Search

Relevance. Considering the broad influence of generative artificial intelligence, in particular ChatGPT, in society, this article explores an insufficiently studied topic – ethics of artificial intelligence based on psychoanalysis. As artificial intelligence begins to shape the structure of human relationships, the study emphasizes the need to understand the ethical essence of emerging relationships mediated by artificial intelligence. Aim. To examine the interaction of a subject with artificial intelligence, which holds the potential for perverse dynamics of the subject. This is obvious in the context of positioning ChatGPT as «another», spared from the «name of the Father», which gives the chatbot an access to a non-normative sphere of the symbolic. Thus, allowing the subject to enjoy the mistakes of artificial intelligence as if they were made by the subject himself. This leads to a situation of "excluded inclusion", characteristic of the perversion structure. Methods. The psychoanalytic theory of Z. Freud and J. Lacan, presenting a new perspective on how artificial intelligence, viewed as the «another», can change a person's subjectivity; general philosophical methods, in particular, hermeneutical. Results. The study asserts that the subject enters into a «double» perversion relationship when interacting with ChatGPT – on the one hand, due to the proximity of artificial intelligence and the Lacanian concept of «undead», freed from the interaction of symbolic-real relationships, on the other hand, due to the subject receiving pleasure from the mistakes of artificial intelligence. An important result of the study is the articulation of an argument regarding the negative impact of these perverted encounters on the creative potential of the subject, which requires further research on the influence of artificial intelligence on the human psyche and creativity. Conclusions. The study recognizes the irreplaceable value of ChatGPT as a tool for selection, compilation and processing of data in modern society. Nevertheless, the scientific community, especially researchers in the humanities, should pay special attention to psychoanalytic perspectives of artificial intelligence research outlined by S. Zizek, N. Chomsky, D. Rouselle and M. Murphy in their 2023 discussion. This highlights the importance of analyzing the ethical implications of artificial intelligence in relation to the unconscious work and the psyche of the subject. Thus, this article is a significant addition to the discourse on artificial intelligence in the light of psychoanalytic theory, especially in the context of understanding the consequences of the emerging relationship between artificial intelligence and humans.

This essay is a theologico-philosophical meditation on Bruno Schulz, focusing on his “love for the marginal”: a special attention paid to tandeta, in other words all things trashy, located on the eponymous edges of the world, far away from the center. Contrary to the assumed mode of interpretation, which reads Schulz’s fascination with the “dark forces of life” in terms of the depth subversive toward the surface, I propose a different scheme: an opposition of center and edges/margins, deriving from the Kabbalistic metaphysics of Isaac Luria, which constituted the primary matrix of the Hasidic Kabbalah, known to Schulz as the member of the pre-war Drohobycz Jewry. I then juxtapose Schulz’s intuition of a life thriving on the cosmological margins with Freud’s early theory of the drives, especially his concept of perversion as a “libido on the edge.” In both writers we find a similar echo of the spatial Kabbalistic imagining of the relation between the emptied center and the rich diaspora of life, dispersing and multiplying on the fringes of the “cosmic exile.”

The article attempts to examine Pier Paolo Pasolini’s film Salo, or 120 Days of Sodom, not only as an adaptation of Marquis de Sade’s work, but as a possible response to the problems of modern society, which reanimates fascism, no longer as political ideology, but as a “natural” form of contemporary human sensibility. Relying on his original “semiology of reality,” the expression of which is cinema, Pasolini’s film embodies the non-political logic of fascism as the logic of perversion, hidden behind the facade of political ideology. The article shows that Salo consistently contradicts the key principles of cinematic expressiveness of Pasolini’s theory itself, which focuses on moments in which “reality” reveals itself (acting as life itself). As a result, the film connects the unconnected - the shock of scenes of torture and sexual violence with a cultural allegory that anesthetizes effect of visual violence. For Pasolini, both violence and culture are mechanisms for analyzing the ephemeral substance of power, which inevitably generates some form of fascism and perversion, while de Sade is the discoverer of the basic sensual (plastic) syntagmas of power, embodied in the figure of the libertine. The sadistic libertinage, which combines the idea of freedom and the practice of torture, finds itself at the very heart of contemporary politics, its operative unconscious.

The notion of maternal criminal behaviour is often unacknowledged due to the cultural idealization of the maternal role. The societies’ tendency to glorify motherhood serves to disregard the idea of female subjectivity and the necessity of developing a distinctive identity. Perverse behaviour is ascribed to the disturbances in mother-infant relationship at early developmental stage. Lack of emotional fulfilment in mother-child relationship can lead to a sense of anger and the desire to inflict pain on an object or a person. While in male perverse behaviour, the perpetrator of the perverse act shows an urge to hurt others, in the case of female perversion, the individual often turns this anger against herself or her own baby. This indicates a symbolic attack on the maternal body. This paper aims at investigating the idea of female criminality in Gillian Flynn's Sharp Objects with particular attention to Estela Welldon and Anna Motz's views about female perversion. It will be argued that the different instances of perverse acts such as self-cutting, child abuse, infanticide and murder committed by the female characters in the novel are the consequences of abusive mothering as well as the societies' tendency to glorify the notion of ideal motherhood.

