Mladen Dolar

In seinen Listen weist Benjamin darauf hin, dass ihm Bachofens Sumpf eine seltene Logik pluraler und alternativer Welten liefert, die nie als reine Leere missverstanden wurden. Nur eine einfache Liste von Charakteren, die seit Langem in Vergessenheit geraten waren:
»Schamlosigkeit der Sumpfwelt. Ihre Macht liegt in ihrer Verges- senheit. Die Weltalter bewegende Erinnerung. Der von ihr umfasste Erfahrungskreis. Die Sumpflogik« (GS II 1213).

Wenn  ein  »Neuer  Materialismus«  diskutiert  wird,  wird  die  Psycho-analyse kaum einbezogen. Stattdessen gilt vor allem die Psychoanalyse nach Jacques Lacan als besonders subjektzentriert und sprachfokussiert, was auf-grund  von  Lacans  Auseinandersetzung  mit  der  Semiotik  zwar  nicht  von  der  Hand zu weisen ist, jedoch kann man auch diese als ›materialistisch‹ begreifen, wie im Verlauf dieses Beitrags gezeigt werden soll. Da es einige gemeinsame Themen der Lacan�schen Psychoanalyse mit den Texten von Autorinnen wie Donna Haraway oder Karen Barad gibt, z.B. eine Auseinandersetzung mit der Wissenschaftsgeschichte,  Atomismus  und  der  Materialität  und  Handlungs-macht der Dinge und Objekte, sollen die unterschiedlichen Positionen in ein Verhältnis gesetzt werden.

Bu inceleme yazısında Kıbrıslı Türk ressam Hüseyin Özinal’ın “Firari Bedenler” isimli resim sergisi ele alınmaktadır. Yazıda serginin temel konseptleri olarak öne çıkan , beden, eksiklik, evrensellik ve kimlik gibi kavramlara,  Sloven psikanaliz okulunun perspektifinden odaklanılmakta, sergi bu kavramlar çerçevesinde değerlendirilmektedir. Bu çerçevede bu makalenin temel amacı ressam Hüseyin Özinal’ın sergisini Sloven Psikanaliz okulunun üç önemli ismi Slavoj Zizek, Mladen Dolar ve Alenka Zupancic’in okumalarıyla sanat, evrensellik, kimlik, ve eksiklik kavramları çerçevesinde irdelemektir. Hüseyin Özinal’ın resmettiği bedenlere musallat olan eksiklik  heterenormatif sistemde kuir kimliğin dışlanmasının sembolleştirilmesinden öteye bütün kimliklere içkin olan ve aynı zamanda onların oluşmasını sağlayan bir eksiklik çerçevesinde değerlendirilmektedir.   
Anahtar Kelimeler: Eksiklik, Kimlik, Firari Bedenler, Hüseyin Özinal, Sloven Psikanaliz Okulu, Sanat, Tamamlanmamışlık.

ABSTRACT
This article examines Turkish Cypriot painter Hüseyin Özinal’s painting exhibition “Firari Bedenler” from the perspetcive of the Slovenian School of Psychonalysis.  This article develops this by examining  the  key concepts of the exhibition  like body, lack and identity from the perspective of the three core members of the Slovenian School: Mladen Dolar, Slavoj Zizek and Alenka Zupancic. In this context, the incompletness that hunts Ozinal’s pictures is percieved as a lack that is inherent in every identity which at the same time  constucts these identities,  rather than a symbol of the queer identity  in a heteronmative  system. 
Key Words: Lack, Identity, Firari Bedenler(Fugutive Bodies), Hüseyin Özinal, Slovenian School of Psychonalysis, Art, Incompletness

ÖZET

Bu inceleme yazısında Kıbrıslı Türk ressam Hüseyin Özinal’ın “Firari Bedenler” isimli resim sergisi ele alınmaktadır. Yazıda serginin temel konseptleri olarak öne çıkan , beden, eksiklik, evrensellik ve kimlik gibi kavramlara,  Sloven psikanaliz okulunun perspektifinden odaklanılmakta, sergi bu kavramlar çerçevesinde değerlendirilmektedir. Bu çerçevede bu makalenin temel amacı ressam Hüseyin Özinal’ın sergisini Sloven Psikanaliz okulunun üç önemli ismi Slavoj Zizek, Mladen Dolar ve Alenka Zupancic’in okumalarıyla sanat, evrensellik, kimlik, ve eksiklik kavramları çerçevesinde irdelemektir. Hüseyin Özinal’ın resmettiği bedenlere musallat olan eksiklik  heterenormatif sistemde kuir kimliğin dışlanmasının sembolleştirilmesinden öteye bütün kimliklere içkin olan ve aynı zamanda onların oluşmasını sağlayan bir eksiklik çerçevesinde değerlendirilmektedir.   
Anahtar Kelimeler: Eksiklik, Kimlik, Firari Bedenler, Hüseyin Özinal, Sloven Psikanaliz Okulu, Sanat, Tamamlanmamışlık.

