| Abstract | Formacija subjekta i njegov odnos s egom jedan je od centralnih teorijskih toposa psihoanalitičara Jacquesa Lacana te je njegov doprinos u tom području ogroman, s obzirom na brojne utjecaje koje je njegova teorija imala na razne grane i područja društveno-humanističkih znanosti. Njegova teorija prožeta je gustom naslagom apstraktnog, spekulativnog promišljanja koje svoje tangente nalazi prvenstveno u francuskoj psihijatriji s početka dvadesetog stoljeća, povratku i reviziji freudovske psihoanalize, filozofiji maksizma i njemačkih klasičnih idealista, s naglaskom na Hegelu (i na čije razumijevanje su mu uvelike pomogla predavanja Alexandrea Kojèvea, a koja su također polazili i Georges Bataille, Maurice Merleau-Ponty, André Breton, Jean-Paul Sartre), književnosti, lingvistici strukturalizma i post-strukturalizma) i matematici. Iako Lacanovi seminari nisu bili inicijalno namijenjeni za objavljivanje, njihovo prozno tkivo prepuno intertekstualnosti, metatekstualnosti, poigravanjima s jezikom i raznim grafovima, simbolima i matemima, oni čine bogat uvid u razumijevanje ljudskog subjektiviteta i fenomena iz raznih područja kulture. Za života objavio je jedino Spise ̧ dok su Seminari objavljeni tek nakon njegove smrti pod uredništvom njegovog bivšeg studenta i zeta Jacquesa-Alaina Millera. U ovome radu razmotriti ćemo ulogu objekta malo „a“ na uspostavu cjelovitosti subjektiviteta iz stanja fragmentiranosti kroz korištenje nekih od najvažnijih koncepata lacanovske psihoanalize kroz primjer lika Diane Selwyn u filmu Mulholland Drive iz 2001. godine redatelja Davida Lyncha, te kroz razne (re)interpretacije ključnih pojmova prominentnih suvremenih psihoanalitičara poput Brucea Finka, Danyja Nobusa, Mladena Dolara, Slavoja Žižeka, Alemke Zupančič, Željke Matijašević, Borislava Mikulića i drugih. |
| Abstract (english) | The formation of the subject and its relation to the ego is one of the central points of the teachings of psychoanalyst Jacques Lacan, whose contribution to the broad field of humanities and social sciences is enormous. His theory is perplexed with highly abstract and rather speculative thinking grounded in French psychiatry of the 20thcentury, in the revision of Freudian psychoanalysis, in the philosophy of Karl Marx, and in the works of German idealists with the emphasis on the teachings of Hegel (with whose work he was introduced via the lectures by Alexandre Kojève, along with Georges Bataille, Maurice Merleau-Ponty, André Breton, Jean-Paul Sartre), literature, linguistics, and mathematics. Although Lacan's seminars were not meant to be published, their prosaic style is full of intertextuality, and metatextuality, of his playing with language, graphs, mathemes, and symbols, and they still represent valuable insight into the understanding of human subjectivity and culture. Throughout his lifetime, Lacan only published his Ecrits, while Seminars were published later, thanks to his son-in-law and ex- student Jacques-Alain Miller. In this article, I will try to demonstrate the importance of the role of objet petit “a” in establishing the subjectivity from the state of fragmentations using the example of David Lynch’s movie Mulholland Drive (2001) and through various rethinking of some of the key concepts of Lacanian psychoanalysis using the writings of some of the prominent contemporary Lacanian psychoanalysts like Bruce Fink, Dany Nobus, Mladen Dolar, Slavoj Žižek, Alemka Zupančić, Željka Matijašević, Borislav Mikulić, and others. |