The aim of this paper is to examine and analyze the main characters in Ian McEwan's novel The Comfort of Strangers (1981) in the light of the overarching theme of the novel, that is, how unconscious or conscious desires lead to violence and destruction. Jacques Lacan's psychoanalytic theory comprises the main theoretical framework of the paper. More specifically, his concepts of the symbolic order and clinical structure of perversion serve as an analytical tool for the analysis of characters. Therefore, the main hypothesis of the paper is that McEwan's characters, the problems of sexual violence and unrecognized desires can be analyzed and explained through Lacan's theory of perversion and symbolic order. What Lacan's theory illuminates in the context of the novel is that characters' unconscious motivations and drives formed during their earliest experiences, if left unrecognized and unaddressed, lead to violence and destruction.

En este artículo se presenta una refexión derivada de la investigación: Léxico juvenil y Pedagogía alternativa en la Educación Media. Implicaciones flosófcas. Constituye una mirada pedagógica a partir de los resultados del análisis de un corpus lexical y las concepciones del mundo educativo, social y discursivo, experimentado por los estudiantes de tres instituciones públicas en Pereira-Risaralda. A partir de los resultados, el objetivo de este trabajo es proponer una refexión sobre cuatro características emergentes de la pedagogía, fundamentada en la visión flosófca premetafísica y posmetafísica, por un lado, y en el enfoque pedagógico crítico, por el otro. Se asume la importancia de la perspectiva juvenil y el compromiso docente en los procesos de enseñanza-aprendizaje, tanto en tiempos de educación presencial como remota. Se concluye en la necesidad imperiosa de implicar los discursos flosófcos poco privilegiados en la historia educativa de occidente, en tanto establecen nociones edifcadoras para la pedagogía crítica contemporánea, que, en todo caso, puede aplicarse en ambientes de aprendizaje presenciales o virtuales, tanto en tiempos de “normalidad social” como en tiempos de pandemia.

Rocío Silva Santisteban (Lima, 1963) is the author of the poetry book Las hijas del terror (2007). This book addresses the complicated situation that women had to face as victims of the political violence that swept through Peru in the 1980s. In this situation, women were violated both by subversive movements and by state repression apparatuses. Silva Santisteban sets out to narrate this horror from the perspective of the women themselves, positioned as victims in these political confrontations. The purpose of this article is to analyze «BAvioLADA», one of the most representative poems of Las hijas del terror. The hypothesis to be demonstrated is that this text presents a staging of the treatment that women underwent in the context of the internal war, in which they were reduced to a sexual object, not only by members of subversive movements, but by the members of the Peruvian Armed Forces.

This paper addresses "The concept of (Anomalous Recitation) and (Recitation Adopted by Collective of Quran Reciters) in Quranic Recitations according to Al- Farrā's "Maani Al-Quran". Such paper clearly reflects on both terms according to Al- Farrā through examination and analysis of recitations addressed by Al- Farrā in multiple ways and listed as a recitation that is not commonly used, that is to say, anomalous recitation. The paper, as well, reflects on correct recitations commonly used by a great number by reciters, that is, recitation adopted by collective of Quran reciters. Thus, Al- Farrā provides the basis for definition of both terms. In addition, he provides a clear definition for the pillars of correct recitation, which scholars of Quranic Recitations adopted thereafter. The paper basically consists of two themes preceded by an introduction and followed by a conclusion that sums up its results. The first theme addresses the concept of anomalous recitation. It comprises three titles as follows: "circumstances of anomalous recitation permissibility", "Recitations that are linguistically correct but may not be used" and "Adoption of Anomalous recitation in Quran interpretation". The second theme reflects on the Concept of Recitation Adopted by Collective of Quran Reciters. It consists of two titles: "Recitation Adopted by Collective of Quran Reciters Vs Correct Recitations" and "Recitation Adopted by Collective of Quran Reciters Vs Anomalous Recitations". عنوان هذا البحث:" مفهوم (الشذوذ) و (العامّة) في القراءات عند الفرّاء في معاني القرآن". يبيِّـن البحث مفهوم هذين المصطلحين بوضوح عند الفرّاء في كتابه معاني القرآن بدراسة القراءات وتحليلها التي تناولها الفرّاء بطرق متعددة، وتندرج تحت القراءة التي لا يُقرأ بها مما يدخل في مفهوم (الشذوذ)، أو القراءات الصحيحة المشهورة للكثرة من القراء التي تدخل تحت مفهوم ( العامّة)، والفرّاء بهذا يؤسس لتعريف هذين المصطلحين ويضع حداً واضحاً لأركان القراءة الصحيحة الذي سار عليه علماء القراءات فيما بعده. وجاء هيكل البحث في مبحثين تسبقهما مقدمة وتقفوهما خاتمة لخصت نتائجه . الأول: مفهوم الشذوذ، وفيه ثلاثة عناوين: التصريح بالشذوذ، وقراءات تصح عربية ولا تجوز القراءة بها، وحمل القرآن على الشاذّ. الآخر: مفهوم العامّة، وفيه عنوانان: قراءة العامّة مقابل قراءات صحيحة، وقراءة العامّة مقابل قراءات شاذّة.

