bicc2的部落格

     I want to explain the mirror phase via Diva. When Cynthia hears her recorded voice, Lacan’s assertion that the infant sees an other through mirror image(「嬰孩從自己的鏡像身上看到了他的『異己』(an other)」)is proven. But her experience is actually Lacan’s “the imaginary”(“the imaginary tendency continues even after the formation of the ego, because the myth of a unified selfhood depends upon this ability to identify with objects in the world as ‘other’”), and she’ll enter the symbolic phase with such imaginary tendency.

In the handout “Sound and Music in Diva” we know that prior to the moment Cynthia/ (barred) subject hears her recorded voice, she does not admit the existence of an “other.” She believes that the live performance is the only real sharing, but she actually speaks/sings to no one in particular: the audience represents the field of the “Other,” which is undifferentiated, no specific individual can be recognized. “The Other is always outside the subject—it can’t become part of the subject. Returning to Freud, the Other can be seen as the sub-consciousness where our desire lies”(梁濃剛。《回歸佛洛伊德》). Thus the Other is the object of desire, but for its exteriority, the substitutive other, object petit à, is produced to become the cause of our desires—to integrate and form the “gratifying unified image of self”(Eagleton).

After Cynthia hears her recorded voice, her fantasy that the audience in live performance is object petit à and her narcissism with the yet fragmental self, or what Gorodish calls “(impossible) innocent pleasure,” are destroyed. However, she is also saved. She can undergo mirror stage,「嬰孩(Cynthia)從自己的鏡像身上看到了她的『異己』(an other)」and meet the actual form of “lost object” (“object petit à”) within her subjectivity. She hears her recorded voice, so that the barred subject is possible to enter the symbolic phase with the lack satisfied and the lost object recollected (Lacan, qtd. in 胡錦媛。〈似近還遠：卡夫卡《給菲莉絲的書信》〉). Therefore, Cynthia’s reaction upon hearing her recorded voice looks like both “loss and jubilation.”

If Cynthia’s major misrecognition is taking the audience as her lost object, the major misrecognition of Jules, Cynthia’s real listener who is another form of the substitutive object petit a, is that he produces “a surrogate object, capable of filling in for the absent and impossible object.” Both Cynthia and Jules “identifies with the recorded voice, misrecognize themselves in it, find in the tape a pleasing-unity which does not actually experience in their own bodies… yet[the identified selves are] not themselves, [they’re]something alien.” Such state is the so-called Lacan’s “the imaginary” (Eagleton; Selden) Both Cynthia and Jules are to be bond by the (misrecognized) mirror image when entering the symbolic phase. Thus “the imaginary tendency continues even after the formation of the ego.”

圖片說明等有空再補 最近看了很多片子也沒時間截圖殘念啊(截圖癮很大XD)

2014/7/22