ABSTRACT
This article examines Turkish Cypriot painter Hüseyin Özinal’s painting exhibition “Firari Bedenler” from the perspetcive of the Slovenian School of Psychonalysis.  This article develops this by examining  the  key concepts of the exhibition  like body, lack and identity from the perspective of the three core members of the Slovenian School: Mladen Dolar, Slavoj Zizek and Alenka Zupancic. In this context, the incompletness that hunts Ozinal’s pictures is percieved as a lack that is inherent in every identity which at the same time  constucts these identities,  rather than a symbol of the queer identity  in a heteronmative  system. 
Key Words: Lack, Identity, Firari Bedenler(Fugutive Bodies), Hüseyin Özinal, Slovenian School of Psychonalysis, Art, Incompletness

Art, for Hegel, is not only distinct but self-distinguishing of and from nature-it happens in and through the latter. It liberates us from being merely natural creatures, and it does so by a dynamic of a cut or break-even though this liberation is achieved only through natural sensuousness, and hence, keeps us tethered to nature in some particular way. Inspired by Todd McGowan's emphasis on the central role of contradiction in Hegel's philosophy, this paper considers the possibility to applying the dialectic between art and nature as it is unfolded in Hegel's Aesthetic to a more insidious constellation-namely, what Marxists came to refer to as second nature: the world of commodities, in which man-made things appear to those who produce them as a naturalised and repressive opposite, a pseudo nature, an alienated solidified history.

The modern novel produces an excess of forms, all of which pursue a single, yet bifurcated aim: to bring life into a form and to bring its form into life. To this end, the novel therefore gathers certain strategies and techniques to ‘deal with life’. Still, while the understanding of the modern novel as a construct of form and life provides helpful insights into the genesis of the literary genre, the specific character of the form of life presented in the novel still needs to be clarified. In this context, Samuel Beckett’s work represents an intriguing problem with regard to the theory of the novel: Beckett’s novels are not completely contradictory to the genre of the novel nor do they simply try to undermine its standard form and narratives. Instead, they do something even more intriguing: especially his early novels stick to the very tradition of the novel and ask for its substantial elements. Crucially, his 1953 novel Watt can be shown to stand in the direct genealogy of the novel’s ensemble of form and life while, at the same time, it represents a self-directed subtraction to the bones. The novel does so by pursuing a strategy of subtraction whereby it disassembles plot, figures, tropes, metaphors, sceneries and even the rhetoric material. Evidence suggests Beckett goes further still and does the same with the entire genre of the novel. An analysis of Watt is thus able to provide insights into the problem of the form of life presented in the novel: the subject’s life.

Mladen Dolar’s theorization of voice is one that, in addition to its significance and aesthetics, posits a third faculty: voice as object. As a primary locus for the Lacanian objet petit a, an understanding of voice as object underscores the role of desire in hearing bodily sound. This essay turns to the striking sonorities of two public intellectuals, Gore Vidal and William F. Buckley Jr., to demonstrate the effects of this object voice, reducible neither to what it says nor what it sounds like.

In “Ideology and Ideological State Apparatuses” Louis Althusser outlines his conceptualization of ideology and its mode of operation through the category of the subject. Slavoj Žižek and Mladen Dolar later expanded on Althusser’s conceptualization of ideology and subjectivity through, primarily, the psychoanalytic theory of Jacques Lacan. This paper compares the Althusserian account of ideology and subjectivity with that of Žižek and Dolar, focusing on points of contestation. It proceeds by first presenting an overview of the Althusserian account and some Lacanian principles before outlining the psychoanalytic interjections made by Žižek and Dolar.

Alenka Zupančič has done the unthinkable. She has managed to write a fun and exciting book about sex with only cursory mention of things naughty. What is Sex? (The MIT Press, 2017) avoids fluff, heterosexual intercourse, and the gender binary (and gender altogether) and instead cogently explains sexual difference, the elusive “beyond” of the pleasure principle, infantile sexuality, the materiality of signifiers, the hole in being, the non-coincidence of truth and knowledge, primal repression, passion, the event, and the political importance of psychoanalysis.

Sex for Zupančič is an ontological problem, co-extensive with a disturbance in reality, a signifying gap and structural impediment. Sex is attached to that which cannot be fully known or embodied and is therefore directly related to the unconscious. Subjectivity emerges from within the fault entailed in signification, as does surplus enjoyment. Important here, too, is the well-worn notion, but with a twist, that there is no reality prior or external to discourse. Zupančič reminds us that nature is not a pure and full presence before the arrival of the human but an object produced by and for science. The Real is an effect of language: the signifier invades the signified and alters it from within. Finally, and perhaps most mind-blowingly, the human in her formulation is not that which is merely in excess of the animal (dressing it up in language and culture, let’s say) but, rather, an unfinished and dysfunctional dimension: humanity as a veil that simultaneously points and gives form to animal’s ontological incompleteness. 

We cover these complex ideas in the interview, as well as other pressing matters: the disappearance of the hysteric, the desert of the post-oedipal (the only one who managed to escape the Oedipus Complex, Lacan noted, was Oedipus himself), and the status of love at the end of analysis.