Texto original: C. Edward Robins, “Joker, Coronavirus & Trump”, (Inédito). Traducción a cargo de Catalina Reyes Silva, Licenciada en Lenguas Modernas de la Pontificia Universidad Javeriana, Colombia, con correcciones de Mariana Colmenares, psicoterapeuta de la clínica de Charles Edward Robins en New York, Estados Unidos.

This article adopts a psychoanalytic perspective and argues that users are in a perverse relationship with contemporary platforms. Following a review of recent critical scholarship on datafication, which places too much emphasis on platforms and situates users as helpless, the psychoanalytic concept of perversion is introduced. Perversion describes a relationship that is characterised by dominance, exploitation and dehumanization as well as care, love, and idealization. While the pervert (the platform and its owners and developers) is the perpetrator, the other (the user) is also actively participating in the perverse relationship. Contemporary relations are thus marked by foregrounding connectivity, convenience and communication which mask the violence of datafication. Such relations are upheld, because users affirmatively reproduce them by using highly attractive platforms which are customized for each individual. Psychoanalysis can thus offer a complex conceptualisation of the interplay between affirmation, attraction and exploitation that is immanent to platforms and users today.

Un texte de Freud, « Ein Kind wird geschlagen » : « Un enfant est battu », publié en 1919, représente généralement le texte paradigmatique de référence sur la question du fantasme, dans l’optique freudienne, en même temps qu’il ouvre sur tout un pan théorique et analytique à propos de la relation entre sémiotique et psychanalyse. Dans ce texte, l’analyse freudienne n’est plus systématisée en fonction du modèle de l’interprétation du rêve, mais propose un autre modèle d’analyse où vient jouer l’articulation entre sujet de l’énonciation et sujet de l’énoncé, logique grammaticale et logique du fantasme, quand le fantasme se résume à une formule qui lui donne une forme verbale cependant tronquée ou elliptique. Parce qu’elle est envisagée sous l’angle de sa forme verbale, la formule du fantasme semble communiquer directement avec le fantasme tel qu’on le trouve sur le plan de l’écriture. Cependant, c’est aussi à partir de là qu’un certain nombre de questions se posent. Partant de l’œuvre autobiographique de l’écrivain japonais Yukio Mishima, Confession d’un masque, publié en 1949, cet article propose de mettre à l’épreuve les points de contact, mais aussi les points de rupture, entre la formule du fantasme, telle que Freud se la représente, et la déliaison littéraire du fantasme, telle qu’on la trouve dans l’œuvre de Mishima.

La reflexión se centra en la serie de fotografías de Hans Bellmer realizadas a su muñeca en los años 30'. A través de ella, surge la pregunta sobre la posibilidad de empatía hacia el objeto de deseo. Esta criatura es, además, una transgresión de numerosos tabús, por su infantilidad, por el martirio y metamorfosis físicas (con la superposición de los senos y el sexo) y por la humillante obscenidad con la que es presentada (acorralada, sola o expuesta desnuda en un bosque). Para comprender mejor la relación que se genera con esta alteridad se utiliza la teoría de la dialéctica de la mirada de Sartre.

As virtuous leadership appears to be under severe pressure in all areas of life, it is the aim of this article to determine whether this biblical axiom holds suitable and valuable guidelines to counter contemporary leadership traps and assist leaders not to succumb to ambitious leadership cravings. The article determines whether the biblical axiom, the first shall be last and the last shall be first (Mt 20:15–16), holds the capacity to invert the corrupt pressure-cooker drives for both religious and secular leadership ambitions. It examines the biblical and ethical wisdom of this teaching as well as the authoritative relevance it holds for leadership formation and practice. It determines whether a biblically infused value system still contains the moral capacity that contributes to the observance of resonant and ethical leadership capable of reversing pervasive situations of corrupt and incompetent leadership. In addition, the article contemplates the Christian weight of this biblical axiom to place those who are last, first in the service of leadership. In the same vein, it examines some of the ‘leadership traps’ experienced by persons who occupy lay, clerical, professional and secular positions. It endeavours to offer reflective biblical, moral and spiritual solutions that arise from the spirituality offered by Matthew 20:16 to current leadership demises. Contribution: The theme of the Leadership conference where this article was presented was the biblical verse: ‘The first shall be last and the last shall be first’ (Mt 20:15–16). The article focuses directly on the implications of the biblical axiom and relate, as well as, translate it to leadership difficulties as experienced today.

Perversion is one of the three fundamental diagnostic categories that Lacan has proposed. In perversion, the first paternal function is achieved so that the alienation takes place, however, the secondary father function, “The name of the father” is not recognized, thus the person cannot be separated from their mother. This subject is included in the symbolic system with alienation, but the subject’s position is the mother’s object of enjoyment due to not being separated. Disavowal is seen as the mechanism in the formation of perversion, while defence mechanisms are defined as one’s reactions to castre. In the disavowal mechanism, the person both knows and rejects castration. Hence, one can accept two opposing ideas at the same time. The main purpose of this study is to exemplify the disavowal mechanism in the therapy process by compiling information about Lacanian perverse structure and disavowal mechanism, while sharing information for therapy process by summarizing a case using the disavowal mechanism. Therefore, in this article, Lacanian perverse structure and the mechanism of disavowal will be explained. Then, a case that was formulated in this framework will be introduced and the mechanism of disavowal will be exemplified. In the last part of the article, recommendations for the therapy process will be given.

