Tuesday, September 25, 2012

Troubadour Poetry, Slavoj Žižek, and Buñuel’s “That Obscure Object of Desire”

Concerning the themes discussed in last weeks discussion, both the poetry and essay collective elaborate and support the ideas of love possessing an oxymoronic relationship of torment and pleasure as well as the object of one's desire never being captured.

Troubador Poetry;

"My heart sighs, my eyes weep, because I love her so much, and I suffer for it."
 
Why would one suffer for having an immense love for someone else? Revealed in this quote, I believe it is safe to assume that the poet realizes that to love he must be tormented by the lacking of what humans desire the most, the reciprocation of love. However, a new theme of love is explored throughout the poem. An idea that the suffering of love is only for a moment, a test to prove to Love that he is worthy.

"This love wounds my heart with a sweet taste, so gently, I die of grief a hundred times a day and a hundred times revive with joy. My pain seems beautiful, this pain is worth more than any pleasure; and since I find this bad so good, how the good will be when this suffering is done."

The question here though remains, will the suffering end? What causes the poet to believe that his suffering will leave. As long as he continues to love, he will always suffer in some way. 

Courtly Love, or Woman as Thing;

Early on in this essay a new philosophy was proposed about both themes, the mirror and the object of desire, sharing an intricate.

"The mirror may on occasion imply the mechanics of narcism, and especially the dimension of destruction or aggression that we will encounter subsequently. But it also fulfills another role, a role as limit. It is that which cannot be crossed. And the only organization in which it participates is that the inaccessibility of the object."

This thought causes me to assume that what we see in the mirror is not only what we desire to understand but also our limiting factor in ever being complete. The object we see in the mirror is all but attainable. 

That Obscure Object of Desire;

1. With thoughts of why the film is titled, "That Obscure Object of Desire," I am brought to a quote in the film made by Conchita that expresses and reveals the very nature of desire.

"You want what I won't give you. It's not me you want...If I gave you what you want, you'd stop loving me."

Conchita understands that Mathieu is not in the pursuit of loving her but what he cannot have, let alone see. This revelation is awfully similar to the one made in Narcissus. At the point of Narcissus' tormenting ordeal of knowing himself, the narrator propose an explanation, almost identical to the one of Conchta's to Mateo's. It reads, "The thing you are seeing does not exist: only turn aside and you will lose what you love. What you see is but the shadow cast by your own reflection, in itself it is nothing. It comes with you, and lasts while you are there; it will go when you go, if go you can."

The solidifying meaning of the "obscure object" of desire is something that has no form of existence. It is desire that causes one to see what cannot be seen and pursue what does not exist. The evidence of absence has no true validation. 



Tuesday, September 18, 2012

Song of Songs, Narcissus, and Lacan's "Mirror Stage"

Song of Songs:

2. Song of Songs portrays two passionate lovers who revel in the emotional and physical pleasures of human intimacy. Fundamentally, this text may be viewed as erotic but aesthetically this text can be viewed as informally educational in context.
    Questions that come to mind include: What originated the erotic contour throughout this ext? How is the eroticism maintained? Was there a contrast between Love and Lust?

Narcissus:

4. It would be assumed that narcissus falls in Love with himself but as the text reads, he is in love with the shadow of his reflection. Infatuated by what he sees, Narcissus does not realize that what he sees does not exist.
    On page 85, in the second paragraph, the narrator digresses to his own thoughts about not only Narcissus' situation but the idea of being "in love." It reads, "The thing you are seeing does not exist: only turn aside and you will lose what you love. What you see is but the shadow cast by your reflection; in itself it is nothing. It comes with you, and lasts while you are there' it will go when you go, if go you can.
   If I could interpret the thought I would so as such, "In the case of Love, what you are seeing does not exist. What you see is the shadow cast by your own desire, in itself it is nothing. You only want what you can not obtain but what you can not obtain has no limits. You know not what you want. What you desire comes with you, and lasts while you are there; it will go when you go, if you can go. If you can let go of your desire to love, the desire of Love will let go of you.

Lacan:

5. From what I could grasp, The Mirror Stage does serve as the psychoanalytical rewriting of the Narcissus myth. There were a couple of references that supported this idea however there was one that in particular that captured the theme of the Narcissus myth.
   "The function of the mirror stage thus turns out, in my view, to be a particular case of the function of images, which is to establish a relationship between an organism and its reality..."
   This view of the mirror stage encompasses the dilemma that Narcissus faced, a relationship between reality and an organism, Love and Desire.