#preobjection

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[the-chomsky-hash]

[V. The insertion point of reflection of Merleau-Ponty - cont'd]

[B. Psychology as a process of reduction - cont'd]

2. But this reduction does not have the meaning of the Husserlian reduction:

a. For Husserl, to discover that the world is my world is:

i) to discover myself as a transcendental subject and constituent of the world;

ii) a guarantee that the rational investigation in the form of the apodicticity of this transcendental transcendental subject.

iii) [In the margin:] There can no longer be any question of describing the lived world that it carries within it as an opaque given, it must be constituted. The explanation

lays bare the lived world, on the side of the objective world, which continues with regard to the lived world itself,

lays bare, on the side of the phenomenal field, the transcendental field which will allow me the valid investigation of the regional ontologies

b. For Merleau-Ponty,

i. discovering that the world is

–to discover myself

as being in the world

as an empirical subject open to the world

as crossed by the lines of force of the world

as inseparable from the horizon of the world

–to prevent myself from ever attempting the rational investigation of this preobjective universe.

–[In the margin:] "the world perceived as the radical origin of science"

ii. phenomenology will be [not] science of pre-science, but simply consciousness of this pre-science.

– Michel Foucault, Psychological Themes in the Phenomenology of Husserl and Merleau-Ponty, (Annex), ca. 1952-1955, BnF, Fonds Foucault, NAF 28730, établie par Sabot et Ewald

[savinghypokeimenon]

Represented Objectivities

Literature students will remember ‘Chekhov’s Gun’. In a letter to playwright Aleksandr Semenovich Lazarev, Chekhov warns, “If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don’t put it there.”

Story elements, then, should always do something. This may be true of theatre, where the limits of stage design seem to place special emphasis on each and every object represented. But what about the novel? Or even the short story?

In a literary work, many objects are seemingly just there. For example, on the first page of Tolstoy’s Anna Karenina we read of a ‘morocco sofa’, ‘glass tables’, ‘little carafes’, ‘heavy blinds’, ‘slippers trimmed with gold morocco’, and a ‘dressing gown’. Gene Wolfe’s short story, “The Hero as Werewolf”, opens with an even greater concentration of objects and atmosphere: “nightblooming flowers scented the park air”, “trees lining the paths glowed with self-generated blue light”, “buildings new and old were mountains lit from within”, “a passenger rocket passed just under the stars, trailing luminous banners”. I chose these two books from my shelf at random, but their pages, like those of virtually any literary work, will surely disappoint someone who took Chekhov’s quip too seriously. Represented objects of these kinds rarely become embroiled in the plot.

Then what are they doing? Gerard Genette calls them mimetic, or ‘realistic’ effects. He uses an excerpt from Homer’s Iliad as an illustration: “this shore of the loud-sounding sea, a detail functionally useless in the story, is . . . fairly typical of what Barthes calls a realistic effect. The loud-sounding shore serves no purpose other than to let us understand that the narrative mentions it only because it is there, and because the narrator, abdicating his function of choosing and directing the narrative, allows himself to be governed by “reality,” by the presence of what is there and what demands to be “shown.” A useless and contingent detail, it is the medium par excellence of referential illusion, and therefore of the mimetic effect: it is a connotator of mimesis.”

Useless and contingent details – in Genette’s analysis objects function as a sort of passive backdrop, or ‘scene’. They provide the illusion that we are dealing with a reality.

For contrast, let’s look at what Gaston Bachelard says about ‘useless’ objects in literature. He uses J.P. Jacobsen’s novel Niels Lyne as his example. The author, in describing an autumnal forest “weighted down with red berries”, completes the picture with “vigorous, thick moss that looked like pine trees, or like palms.” Bachelard speaks of being transported by this image: “from one forest to the other, from the forest in diastole to the forest in systole, there is the breathing of a cosmicity.” But his greater point is that represented objects are invitations to dream, taking us out of that world and into another – “Daydreams of this sort are invitations to verticality, pauses in the narrative . . . they are very pure, since they have no use”.

In Bachelard’s phenomenology, objects possess the reader, and, strangely enough, lead us back to a preobjective encounter with a world.

[thisisgraceunderpressure]

Following upon the deflection of the death drive, the depressive affect can be interpreted as a defense against parceling. Indeed, sadness reconstitutes an affective cohesion of the self, which restores its unity within the framework of the affect. The depressive mood constitutes itself as a narcissistic support, negative to be sure, but nevertheless presenting the self with an integrity, nonverbal though it might be. ..... Hence, schizoid parceling is a defense against death- against somatization or suicide.

...

Depressed persons do not defend defend themselves against death but against the anguish prompted by the erotic object. Depressive persons cannot endure Eros, they prefer to be with the Thing up to the limit of negative narcissism leading them to Thanatos. They are defended against Eros by sorrow but without defense against Thanatos because they are wholeheartedly tied to the Thing. Messengers of Thanatos, melancholy people are witness/accomplices of the signifier's flimsiness, the living being's precariousness.

Less skillful than Melanie Klein in presenting a new receptory of drives, the death drive in particular, Freud nevertheless seems drastic. As he sees it, the speaking being, beyond power, desires death. At this logical extreme, desire no longer exists. Desire becomes dissolved in a disintegration of transmission and a disintegration of bonds. Be it biologically predetermined, following upon preobject narcissistic traumas, or quite simply caused by inversion of aggressiveness, the phenomenon that might be described as a breakdown of biological and logical sequentiality finds its radical manifestation in melancholia. Would the death drive be the primary (logically and chronologically) inscription of the breakdown? Actually, if the death drive remains a theoretical speculation, the experience of depression confronts the observer as much as the patient with the enigma of mood.

-Julia Kristeva, Black Sun

[manicdepressivebipolar]

Melanie Klein’s descendants.

A) Margaret Mahler- The concept of Mahler contributed on the mother and child development and also separation. It is a careful observation that starts from birth three years of age. How a child is dependent on the mother, how the child communicates to the mother and the mother responding to cues/ needs of the child and then later on the child progresses and be independent from the mother and can let alone develop an identity of his own. There is this term “preobjects” where the child sees the parent/caregiver important but not yet as a primary attention then later on developing into a closer bond with mother until the child reaches at a certin month to search for autonomy of his identity, physical aspects and ego.

B) Heinz Kohut- Kohut’s view was simply, a child should be physically and psychologically healthy and by that implementing narcissistic needs on the child then it is said to believe that it develops a healthy personality for the child because children, according to Kohut are naturally narcissistic but this practice should discontinue upon growing up and the child needs to be practice in seeing closer reality situation. The idea of Kohut may have contributed to the complexes developed during childhood, Phantasies and also on the defense mechanism relating self esteem that if the psychological practice is not implemented from Kohut’s view then there would be a developing problem to the child’s self esteem and would create or elicit their defense mechanisms.  

C) John Bowlby – Bowlby’s view was to bring about a more measurable, observable and falsifiable theory which was the Attachment Theory. This theory aims to portray the behavior of the child around with a caregiver and without. Bowlby emphasizes that relationship is not a trait, it is a two-way-street, the caregiver and the infant should be congruently working for a better relationship. It modified the theory of Klein whereas the complexes strongly shows relationships and attachment to the caregiver, how one child may be influenced to a caregiver’s showed actions.

D) Mary Ainsworth – In my opinion, the theory of Ainsworth has strengthened the theory of Klein by using the Strange Situation as a  strength in defining the “positions” that was theorized by Klein. By using the three attachment style rating as an observable experiment. Congruent to paranoid-schizoid and depressive.