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Classified as "an instinct for mastery" of "hostile impulses" associated to the death drive, by "throwing away objects instead of persons" (285-86), Freud's grandson is moving into the realm of the symbolic, the virtual, where the illusion of the mastery of absence--indicated by the linguistic quantifiers fort (gone) and da (there)--decreases the traumatic components of absence by the subject's taking "an active part.
The lead casket, like its gold counterpart, is an inevitability masquerading as free choice, and desire for love and life ultimately find their telos in the death drive.
We also perversely draw gratification from the Death Drive, knowing that this is all art or vicarious--it won't actually affect us.
exposition of the death drive, as a drive, may be seen to resist.
Silverman's theory of male subjectivity helps see the way that events of history can dislodge the grip of "normalizing" psychic processes--defensive mechanisms that are defined by their opposition to the same unbinding, destabilizing threat of the death drive that are manifest in "The Dance.
He begins by considering the concept of the death drive, rethinks deconstruction, analyzes mourning populism in the case of Poland, examines the desire for addiction as a function of the desire for desire, ties the art of living to the creation and maintenance of identity, and ties the labor of memory and the art of creating concepts.
Invoking a death drive on autopilot traveling toward the nirvana of stasis, the exhibition--organized by Laura Hoptman and Ralph Rugoff--shows us that Freud's most enduring legacy is Condo's as well.
As Laclau observes, my argument would thus ultimately require that I take issue with the notion of what Freud calls the death drive.
For as soon as I write those words "habitual, compulsive detour," the subject matter of my thoughts also becomes their method: I am compulsively and habitually taken to Freud's Beyond the Pleasure Principle and to Peter Brooks's argument about narrative as the mandatory detour we take from the inexorability of the end, of death, in order to produce through the death drive a "finished" narrative, a story or a thesis that finds completion on its own terms (Brooks).
Perhaps two elements for this "mournful" transcendence are at play in "Between Two Deaths": first, this horror-inspiring other is not given sufficient credit; and second, instead of using a Lacanian reading of lack, perhaps we would do better to take up Freud's concept of the death drive in Beyond the Pleasure Principle (1920), in which all life is subsumed under the return to a non-human state, where "the aim of all life is death [as] inanimate things existed before living ones.
The linkage made by Freudian psychoanalysis of the inorganic with the putative death drive, an instinct beyond the pleasure principle, is implicit in Molloy's disquisition on his sucking-stones.