Formative function of the mirror stage: visual images in their history
| Autor | Lidiya I. Kirsanova - Olga A. Korotina |
| Cargo | D.Sc. (philosophical), professor of department of philosophy and legal psychology Vladivostok State University of Economics and Service Russia - Ph.D. (philosophical), Associate Professor of department of philosophy and religion Far Eastern Federal University |
| Páginas | 1072-1091 |
Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito
Centro de Ciências Jurídicas - Universidade Federal da Paraíba
V. 9 - Nº 04 - Ano 2020
ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index
1072
FORMATIVE FUNCTION OF THE MIRROR STAGE: VISUAL
IMAGES IN THEIR HISTORY.
Lidiya I. Kirsanova
1
Olga A. Korotina
2
Аbstract .In this paper we have
attempted to link at least three concepts.
Firstly, the idea of J. Lacan about the
function of the mirror stage in the
formation of the subject. A detailed
distinction is made between the Eye and
the Glance for new technical means that
did not fall within Lacan’s view –
photographs, videos and movies. The
Eye is geometric: it allows one to build a
plan of the place, a distance to objects in
lines, squares, etc. The Glance masters
the anthropological dependence on Eye,
it immerses the viewer in the content of
the visible: the I never see the Other from
the place where the Other looks at me,
which determines fragmentation of the
subject in the very visional. The second
concept that we have used is that the
ideal I uses a set of figures created by
numerous forms of culture – masks,
puppets, photos, videos and film
sequences, fragmenting a mirror image
1
D.Sc. (philosophical), professor of department of philosophy and legal psychology Vladivostok
State University of Economics and Service Russia, 690014, Vladivostok, 41, Gogolya Street Т.
+7(914)0715606, е-mail: kirsanovalidiya@rambler.ru
2
Ph.D. (philosophical), Associate Professor of department of philosophy and religion Far Eastern
Federal University Т. +7(902) 5558098, e-mail: korotina_o_a@mail.ru
of an individual. The visional fragments
of a partitioned body-image often
connect with the I only externally like I-
consciousness-in outside. The third
concept is associated with the answer to
the question of how the real, the
imaginary, the symbolic are “packaged”
as in the case of relying on quite
traditional forms of culture such as mask,
doll, hand puppet, marionette, and using
new means of “technical
reproducibility” – photographs, video,
movie. Image-statics - from mask to
photo, allows the subject to somehow
piece together one’s self inner image,
which forms the sustainability of the
man’s mental world, while movement
images (video, body and movie eyes),
due to their high image-dynamics, form
the subject of scattering, existing as
external image of oneself.
Periódico do Núcleo de Estudos e Pesquisas sobre Gênero e Direito
Centro de Ciências Jurídicas - Universidade Federal da Paraíba
V. 9 - Nº 04 - Ano 2020
ISSN | 2179-7137 | http://periodicos.ufpb.br/ojs2/index.php/ged/index
1073
Keywords: static images, dynamic
images, mask, photograph, movie, Self-
Other Image, split of ego-subject,
strategies of piecing together and
scattering.
1.TOPICALITY AND
THEMATIZATION OF THE
PROBLEM.
The main issues of visual
culture are the problems of
interpretation, communication, image
rhetoric. The visual turn returns us to the
practices of totemism, fetishism,
animism, i.e. reactivates mythological
layers of consciousness. The urgent
question is how to subjectivize the very
visual image, in any image-picture – a
mask, a doll, a puppet, a selfie photo, a
movie character, etc. the symbolic weave
is subjectified. What the advertisement
wants is everything: money, fame,
power, honors, love, etc. Desire lies in
the very visual image. In one’s history
man has remained a creature of Desire,
the modernity has changed one thing: an
infantile subject does not know what he
wants. The visual image as the View of
the other puts its desire into the
feminized subject, thus playing out the
Master-Slave relationship in the field of
subjectivity. The subject compensates
for the lack of oneself with a visual
image, a monster hero, who constitutes
the subject’s empty space and
individualizes it. Mask, clothing, fashion
make the subject attractive to oneself,
make up subjectivity, at least externally.
2.OBJECTIVE.
What level the lack of oneself
has reached, the identification of oneself
exceptionally externally is evidenced by
the demonization of visual culture
products. In humanitaristics, modernity
is called the society of the spectacle (Guy
Debord), the power of simulacra (J.
Baudrillard), the microphysics of power
(M. Foucault), the dominance of idols
and doubles (J. Derrida), etc. The
objective of the work is an attempt to
scale back the rhetoric of the monstrosity
of visualization, remove a negative
attitude towards images, give to the very
visual products permission to speak in
their history: from masks, dolls, puppets
to their technical photograph amplifiers,
film images, and in methods of
subjectivization, individuation and
individualization .
3.METHODOLOGY AND
METHODS.
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