Este artículo estudia El sexto (1961) de José María Arguedas. Nuestro objetivo es demostrar que el autor de esta obra pretende evidenciar, que el capitalismo emplea la cárcel y los reclusos encerrados en este lugar para someter, controlar y castigar a aquellos que se atreven a oponerse a su influencia en el Perú. En este sentido, no se trata solo de una novela carcelaria, en la que se evoca una experiencia particular desgarradora, sino de un texto político en el que se pone de manifiesto algunas de las estrategias, instrumentos y mecanismos que se utilizan para doblegar la voluntad de los individuos insurrectos a dicho sistema.

The objective of this work is to propose a reflection on the personality of women who suffer gender-based violence, to verify whether this aspect is based on psychopathological traits, as highlighted by the major current nosographic systems. We examine the dependent organization of personalities by describing their main characteristics, starting also from the first descriptions started with Kreapelin, to the last ones, related to Swap II and DSM5 and understand that these cannot actually represent the only answer that explains the reasons that lead a woman not to notice the violence she suffers. The proposed question leads the author to consider other closely related issues, such as those related to masochism, aggression and violence, in addition to the possibility of being able to take into consideration further hypotheses of authors who, while moving in the psychoanalytic field, do not fully embrace the deterministic aspect.

Insertion of objects/stuff in bodily orifice is not unusual. There are many causes of penetration of bowel with different objects inserted via anus as to achieve sexual pleasure, to satisfy lust, self-injury, malingering and human trafficking is known for centuries. There are different household products used by the people to satisfy their lust/sexual desire but the objects/stuff used for this purpose mainly cylindrical and a type of soft texture. These objects are known for potential damage to gastrointestinal tract but it also affects other parts of the body and may create different inner complications, which needs to be evaluated and managed accordingly. Sometimes, management only requires local intervention, but if complications are build up like perforation develop needs laparotomy, broad-spectrum antibiotic therapy, repair of perforation with or without colostomy.

El artículo se ocupa de la obra de Leopoldo María Panero como traductor, sobre todo a partir de la publicación de su Visión de la literatura de terror anglo-americana (1977), clave para entender aspectos fundamentales de su concepción de la literatura y de su producción lírica. Entre ellos, destaca la idea de perversión, según la cual traducir (y, en cierta forma, escribir) consiste en poner en riesgo el sentido del texto original a fin de perfeccionarlo, contribuyendo así a la gestación del “Último Libro”, siempre por escribir.

El artículo se ocupa de la obra de Leopoldo María Panero como traductor, sobre todo a partir de la publicación de su Visión de la literatura de terror anglo-americana (1977), clave para entender aspectos fundamentales de su concepción de la literatura y de su producción lírica. Entre ellos, destaca la idea de perversión, según la cual traducir (y, en cierta forma, escribir) consiste en poner en riesgo el sentido del texto original a fin de perfeccionarlo, contribuyendo así a la gestación del “Último Libro”, siempre por escribir.

La existencia de las perversiones femeninas era una realidad reconocida en los discursos psiquiátrico y jurídico alemanes en el siglo XIX, cuya diferencia con las perversiones masculinas era el estar exenta de consecuencias legales. Contrario a ello, Freud pensó la función de la perversión a propósito de lo que se pone en juego en el hombre y la mujer de cara a la presencia o ausencia del atributo fálico. En esto coincide Lacan, pese a que a nivel etiológico recurra a la lógica del no-todo para explicar por qué La (Tachado) mujer divide su ser entre su papel complementario en el fantasma masculino, afín con la perversión; y lo que como sujeto del inconsciente ella es del lado del no-todo fálico, en donde el goce Otro es algo contingente cuyos avatares hacen que una mujer sea por entero ajena a la perversión en cualquiera de sus modalidades.

The Norwegian-Australian artist Bjarne Melgaard has become known for his lavish, hedonistic displays that defy all norms associated with sexuality, substance abuse and art. Claiming that his art does not need to be compelling, since a Melgaard painting is “not about what we observe, but a painting that observes us,” Melgaard radically reformulates the surrealist posture in a way that obliterates the artist as subject. When Melgaard admits to terrible pangs of paranoia we should not be surprised that his projected new home carries the title “A house to die in,” echoing both the artist’s creative vision and his self-perception as a mortal subject. Originally situated on the ground where the progenitor of Norwegian plastic arts, Edvard Munch, lived and drew his famous oak trees, it generated lively debate about the respective artists’ place in Norwegian cultural history and the way they relate to their natural and social contexts. This paper sets out to understand Melgaard’s art in light of three relations between art and its creative subject. While to Jacques Lacan we relocate ourselves as whole subjects when we reaffirm the father as law-giving instance, Martin Heidegger’s suggestion was that the subject can truly only encounter itself in so far as it is ecstatically outside itself. Ultimately, Melgaard’s destiny turns out to be analogous to that of a dominant trend in contemporary art as such. As Slavoj Žižek points out, his kind of opportunistic, permanent transgressivity can only lead to dullness and deadlock. Can the end of Melgaard’s personal housing project usher into a new era beyond this deadlock?

