artushof. Die bergwerke zu Falun. Nussknacker und mausekönig.--2. bd. Der kampf der sänger. Die automate. Doge und dogaressa. Meister Martin, der küfner, und seine gesellen. Das fremde kind.--3. bd. Die brautwahl. Der unheimliche gast. Das fräulein von Scuderi. Spieler-glück.--4. bd. Signor Formica. Erscheinungen. Der zuszmmenhang der dinge. Die königsbraut.--5. bd. Nachstücke. 1. theil: Der sandmann. Ignaz Denner. Die Jesuiterkirche in G. Das sanctus. 2. theil: Das öde haus. Das majorat. Das gelübde. Das steinerne herz.--6. bd. Die elixiere des teufels.--7. bd. Fantasiestücke in Callot's manier. 1. theil: Vorrede von Jean Paul. Jacques Callot. Ritter Gluck. Kreisleriana, nro. 1-6. Don Juan. Nachricht von den neusten schicksalen des hundes Berganza. 2. theil: Der magnetiseur. Der goldene topf. die abentheuer der Sylvester-nacht. Kreisleriana.--8. bd. Lebensanscihten des katers Murr.--9. bd. Klein Zaches, genannt zinnober. Princessin Brammbilla; ein capriccio nach Jakob Callot.--10. bd. Seltsame leiden eines theater-direktors. Meister Flob.--11.-12. bd. Erzählungen aus Hoffmann's letzten lebensjahren. 11. bd. Die doppeltgänger. Die räuber. Die irrungen. Die geheimnisse. Der elementargeist.--12. bd. Datura fastuosa (Der schöne stechapfel). Meister Iohannes Wacht. Die marquise de la Pivardière. Die vision auf dem schlachtfelde bei Dresden. Haimatochare. Der feind. Neueste schicksale eines abentheuerlichen mannes. Des vetters eckfenster. Die genesung.

Las novelas de la nebulosa y lo ominoso

[es] El concepto freudiano de Das Unheimliche, «lo ominoso», también conocido en español como «lo siniestro», es un fenómeno complejo del inconsciente de la psique humana. Comprende el inquietante momento de inseguridad al ver la inesperada metamorfosis de lo familiar y conocido en otra cosa. Este fenómeno no solo se evidencia en la vida real, sino también con mucha frecuencia en el arte y la literatura. Un escritor cuya creación ofrece un excelente ejemplo para estudiar la presencia de las teorías freudianas, en especial la de lo ominoso en la literatura, es el autor vanguardista español Ramón Gómez de la Serna. El escritor usó a menudo la técnica de impresión de lo siniestro en las novelas de la nebulosa: El incongruente (1922), El novelista (1923), ¡Rebeca! (1936) y El hombre perdido (1947). [en] The Freudian concept of the uncanny is a phenomenon as complex as interesting of the unconscious of the human psyche which comprises the disturbing moment of insecurity of seeing the unexpected metamorphosis of the familiar and known to the unknown. This phenomenon is evident not only in real life, but very often in art and literature. A writer whose creation provides an excellent example for the presence of Freud’s theories, especially the uncanny in the literature, is the avant-garde Spanish author Ramón Gómez de la Serna. The writer often used the impression of uncanny; a trend that stands in the novels of the nebula, which are rich in uncanny themes: El incongruente (1922), El novelista (1923), ¡Rebeca! (1936) and El hombre perdido (1947).