신 라캉학파의 방법론과 실제분석

Abstract

In the thesis, I deal with the questions proposed by the so-called New Lacanians, Slavoj Žižek and Todd Mcgowan etc.. According to Thomas Elsaesser, although not a ‘school’, they are united by a new concern with what has been called the ‘ethics’ of psychoanalysis and its contemporary political ramifications. Instead of concentrating on the imaginary and the symbolic, when assessing the film experience in relation to a spectator(the subject), they focus on the imaginary and the Real. And, especially, Žižek concern with the concepts of jouissance(enjoyment) and the drive. The imaginary-real axis becomes the key relation that most accurately maps the spectatorial dynamics of post-classical Hollywood, many of whose films can be interpreted as red alerts to the crises of subjectivity in the realm of the social. In this context I outline the New Lacanians’ theoretical frameworks, and apply those results to the practical criticism in the light of the New Psychoanalytic Semiotics of Film. One repeated theme in the work of the New Lacanians is the notion that fantasy is not in opposition to reality. Indeed, it is fantasy which makes reality’s brute facticity (the Real) meaningful and liveable. Among characters in films, Žižek distinguishes between desire-creatures and drive-creatures. Žižek has also interrogated the type of causal nexus advanced by a narrative. Here the key word is the concept of Nachträglichkeit(deferred action). The New Lacanians, finally, regard cultural productions as inherently political.