Posts Tagged ‘ French semiology ’

Roland Barthes – The Incident – from “Empire of Signs” |Evening Will Come

Roland Barthes
The Incident

Evening Will Come.

indra’s net by Donna Fleischer

“Imagine a multidimensional spider’s web in the early morning covered with dew drops. And every dew drop contains the reflection of all the other dew drops. And, in each reflected dew drop, the reflections of all the other dew drops in that reflection. And so ad infinitum. That is the Buddhist conception of the universe in an image.” ~ Alan Watts

“In Hua-yen and Zen Buddhist thought the Net of Indra, which originates in the Sanskrit “Avatamsaka Sutra”, constructs the cosmos as a multi-dimensional array of interrelationships that simultaneously and repeatedly reflect each other and the whole as jewels embedded within each node of the net.” ~ Donna Fleischer

“Indra’s Net”, the book, is housed with the Japanese Museum of Haiku Literature, Tokyo, Poets House NYC, UMASS – Amherst DuBois Library, the Canadian Haiku Society, & the California State Library Haiku Archives at Sacramento.

[indra’s net (bottle rockets press, 2003): 25 haibun by Donna Fleischer, out of print & available free at Scribd http://bit.ly/11V4K9f

Some Notes from Lacan, Kristeva / Hal Foster’s The Return of the Real, The MIT Press: Cambridge, MA, 1996

from Lacan’s essay, Le Stade du Miroir

“Bodies in pieces” refers to the period before “the infant gains for the first time . . . a sense of the ‘total form’ of his body, and conceives the ‘mental permanence of his I’”. In The Mirror Stage our ego is first formed “in a primordial apprehension of our body in a mirror (or any reflection will do), an anticipatory image of corporeal unity that, as infants, we do not yet possess. This image founds our ego in this infantile moment as imaginary, that is, as locked in an identification that is also an alienation. For at the very moment that we see our self in the mirror, we see this self as image, as other. Lacan suggests that this imaginary unity of the mirror stage produces a retroactive fantasy of a prior stage when our body was in pieces — a fantasy of a chaotic body, fragmentary and fluid given over to drives that always threaten to overwhelm us — a fantasy that haunts us for the rest of our life — all those pressured moments when one feels about to shatter.”(from Hal Foster’s The Return of the Real, The MIT Press: Cambridge, MA, 1996) 209 – 210)

Also from Hal Foster (149, 153, & 156, taken from Kristeva’s Powers of Horror, trans. Leon S. Roudiez, Columbia UP, New York, 1982): Kristeva’s abject: “a category of (non)being as neither subject nor object, but before one is the subject (before full separation from the mother) or after one is the object (as a corpse given over to objecthood). The abject is what I must get rid of (throw out)  in order to be an I. Abject art (Andres Serrano, e.g.) is that art in which subjecthood is trouble, is abjection, that is, where meaning collapses (meaning is the temporal passage between maternal body and paternal law). To abject is to expel, separate; to be abject is to be repulsive, stuck; subject enough only to feel this subjecthood at risk.”

These are but a few thoughts, concepts, truths to consider before we rush to judgment about those among us who suffer mentally  and the profession which seeks to touch their wounds in some way, to help them walk away from their isolation. ~ yours truly, df