New York, London: W. W. Norton & Company, 1998. New York, London: Routledge, 1992. The gaze is thus symbolic of ‘the lack that constitutes castration anxiety.’[32] It permits a detachment (a dé-tache-ment?) Ettinger, Bracha, "The Matrixial Gaze" (1995), reprinted as Ch. Hans Holbein the Younger, The Ambassadors, Jean de Dinteville and Georges de Selve (‘The Ambassadors’), 1533, oil on oak, 207 x 209.5 cm, The National Gallery London. This interpretation of the gaze as the thing that is radically lacking from vision is consistent with Lacan’s definition of the object a in the course of that seminar and elsewhere: ‘The objet a is something from which the subject, in order to constitute itself, has separated itself off as organ. Lacan's comment about being "photo-graphed," literally written through or by light, has to do with the power of the gaze. Fascination exposes the subject to splitting, as suggested by the mythic properties of the evil eye, whose effect is described by Lacan as an experience of deathly stasis. Other theories of spectatorship, especially in film theory, rely heavily on Lacan’s notion of the gaze and how it functions as the point of identification in the mirror stage (see mirror). Sturken, Marita and Lisa Cartwright. [26] Fascination involves a loss of ego and control: ‘the subject in question is not that of the reflexive consciousness, but that of desire.’[27] Under the gaze, according to Lacan, ‘I am photo-graphed.’[28], In Lacan’s early work, the a can denote the captivating specular image upon which the ego founds itself in the mirror stage. In 1927, Lacan commenced clinical training and began to work at psychiatric institutions, meeting and working with (amongst others) the famous psychiatrist Gaetan Gatian de Clerambault. Initially, its core concepts: the id (the primal, impulsive and selfish part of the psyche), the ego (the realistic mediator between id and super-ego) and the super-ego (the moral conscience) were established by Sigmund Freud (Freud,… The gaze is, in other words, irretrievably lost to the eye, and ‘I,’ of the subject. Man, in effect, knows how to play with the mask as that beyond which there is the gaze. This is related to Lacan's notion of the alienation that results from the split between seeing the image as oneself and also as an ideal --as both thesame and not the same as oneself. Lacan on the Gaze and Picture In Seminar XI: The Four Fundamental Concepts of Psychoanalysis, Lacan spells out the genealogy of desire in a visual field. Armstrong, Carol and de Zegher, Catherine. In Seminar XI, the satisfaction of the drive’s requirements, as for example in the viewing of art, becomes the ethical goal of analysis. Under the form of objet a, Lacan groups all the partial drives linked to part objects: the breast, feces, the penis, and he adds the gaze and the voice. The gaze can be characterized by who is doing the looking: 1. the spectator's gaze: the spectator who is viewing the text. Richard Feldstein, Bruce Fink, Maire Jaanus (Albany: State University of New York Press, 1995), 198. Those that do not fall into this category are influenced by its supremacy. [23] The postcolonial gaze "has the function of establishing the subject/object relationship ... it indicates at its point of emanation the location of the subject, and at its point of contact the location of the object". It is the cause, that is, of the subject’s ‘fading’ or ‘aphanisis,’ that is, of the subject’s disappearance or petrification into the signifier.[31]. New York: W.W. Norton & Company, 1998. Pour lire Jacques Lacan: le Retour à Freud. This page was last edited on 22 February 2021, at 04:22. [16] Ellie Ragland, ‘The Relation Between the Voice and the Gaze,’ in Reading Seminar XI: Lacan’s Four Fundamental Concepts, ed. It is the intuition of a lack in the image that permits the infant to separate from the imaginary relation to the mother or specular other. [33], If the mask is here referred to in the context of what differentiates humans from animals, it is also strongly associated in the seminars on the gaze with the sexual function of travesty. Albany: State University of New York Press, 1995. Now, the gaze has already become a concept of most vital importance in psychoanalysis, political theory, and film theory. Each art would then find a way to recreate the vide of our âmours.’ Truth and Eros, 75. [49] Richard Feldstein, ‘The Phallic Gaze of Wonderland,’ in Reading Seminar XI: Lacan’s Four Fundamental Concepts, ed. This revelation is exemplified, for Lacan, by the trompe-l’oeil: ‘What is it that attracts and satisfies us in trompe-l’œil? New York: Routledge, 1991. The appearance of beauty intimidates and stops desire.’