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

欲望美学——无意识与“表达”问题

基本信息

批准号：
13610612
负责人：
SAKAI Takeshi
金额：
$ 1.86万
依托单位：
Hosei University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2001
资助国家：
日本
起止时间：
2001 至 2002
项目状态：
已结题

项目摘要

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.

在本项目中，我们对基于欲望概念的美学的可能性进行了研究。我们（原）关注这个问题的理论方面，并考察了拉康精神分析，其中对欲望概念进行了全面修改。它表明，欲望的概念是在20世纪50年代末由需要，需求和欲望的三位一体，这将是重新组织在1960年左右的一个新的配置，集中在驱动器的概念。拉康通过引入意符链的概念，试图揭示一种内在于一切与他者的关系中，但被传统的语言理解所掩盖的无限性，并根据主体在面对这种无限性时无法避免的堕落来定义美。在这些理论论证的基础上，最后追溯其视觉器官的演变过程;从镜像阶段通过变形到《美女》，拉康对这些表象系统的分析可以被认为是我们的“各种艺术作品的存在证明了欲望的多样性，这种多样性不仅由艺术家个人的历史决定，他生活和创作的社会和文化背景。这就是为什么我们（酒井）试图从社会历史的角度来研究这个问题。我们选取了四位代表他们时代的画家，列奥纳多达芬奇、汉斯·霍尔拜因、弗朗西斯科·德戈亚和文森特·货车·高，试图还原他们的生活和作品在他们原来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愿望和创作。