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2 Fulka J.

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MICKEY MOUSE, PSYCHOPATH AND OTHER WORLDS: A REMARK ON ONE SIMILE OF BENJAMIN

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Fulka J.

Slovak Review. A Review of World Literature Research

2007

tom 16

nr 1

65-72

One of the moments that connect S. Freud with W. Benjamin is, apart from the interest in mental and material archeology, the directivity to a volatile moment constituting the 'lyrical' basis of both Freud's scientific rhetoric, and Benjamin's literary fragments and the philosophy of time. An analogy to the temporality in psychoanalysis we can find also in 'The Work of Art in the Age of Technical Reproduction', where, however, elusiveness is connected to another element of psychoanalysis: to the interest in a neglected detail. The apperception of the unperceivable details is, however, better than a theory or techniques of therapy enabled by means of a new kind of art: film, operating on psychotization of consciousness. The archeology of this theme can be realized on the example of Mickey Mouse as a cinematic representative of the modern philosophy of detail; it appears ultimately also in Benjamin's considerations on film, where it is, moreover, caught in a certain historical-utopian perspective. His logic of detail as a logic of the operation of the universe is, at the same time, put into an analogy to Fourier and Blanqui. It can be shown that the phantasmagoric parallel worlds occurring both in the notions of Freud's patients, and in the visions of the utopists in the 19th century, were conceptualized by means of the media by Benjamin.

Imaginárno a pohled (Lacan, čtenář Merleau-Pontyho)

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Fulka J.

Filosofický časopis (Philosophical Journal)

2007

tom 55

nr 4

537-551

In this text the author attempts to sketch one version of the confrontation between post-Husserlian phenomenology and psychoanalytical theory, namely Lacan's reading of Merleau-Ponty's posthumously published work 'The Visible and the Invisible', presented in Seminar XI (Four Basic Concepts of Psychoanalysis). Just as Merleau-Ponty creatively appropriated, certain insights of psychoanalysis and, by their means, reformulated some of the solutions offered by phenomenologically-oriented philosophy, so Lacan exploits the thinking of the late Merleau-Ponty in order to enrich, in a special way, his own version of psychoanalysis - specifically, the development of his theory of the object a which, in the seminar in question, is interpreted as the gaze. In conclusion, some perspectives which this theory of Lacan's opens up in the area of aesthetics are adumbrated.