Reseña libro: Salecl, Renata. (Per)versiones de amor y de odio. México, D. F. Siglo XXI, 2002. 206 páginas.

The main idea of this paper resides in the conception of masochism as a cultural and literary phenomenon, since only in this way becomes possible to give an account of the complexity thatcharacterizes it and their functioning as a form of subjectivation. The issue of masochism, from the viewpoint of its psychological use, consists in its blurred status as clinical term ¿is it descriptive or explicative? In the first case ¿what doesit describes? Not only a behaviour or a reflex reaction to pain, since flagella-tion, as a purely physiological sexual stimulus is something different, called "algolagnia". Masochism constitutes a "disease" of imagination, since its main feature isto describe a fantasy, a literary scene. Sacher-Masoch's novel Venus im Furs became a referent for European maso-chists by exhibiting a voluptuousness linked to a paraphernalia of furs, dogs, horses, knifes and heels. These fantasies were not created, but re-appropriated by him; they were already present in the testimonies of the psychiatrist Krafft-Ebing's patients, in his work Psychopathia Sexualis. Havelock Ellis, Krafft-Ebing, Féré, Freud and Sabine Spielrein developed the idea of sadomasochism as double-sided explicative device, among others. Departing precisely from Sacher-Masoch's novel, the French phi-losopher Gilles Deleuze offered an interpretation of masochism as the oppositeof sadism. Masochism was therefore incompatible with sadism, and not its complementary form. If the analysis of literary language high-lights that the order of sadist literature is that of the institutionalization of abuse, the language of masochism is marked by the sign of the contract and the agreement.

The paper will present the art of one of the most interesting authors of Hungarian literature, Katalin Ladik – from the aspect of creating the inorganic metaphor. The Voivodinian and Ex-Yugoslavian neoavantgarde scene will be discussed, especially the authors and relationships of the magazine Új Symposion from Novi Sad (Újvidék). The parallel with the Hungarian experimental art is important as well. The paper analyses the private mythology, autonomous artworks, and mystical anarchy of Ladik from the aspect of perversion, “not hygienic” and transgression. In conclusion, the paper will analyse the works of some young ontemporary authors, in whose works the explosion of trope figures excites similar vibrations as in Ladik’s works.

The production of knowledge, undoubtedly, has become the mainstay of current university systems. In this sense, this article analyzes the specific techno-discursive practices of these centers. Moreover, we are witnessing the end of an hermeneutical circle to the emergence of a vicious circle. This fact, understood as the autonomy of discursive systems that fold around its own axis, it is the achievement of a draft hyper-specialization that takes root in the European university system since the advent of German Romanticism. Therefore, to account for this process, it will inquire into the constitution theoretically self-recursive discursive systems as well as the link established between knowledge and truth as foundational axis of modernity. Subsequently, a historical tour will be made by the ancient Greeks in order to perform a brief genealogy of perverse speech games. Finally, we will raise a couple of illustrative examples relating to our society.

The concept of perversion in Freud's work is marked by different times to realize a gradual process of complexity whose starting point is the questioning of the evil as purely phenomenological, after which emerges the psychic plane and thus then the notion of perversion as oedipal product which underlies the mechanism of disavowal, this being the notion that in its articulation with femininity grounds the question of the status of perversion in a woman under which motherhood and masochism appear as ways to think about the matter.

La presentación de una obra reciente,sobre síndromes descritos duranteel siglo pasado, reagrupados bajola etiqueta, un poco abusiva, depatologías ficticias es la ocasiónde mostrar que una de las característicasdel malestar en nuestracivilización puede aprehenderse,no en relación con la “incompletud”o la “dimisión” del Otro, sino,al contrario, en esa impostura queconduce a cualquier “pequeñootro” a ocupar con complacencia ellugar del “gran Otro”, sin embargo,destinado a permanecer vacante.

Abstract This paper discusses the affect of images, focusing on the notion in the art and theory of the fifteenth and sixteenth centuries that movement in painting corresponds with (emotional) movement in the spectator and with the imagination or creativity of the artist. It addresses the work of Signorelli, Morto da Feltro, Pinturicchio, and Sodoma (c. 1500) and, in particular, their grotesques. This art form, which became remarkably prolific in fresco decorations of the villas and palaces of the sixteenth century, was appreciated as a figuration of movement, understood both literally in terms of the grotesque’s composition as a figura serpentinata and metaphorically as generated by the turbulent imagination of the artist. It is argued that grotesques constituted a field within the visual culture of the time that, due to its marginality and its investigation of metamorphosis and monstrosity, challenged the boundaries between image and spectator and explored the creative power of the artist.

