Aesthetics of desire -The Unconscious and the problem of "expression"

在这个项目中，我们对基于欲望概念的美学的可能性进行了研究。我们(HARA)专注于这一问题的理论方面，并考察了拉康精神分析学，其中这一概念已经被完全修订。研究表明，欲望的概念是在20世纪50年代末由需要、需求和欲望三位一体提出的，并将在1960年左右重新组织，形成以驱力概念为中心的新格局。文章还指出，通过引入能指链的概念，拉康的意图是揭示出在每一种相互关系中所固有的、但被传统的语言理解所隐藏的某种无限，而美是由他定义的，即主体在面对这个无限时无法避免的跌落。在这些理论论证的基础上，最终追溯了他的视觉器官的演变；从变形的镜面阶段到拉斯梅尼纳斯，拉康对这些表现系统的分析可以被认为是我们“欲望美学”的前奏形式。各种艺术作品的存在证明了欲望的多样性，这不仅是由艺术家的个人历史决定的，也是由他生活和创造的社会文化背景决定的。这就是为什么我们(酒井)另一方面试图从社会历史的角度来研究这个问题。我们挑选了四位代表他们那个时代的画家，莱昂纳多·达·芬奇、汉斯·霍尔拜、弗朗西斯科·德·戈亚和文森特·梵高，试图将他们的生活和作品还原到他们最初的历史和社会背景中，以展示这是多么深刻地标志着他们的欲望和他们的创作。

In this project, we carried out researches into the possibility of an aesthetics based on the concept of desire.We (Hara) focused on the theoretic aspect of this problem, and examined Lacanian psychoanalysis in which the concept had been fully revised. It is shown that the concept of desire was articulated in the late 1950s by the triad of need, demand and desire, which would be re-organized around 1960 in a new configuration that centered on the concept of drive. It is also shown that by introducing the concept of signifying chain Lacan intended to reveal a certain infinite inherent in every relation to the other but hidden by the traditional understanding of language, and that Beauty is defined by him in terms of the fall the subject cannot avoid when confronted with this infinite. On the basis of these theoretical arguments, the evolution of his visual apparatus was finally traced ; from the mirror stage by way of the anamorphosis to Las Meninas, Lacanian analysis of these systems of representation could be considered as a precursive form of our "aesthetics of desire.The existence of all kinds of art works proves the diversity of desire which is determined not only by the individual history of artist but also by the social and cultural context in which he lived and created. That is why we (Sakai) attempted on the other hand to investigate the problem from the socio-historical point of view. We selected four painters representing their epoch, Leonardo da Vinci, Hans Holbein, Francisco de Goya and Vincent van Gogh, and tried to restitute their lives and works in their original context of history and society, in order to show how profoundly it marked their desire as well as their creation.