Search Result for “Psyche”

Failed witnessing: The Drowned and the Saved

The pivotal function of the moral third in relation to collective trauma is constituted by the acknowledgment of violation by the others who serve as witness. At a social level this role is played by the eyes and voice of the world that watches and upholds what is lawful by expressing, at the least, condemnation and indignation over injustice and injury, trauma and agony endured by the victims. The suffering or death of the victims is thus dignified, their lives given value. Their lives are worthy of being mourned, as Butler (2004) termed it, they are grievable lives. In other words, they are not simply objects to be discarded. Given the state of media proliferation, victims the world over know whether their suffering is seen and regarded; they can ask in despair, Why is no one paying attention as we die here? …

In this paper I make an effort to blend with my theoretical perspective some of my experience traveling in many parts of the world to places where my colleagues are struggling with the effects of violence and collective trauma either in the present or its aftermath. In addition to psychoanalytic thinking I will bring some of my experience with dialogue in the Middle East to bear on these issues.[1] This represents an effort to show the possibilities for applying psychoanalytically derived concepts to social phenomena, and suggest ways in which recognition theory can be used to grasp deep psychological structures within both collective and individual processes. …

Two films frequently cited together on the best films lists for 2013 were Gravity and All is Lost. As many reviewers noted, the films featured isolated individuals up against the cold, impersonal forces of the universe — the dark void of outer space for Sandra Bullock in Gravity and the dark depths of the Indian Ocean for Robert Redford in All is Lost. Less noted was a crucial difference between the two films: Sandra Bullock survives and Robert Redford dies. Intrinsically connected to these outcomes is another difference: Gravity is the story of a woman; All is Lost is the story of a man. Through examining this difference we can learn how contemporary film achieves its effects through mobilizing unconscious mythic and archetypal images, especially those concerning gender.

In both films the main character is faced with the ultimate existential crisis: imminent death. In both films the characters are resourceful and draw on considerable inner resources in their struggle to survive. In both films the essence of the struggle lies in the characters’ efforts to connect with other human beings. …

When I was a kid in the 1960s one of the big questions I remember being tossed about was what to do with all of the free time that modern society would afford us. That there would be a virtually unlimited horizon of material abundance and thus leisure, and how best to use it, was a topic of talk in the media and at dinner. Year after year, union contracts (back when there were such things) negotiated increasingly generous benefits, including substantial time off from work. John Kenneth Galbraith’s 1958 classic The Affluent Society set the terms of the conversation early on by challenging Americans to muster the country’s broadly experienced largesse, made possible by the productive capacity of modern mass manufacturing, to serve the larger social good. Lyndon Johnson’s Great Society was subsequently founded on the notion that widespread wealth, and along with it leisure, were faits accompli…