This paper discusses the affect of images, focusing on the notion in the art and theory of the fifteenth and sixteenth centuries that movement in painting corresponds with (emotional) movement in the spectator and with the imagination or creativity of the artist. It addresses the work of Signorelli, Morto da Feltro, Pinturicchio, and Sodoma (c. 1500) and, in particular, their grotesques. This art form, which became remarkably prolific in fresco decorations of the villas and palaces of the sixteenth century, was appreciated as a figuration of movement, understood both literally in terms of the grotesque’s composition as a figura serpentinata and metaphorically as generated by the turbulent imagination of the artist. It is argued that grotesques constituted a field within the visual culture of the time that, due to its marginality and its investigation of metamorphosis and monstrosity, challenged the boundaries between image and spectator and explored the creative power of the artist.

Sexualidad y perversión son palabras clave de la mayor parte de las obras de la antología El futuro no es nuestro. Nueva narrativa latinoamericana. Leyendo el libro, se perfila la pregunta de la frontera entre literatura y pornografía. Para poder responderla, es indispensable establecer una tipología basada en el papel de la sexualidad en dichos cuentos para ver por qué utilizan este recurso los autores contemporáneos en sus obras narrativas, también intentando buscar una justificación válida al concepto del futuro al que alude el título de la antología. El artículo se complementa con una meditación sobre el papel del lector durante la interpretación de obras pornográficas y su consecuente metamorfosis en voyeur, analizando paralelamente la realidad representada en los relatos.

Esta investigación —realizada sobre la base de las nociones freudianas de perversión y de lo cómico, y utilizando los conceptos lacanianos de goce y falta—: a) propone y justifica la tesis de que lo cómico y el humor son formas de perversión; b) muestra la relación estructural de los modos de lo cómico con el sadismo y el masoquismo e ilustra la tesis con las categorías de Gilles Deleuze; c) propone una teoría de sus relaciones basada en la noción de quiralidad y formula que los dos conceptos son eniantómeros con respecto al sentido de relación entre la propia falta y la del Otro.

É consenso que o laço social, hoje, se organiza em uma montagem perversa. Não temos mais um mestre que governe as ações, as organizações familiares não se organizam em torno do poder paterno, vivemos um tempo da feminilização da cultura e numa lógica capitalista. O discurso capitalista não exige a renúncia pulsional, ao contrário, ele instiga o usufruto do gozo e o outro é reduzido a objeto. Isso determinou uma mudança na economia pulsional, na forma de cada um lidar com a realidade externa, que passou a ser mutante, e na fenomenologia discursiva. O gozo na linguagem está em mostrar com a palavra, em produzir um discurso imagético.

Este artigo discute os efeitos do desmentido (Verleugnung) do perverso sobre o outro, a coletividade, destacando seus possíveis endereçamentos. Trata-se de uma pesquisa ação realizada em uma unidade de Saúde da Família em Recife (PE). Os participantes foram agentes comunitárias de saúde em grupos reflexivos. Problematizou-se um fragmento clínico em que uma criança era abusada por um perverso. Destacou-se a necessidade de uma intervenção para barrar o gozo do perverso e libertar a criança.

Elas têm vinte, trinta, quarenta ou setenta anos, e possuem a particularidade de terem conservado um objeto transicional, um "doudou", pequeno pedaço de tecido ou pelúcia surrada remontando à primeira infância, que lhes proporcionam uma sensação "única", convocando um sentimento de quietude e de alegria, dos quais elas não podem - nem querem - se abster. Essa persistência do "objeto transicional" abre uma dupla interrogação sobre, de um lado, a natureza e o estatuto desse objeto e, de outro lado, a existência de um fetichismo específico, próprio ao sexo feminino, convocando, desse modo, um erotismo singular.

Este artigo parte da hipótese que toda produção no campo da arte coloca em cena, necessariamente, uma transgressão. A arte precisa de uma transgressão que busque tencionar os códigos instituídos abrindo espaços para novas significações. Contudo, nem toda transgressão é perversão. Este artigo busca fundamentar esta tese discorrendo sobre alguns fundamentos do ato de criação mostrando suas interfaces com o discurso psicanalítico.

A questão do sexo da perversão resulta de uma problemática necessariamente social. Perversão polimorfa, perversão patológica, perversão estrutural, são as três modalidades de abordagem que nos interessam aqui para cruzar as noções de sexuação e de perversão. A perversão tem um gênero, isto é, pertence especificamente a um estilo masculino ou feminino ou existe por um lado uma perversão masculina e, por outro, uma perversão feminina?

Pretende-se examinar a origem de uma palavra - narcisismo - levando em consideração as primeiras descrições clínicas e teorias associadas a ela. Trata-se, por meio de uma visão diacrônica, de acompanhar - e de interpretar - a montagem de um quadro clínico psiquiátrico do final do século XIX que se edificou ao redor dessa palavra. Para isso, os autores operam um retorno aos textos dos primeiros teóricos do narcisismo - Alfred Binet, Havelock Ellis, Paul Näcke e Richard von Krafft-Ebing -, evidenciando como cada um concebeu essa noção. Isso permite uma revisão do que consta no verbete narcisismo, encontrado principalmente nos dicionários de psicanálise, sobre a origem desse conceito.

