By Robert Rowland Smith
Robert Rowland Smith takes Freud's paintings at the death-drive and compares it with different philosophies of demise - Pascal, Heidegger and Derrida particularly. He additionally applies it in a brand new technique to literature and artwork - to Shakespeare, Rothko and Katharina Fritsch, between others. He asks even if artistic endeavors are lifeless or alive, if creative creativity isn't really a sort of destruction, and even if our skill to be seduced by means of positive phrases potential we don't positioned our selves prone to death.
In doing so, he proposes a brand new conception of aesthetics during which works of art and literary texts have a death-drive in their personal, no longer least through their defining skill to show clear of all that's genuine, and the place the consequences of the death-drive suggest that we're continuously dwelling in imaginary, rhetorical or 'artistic' worlds. The publication additionally presents a useful creation to the wealthy culture of labor at the death-drive seeing that Freud.
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Additional resources for Death-Drive: Freudian Hauntings in Literature and Art (The Frontiers of Theory)
We have begun to see some of the difficulties in conceptualising death. Heidegger will suggest that our mistake is in viewing death as actual rather than possible, which I shall try to explain in a moment. In general a move that might be made is one that takes us away from an epistemology of death, away from the language of apprehension, away from the dimension of consciousness (a dimension that includes unconsciousness). indd 35 21/12/09 13:11:0221/12/09 36 Death-Drive for example, about psychoanalysis, there are already resources for thinking in a new direction.
If the death-drive enjoys a presence-that-isn’t-one, if it fails to register phenomenologically, and if it doesn’t protend itself as symptom – and all this in the face of the possibility that in warfare the death-drive exhibits itself on the most colossal scale – it’s not to argue that the death-drive is simply nothing, just as, on account of its conservative character, it doesn’t simply annihilate everything it takes into its purview. In the phrase of Simon Critchley, it’s ‘very little . . indd 18 21/12/09 13:11:0121/12/09 Introduction 19 of toys taking on a life of their own, not just being manipulated by children).
In time, thus realising a reintegration at a higher level of desire, the reintegration formerly threatened by the deathly or aggressive instincts. Which is to say the words spoken are as important as the toy, for its these that have the power to stage a symbolic cohesion that the game alone falls short of. This linguistic gain doesn’t quite restore the loss that occurred in ‘reality’ before the game was played, and desire doesn’t quite substitute for a sense of identity, but nevertheless it will have overcome more deathly and fissiparous possibilities.