English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Resumo: O artigo propoe uma articulacao entre Benjamin e Lacan, considerando a proposicao benjaminiana de que qualquer pintura que reivindique o direito a nomeacao deve realizar a entrada da palavra da lingua no meio da linguagem pictorica. A mancha, tal qual Benjamin a concebe, se aproximaria do que Lacan trata nos termos da funcao quadro , que so se realiza com a introducao do olhar como objeto a, do olhar como furo. Benjamin, no tratamento que confere a imagem pictorica, chega a formular que o verdadeiro problema da pintura e que, por um lado, a imagem pictorica se comporta como mancha e, inversamente, a mancha so existe no quadro. O nome e a mancha constituiriam, para ambos, categorias a partir das quais enfrentam problemas que lhes sao caros e que giram em torno do estatuto do nome. Nos dois autores, encontra-se a proposicao de um dilema entre a universalidade da comunicacao, o singular da nomeacao pura como acontecimento, e um elemento negativo, proprio do simbolico. Esse elemento negativo marcaria a impossibilidade de reunir as duas ordens, de sobrepo- las (universal e singular), marcando um elemento negativo no cerne da linguagem. O nome seria uma resposta a impossibilidade de o homem retornar a funcao nomeante de Deus, perdida, sem que essa queda o lance na tagarelice do comunicavel, exilando de si o acontecimento, o singular, a historia. O nome, assim, seria encontrado no cerne mesmo da comunicacao como aquilo que lhe refrata, como aquilo que, se comportando como resto, resiste a uma apreensao universalizante. Palavras-chave: imagem pictorica; mancha; objeto a ; funcao quadro. Abstract: This article proposes an articulation between Benjamin and Lacan, considering the Benjaminian proposition that any painting that claims the right to nomination must accomplish the entrance into the word of language in the midst of the pictorial language. The stain, as Benjamin conceives it, would approximate what Lacan treats in terms of the frame function,“ which is only accomplished by the introduction of Gaze as object a, Gaze as a hole. Benjamin, when it comes to pictorial image, formulates that the real problem of painting is that, in one hand, the pictorial image behaves as a stain, and conversely, the stain exists exclusively on the painting. The name and the stain would constitute, for both authors, categories from which they face problems that are dear to them and that revolve around the statute of the name. In both authors, there is a proposition of a dilemma between the universality of communication, the singular of pure nomination such as an occurrence, and a negative element, characteristic of the symbolic. This negative element would mark the impossibility of bringing together the two orders, of overlapping them (universal and singular) – marking a negative element at the heart of language. The name would be a response to the impossibility of man to return to God’s naming function, missed without this fall launch man into the chatter of communicable, exiling the event, the singular, history. The name would thus be found at the very heart of communication such as which that refracts itself, performing like the rest, resisting to an universal apprehension. Keywords: pictorial image; stain; object a ; frame function.

cadernos benjaminianos

A mancha, o quadro, o signo: sobre a imagem pictórica em Benjamin e Lacan/ The stain, the painting, the sign: about the pictorial image in Benjamin and Lacan