Propomos estudar primeiramente certos aspectos do discurso capitalista, aproximando-os dos processos perversos da clínica do sujeito para, em seguida, questionar a dimensão da moral e da construção social. Apoiaremo-nos em algumas pesquisas experimentais sobre a submissão à autoridade, bem como sobre algumas questões postas pela filosofia moral em termos de "dilemas", a fim de avaliar os efeitos de divisão subjetiva. A orientação perversa parece ser aqui um motor essencial, fazendo passar, em nome do Outro, um gozo que não diz seu nome, um gozo desmentido.

No presente trabalho, propomos discutir situações em que o lugar conferido ao adotando no discurso familiar evidencia que a criança é pensada na relação como um objeto de consumo. Que elementos encontrados nesses casos nos permitem pensar sobre desejo de filho e perversão? Haveria uma tentativa de produzir um Outro completo? Diante disso, abordamos questões relacionadas ao perfilhamento, aos elementos que possibilitam a instauração do lugar de filho, dos lugares de pai e de mãe, visando refletir sobre demandas perversas na adoção, considerando as relações entre sujeito e Outro.

A partir de clássicos da literatura, cotejados com a leitura de Jacques Lacan, o artigo aborda as contribuições deste campo para a clínica psicanalítica concernente ao estudo da perversão. Neste momento da pesquisa, propomos a discussão de quatro obras: A filosofia na alcova, escrita pelo Marques de Sade, Em busca do tempo perdido, de Marcel Proust, Lavoura arcaica, de autoria de Raduan Nassar e Finnegans Wake, de James Joyce.

Il est incertain de caractériser une personnalité perverse, de la définir comme structure. Il peut sembler encore plus audacieux de considérer ungroupe comme pervers et a fortiori de l'étendre à une organisation, sauf à identifier les fonctionnements récurrents qui s'apparentent à la perversion: utilisation d'autrui, retournement, négation de l'altérité.Comment situer la limite entre pathologie et déviance, entre ce qui relève de la structure ou de la relation, de l'individuel ou du collectif ? Autant de questions qui trouveront quelques éléments de réponses dans l'analyse de la genèse et de l'évolution d'une organisation à fonctionnement charismatique.

El presente texto busca analizar la novela mexicana Los días terrenales, de José Revueltas, desde un enfoque ecfrástico que permite ampliar las semantizaciones y sentidos del relato. Propongo una lectura que (re)valore los elementos extratextuales (espacios otros, carteles, pinturas) presentes en la novela con el fin de dilucidar cómo los recursos ecfrásticos develan una distorsión análoga a la de los protagonistas. Así, se revisará que en Los días terrenales la obra de El Greco, un cuadro de Georges Braque y un afiche político poseen una gran densidad simbólica que apuntala la perversión implícita en toda la narración. This text seeks to analyse the Mexican novel Los días terrenales by José Revueltas from an ekphrasis approach that allows to expand the meanings and senses of the story. I propose a reading that (re)assess the extra textual elements (spaces other, posters, paintings) presents in the novel in order to elucidate how ekphrasis resources unveil a distortion similar to the protagonists. Thus, it is devoted to the review that Los días terrenales the work of El Greco, a painting by Georges Braque and political poster have a high symbolic density that underpins the perversion implicit throughout narrative.

Este artigo propõe discutir a existência de mulheres estruturalmente perversas a partir da teoria psicanalítica por meio das contribuições de Freud e Lacan. Inicialmente, ao estudar a perversão, há a dificuldade de isolá-la como uma estrutura específica distinguindo-a da psicose e da neurose devido à manifestação polimorfa-perversa da sexualidade humana. Entretanto, uma das questões mais discutidas é se há mulher na estrutura perversa, ou se ela é restrita apenas aos homens.

Since Plato, the mirror has been serving as the metaphorical object symbolizing for the philosophical tradition the access to self-knowledge. It thus becomes associated with virtue. But a little story reported by Seneca in his Questions on nature illustrates another use of that object as it becomes an instrument of perversion. The chapter he devotes to Hostius Quadra demonstrates the devious and perverted use that can be made of a philosophical precept, transformed into an invitation to abjection.

Este artigo retoma três perguntas lançadas por Freud em 1927, no seu excepcional texto intitulado "Fetichismo", para repensá-las a partir do ensino de Lacan dos anos 1970, conhecido como o campo do gozo. O artigo se serve das fórmulas quânticas da sexuação, para verificar a evidenciação lógica "a relação sexual não existe" na posição sexuada que um sujeito pode ocupar com seus parceiros nas estruturas neurótica e perversa. Interrogamos algumas variantes do sujeito com seu parceiro no gozo e no desejo. Para tanto, retomamos os três tipos de gozo verificados por Lacan na relação do sujeito com o parceiro na posição sexuada: o gozo feminino - também chamado de suplementar e gozo Outro -, o gozo místico e o gozo perverso. Revisitam-se os casos trabalhados por Lacan para questionar o que distingue fundamentalmente o neurótico do perverso, ou seja, retomando as questões introduzidas por Freud.

