Difference between revisions of "Scene"
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[[Freud]] states that "the [[scene]] of [[action]] of [[dream]]s is different from that of waking ideational [[life]]."<ref>Freud. 1900a. SE V. p.535-6</ref> | [[Freud]] states that "the [[scene]] of [[action]] of [[dream]]s is different from that of waking ideational [[life]]."<ref>Freud. 1900a. SE V. p.535-6</ref> | ||
| − | [[Freud]] borrowed the expression "[[another scene]]" ([[German]]: ''[[eine andere Schauplatz]]''). | + | [[Freud]] borrowed the expression "[[another scene]]" ([[German]]: ''[[eine andere Schauplatz]]'') from G.T. Fechner, and used it in ''[[The Interpretation of Dreams]]'', stating that "the [[scene]] of [[action]] of [[dream]]s is different from that of waking ideational [[life]]."<ref>Freud. 1900a. SE V. p.535-6</ref> |
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| + | This led [[Freud]] to formulate the idea of "psychical locality." | ||
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| + | However, [[Freud]] emphasized that this concept of locality is not to be confused with physical locality or anatomical locality, and [[Lacan]] takes this as a justification for his own use of [[topology]].<ref>{{E}} p.285</ref> | ||
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| + | ([[Lacan]] makes repeated reference to Fechner's expression in his work;<ref>{{E}} p.193</ref> the "other scene" is, in [[Lacan]]ian terms, the [[Other]].) | ||
[[Freud]] developed the idea of "[[psychical locality]]" (in opposition to [[physical]] or [[anatomical]] locality). | [[Freud]] developed the idea of "[[psychical locality]]" (in opposition to [[physical]] or [[anatomical]] locality). | ||
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[[Lacan]] takes this as a justification for his own use of [[topology]].<ref>{{E}} p.285</ref> | [[Lacan]] takes this as a justification for his own use of [[topology]].<ref>{{E}} p.285</ref> | ||
| − | [[Lacan]] uses the term "[[scene]]" to denote the [[imaginary]] and [[symbolic]] [[scene]] (world) in which the [[subject]] comes to stage his or her [[fantasy]] (which is built on the edifice of the [[real]]). | + | [[Lacan]] uses the term "[[scene]]" to denote the [[imaginary]] and [[symbolic]] [[scene]] (world) (theater) in which the [[subject]] comes to stage (plays out) his or her [[fantasy]] (which is built on the edifice of the [[real]] (the world)). |
The [[scene]] of [[fantasy]] is a virtual space which is framed, in the same way that the scene of a play is framed by the proscenium arch in a theatre, whereas the world is a [[real]] space which lies beyond the frame.<ref>Lacan. 1962-3. Seminar of 19 December 1962.</ref> | The [[scene]] of [[fantasy]] is a virtual space which is framed, in the same way that the scene of a play is framed by the proscenium arch in a theatre, whereas the world is a [[real]] space which lies beyond the frame.<ref>Lacan. 1962-3. Seminar of 19 December 1962.</ref> | ||
| + | == Acting Out and the Passage to the Act == | ||
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| + | This notion of [[scene]] is used by [[Lacan]] to distinguish between [[acting out]] and [[passage to the act]]. | ||
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| + | The former still remains inside the [[scene]], for it is still inscribed in the [[symbolic order]]. | ||
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[[Lacan]] uses the term "[[scene]]" to distinguish between "[[acting out]]" and the "[[passage to the act]]." | [[Lacan]] uses the term "[[scene]]" to distinguish between "[[acting out]]" and the "[[passage to the act]]." | ||
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It is said that the process of [[acting out]] remains inside the [[scene]], inscribed in the [[symbolic]] [[order]]. | It is said that the process of [[acting out]] remains inside the [[scene]], inscribed in the [[symbolic]] [[order]]. | ||
| − | The [[passage to the act]], however, | + | The [[passage to the act]], however, is an exit from the [[scene]], is a rossing over from the [[symbolic]] into the [[real]]; there is a total [[identification]] with the [[other]] and hence an abolution of the [[subject]].<ref>Lacan, 1962-3: seminar of 16 January 1963</ref> |
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== Perversion == | == Perversion == | ||
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The [[fantasy]] [[scene]] is also an important aspect in [[perversion]]. | The [[fantasy]] [[scene]] is also an important aspect in [[perversion]]. | ||
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==See Also== | ==See Also== | ||
| + | * [[Acting out]] | ||
| + | * [[Fantasy]] | ||
| + | * [[Passage to the act]] | ||
| + | * [[Topology]] | ||
== References == | == References == | ||
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[[Category:Jacques Lacan]] | [[Category:Jacques Lacan]] | ||
[[Category:Terms]] | [[Category:Terms]] | ||
| − | [[Category: | + | [[Category:Fantasy]] |
[[Category:Dictionary]] | [[Category:Dictionary]] | ||
[[Category:Concepts]] | [[Category:Concepts]] | ||
[[Category:Psychoanalysis]] | [[Category:Psychoanalysis]] | ||
Revision as of 21:39, 30 July 2006
Contents
Sigmund Freud
Freud states that "the scene of action of dreams is different from that of waking ideational life."[1]
Freud borrowed the expression "another scene" (German: eine andere Schauplatz) from G.T. Fechner, and used it in The Interpretation of Dreams, stating that "the scene of action of dreams is different from that of waking ideational life."[2]
This led Freud to formulate the idea of "psychical locality."
However, Freud emphasized that this concept of locality is not to be confused with physical locality or anatomical locality, and Lacan takes this as a justification for his own use of topology.[3]
(Lacan makes repeated reference to Fechner's expression in his work;[4] the "other scene" is, in Lacanian terms, the Other.)
Freud developed the idea of "psychical locality" (in opposition to physical or anatomical locality).
Jacques Lacan
Lacan takes this as a justification for his own use of topology.[5]
Lacan uses the term "scene" to denote the imaginary and symbolic scene (world) (theater) in which the subject comes to stage (plays out) his or her fantasy (which is built on the edifice of the real (the world)).
The scene of fantasy is a virtual space which is framed, in the same way that the scene of a play is framed by the proscenium arch in a theatre, whereas the world is a real space which lies beyond the frame.[6]
Acting Out and the Passage to the Act
This notion of scene is used by Lacan to distinguish between acting out and passage to the act.
The former still remains inside the scene, for it is still inscribed in the symbolic order.
Lacan uses the term "scene" to distinguish between "acting out" and the "passage to the act."
It is said that the process of acting out remains inside the scene, inscribed in the symbolic order.
The passage to the act, however, is an exit from the scene, is a rossing over from the symbolic into the real; there is a total identification with the other and hence an abolution of the subject.[7]
Perversion
The fantasy scene is also an important aspect in perversion.
The pervert typically stages his enjoyment in terms of some highly stylised scene, and according to a stereotypical script.
See Also
References
- ↑ Freud. 1900a. SE V. p.535-6
- ↑ Freud. 1900a. SE V. p.535-6
- ↑ Lacan, Jacques. Écrits: A Selection. Trans. Alan Sheridan. London: Tavistock Publications, 1977. p.285
- ↑ Lacan, Jacques. Écrits: A Selection. Trans. Alan Sheridan. London: Tavistock Publications, 1977. p.193
- ↑ Lacan, Jacques. Écrits: A Selection. Trans. Alan Sheridan. London: Tavistock Publications, 1977. p.285
- ↑ Lacan. 1962-3. Seminar of 19 December 1962.
- ↑ Lacan, 1962-3: seminar of 16 January 1963