[58] Beauty thus temporarily suspends our subjection to the movements of desire (which is always the desire of the Other). The gaze can be motivated by the subject's desire to control the object it sees, and an object that can likewise capture and hold the subject's eye. New York: Routledge, 1995. What is represented by the media assumes a specific type of tourist: white, Western, male, and heterosexual, privileging the gaze of the "master subject" over others. In order to renew one’s desire, it is necessary first to fall sway to the drive. [12] Jacques Lacan, The Seminar of Jacques Lacan: Book I: Freud’s Papers on Technique, ed. Jay, Martin. John Shannon Hendrix. ©The National Gallery, London. According to a second strand of meaning in Lacan’s seminar on the gaze, the latter is not, crucially, what the eye lacks, but rather the imagined object that comes to fill in for that lack. To give the gaze is to perceive that one is looking at an object. As Mulvey's essay[19] contextualizes the (male) gaze and its objectification of white women, hooks essay[18] opens "oppositionality [as] a key paradigm in the feminist analysis of the 'gaze' and of scopophilic regimes in Western culture". The Ethics of Psychoanalysis: The Seminar of Jacques Lacan: Book VII, edited by Jacques-Alain Miller. Theoretically, the gaze is linked to the mirror stage of psychological development, in which a child encountering a mirror learns that he or she has an external appearance. John Shannon Hendrix . This separation is due to the mother’s intermittent absence and the child’s realization that the mother has other objects of desire besides the child.’ John P. Muller, Beyond the Psychoanalytic Dyad: Developmental Semiotics in Freud, Peirce, and Lacan (New York: Routledge, 1996), 132. "The Inexplicable", Discipline and Punish: The Birth of the Prison, "Deborah Kampmeier's 'Tape' explores the gray areas of #MeToo through sharing one woman's powerful story", "Writing Past The White Gaze As A Black Author", "Go beyond Toni Morrison with these 7 books that stare down the white gaze", "Black Bodies, White Gazes: The Continuing Significance of Race", "Chapter 9: Resisting the White Gaze: Critical Literacy and Toni Morrison's "The Bluest Eye, "Mammy, Jezebel, Sapphire, and Their Homegirls: Developing an "Oppositional Gaze" Toward the Images of Black Women", The Four Fundamental Concepts of Psychoanalysis, SSRN.com Consuming Representation: A Visual Approach to Consumer Research, https://en.wikipedia.org/w/index.php?title=Gaze&oldid=1008215957, Creative Commons Attribution-ShareAlike License. In simple terms, “gaze” is defined as the manner in which a viewer looks at subjects or objects within a given text or artwork, and the effect which the text/artwork has on the viewer. [56] Rajchman paraphrases Lacan’s view, theorized in Seminar VII, as follows: ‘In painting we would love what remains “invisible” in the visions it offers us; in architecture what is “uninhabitable” in the habitations it makes for us; in literature what is “unsayable” in what it says to us. The gaze was originally coined by psychologist Jacques Lacan, he believed it to a state in which he explains with the following statement “The psychological effect, Lacan argues, is that the subject loses a degree of autonomy upon realizing that he or she is a visible object. The psychological effect upon the person subjected to the gaze is a loss of autonomy upon becoming aware that he or she is a visible object. Practices of Looking: an introduction to visual culture. The psychoanalyst Jacques Lacan’s most thoroughgoing exploration of vision takes place in his Seminar XI,[1] in a sequence of four seminars originally delivered in 1964, published in French in 1973, and collectively entitled, in its later English translation, ‘Of the Gaze as Objet Petit a.’ The four seminars are difficult, if not impossible, to make sense of. By indulging the viewer’s visual demand, and by allowing him or her subsequently to renounce the imaginary relation to the visual object, painting plays a civilizing role: Broadly speaking, one can say that the work calms people, comforts them, by showing them that at least some of them can live from the exploitation of their desire. When is it that it captures our attention and delights us? [30] Jacques Lacan, The Seminar of Jacques Lacan: Book II: The Ego in Freud’s Theory and in the Technique of Psychoanalysis, ed. In a third version of the gaze, as presented in Lacan’s seminars on the gaze, it is a cause of visual fascination.

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