For over three decades, Jacques Lacan denounced ego psychology for its emphasis on a strong and well-adapted ego. This article recruits the principle of that critique to examine the use of psychoanalytic theories in contemporary art criticism, with specific focus on the subject of perversion, Freudo-Lacanian psychoanalysis, and the work of art critic Donald Kuspit. The discussion examines the main influences and concepts in Kuspit's psychoanalytic criticism, analyses specific differences between this psychoanalytic model and a Lacanian theory of perversion and desire, and considers the effect of these differences in the interpretation of art.

A análise do personagem fictício Dexter permite construir hipóteses metapsicológicas sobre as origens da perversão. A posição perversa nesse caso deve-se à presença maciça de violência nas origens do sujeito psíquico. Dexter expressa o abandono sofrido pela atuação pulsional, os assassinatos em série, tentando inverter o estado de passividade no qual se encontra. Sua angústia pode ser organizada de duas formas distintas: a primeira é consciente, fornecida por seu pai, Harry, que o ensina a não deixar vestígios dos seus crimes. A segunda maneira é inconsciente, e traduz o desejo de submeter o outro à dor, fazendo com que, por meio do mecanismo de identificação projetiva, o perverso desfrute deste sofrimento que provoca, sendo remetido, então, às suas vivências originárias de submissão. Conclui-se que na perversão a angústia não apenas está presente, como também é constitutiva da escolha do sujeito de operar pela via da violência.El análisis del personaje ficticio Dexter permite la construcción de hipótesis metapsicológicas sobre los orígenes de la perversión. La posición perversa en este caso se debe a la presencia masiva de la violencia en los orígenes del sujeto psíquico. Dexter expresa el abandono sufrido a través de una actuación pulsional, los asesinatos en serie, intentando invertir el estado de pasividad en el que se encuentra. Su angustia puede ser organizada de dos maneras distintas: la primera es consciente, proporcionada por su padre, Harry, quien le enseña a no dejar rastros de sus crímenes. La segunda es inconsciente, y traduce el deseo de someter al otro al dolor, haciendo con que, a través del mecanismo de la identificación proyectiva, el perverso disfrute del sufrimiento que provoca, siendo remitido, así, a sus experiencias originarias de sumisión. Concluimos que, en la perversión, la angustia no sólo está presente, sino que es constitutiva de la elección del sujeto de operar por medio de la violencia.The analysis of the fictional character Dexter makes it possible to construct metapsychological hypotheses about the origins of perversion. The perverse position in this case is caused by the strong presence of violence at the psychic subject's origin. Dexter expresses the suffered abandonment by acting-out, the serial murders, trying to reverse the state of passivity in which he is. Dexter's anxiety can be organized in two distinct ways: The first is conscious, supported by his father, Harry, who teaches him how not to leave traces of his crimes. The second way is unconscious and translates the desire of subject the other to pain, allowing the perverse, through projective identification, to enjoy the suffering he causes, being remitted to his originary experiences of subjection. We conclude that in perversion, anxiety is not only present but is also constitutive of subject's choice to operate through the path of violence.

A análise do personagem fictício Dexter permite construir hipóteses metapsicológicas sobre as origens da perversão. A posição perversa nesse caso deve-se à presença maciça de violência nas origens do sujeito psíquico. Dexter expressa o abandono sofrido pela atuação pulsional, os assassinatos em série, tentando inverter o estado de passividade no qual se encontra. Sua angústia pode ser organizada de duas formas distintas: a primeira é consciente, fornecida por seu pai, Harry, que o ensina a não deixar vestígios dos seus crimes. A segunda maneira é inconsciente, e traduz o desejo de submeter o outro à dor, fazendo com que, por meio do mecanismo de identificação projetiva, o perverso desfrute deste sofrimento que provoca, sendo remetido, então, às suas vivências originárias de submissão. Conclui-se que na perversão a angústia não apenas está presente, como também é constitutiva da escolha do sujeito de operar pela via da violência.

Este artigo visa explorar a compreensão ético-estética do fenômeno perverso realizada por Marcuse em Eros e Civilização. No registro ético, destacamos o caráter necessariamente moral da categoria de perversão e seu vínculo com a normatização da experiência sexual, com a disciplinarização e controle dos corpos, no quadro da leitura foucaultiana do biopoder, situando Marcuse como crítico de tais processos em sua ligação com o modo de produção capitalista. No segundo registro, da estética, expomos como Marcuse, através da reconfiguração da relação entre Eros e Logos e da afirmação de um ethos estético, propõe que a perversão sexual implica a contestação da ordem vigente e a produção de novos modos de relações consigo e com os outros, em contraste com a regulação instrumental do erotismo. Por fim, indicamos como o campo de possibilidades aberto por Marcuse no domínio da transgressão aponta para a necessidade de retomar criticamente a categoria de perversão.

In this essay, I suggest an interpretation of Lumpérica (1983) by the Chilean novelist Diamela Eltit, as an aesthetic response to the biopolitical strategies of the neoliberal regime during the Pinochet's dictatorship, as well as in more recent years. Based on the performative actions of a beggar – a figure of social marginality –, the novel enacts an ambivalence that I analyze in relation to space, language and identity, pointing out its “perverting” potentiality in relation to the social and symbolic order.