잉마르 베리만의 <페르조나>에 대한 라캉적 독해－조이스 세미나의 생톰 개념을 중심으로－ (A Lacanian Implication Depicted in Ingmar Bergman’s Persona －How It Enacts the Creative Function of the Sinthome－)

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초록

This paper examines the implication of Jacques Lacan’s Seminar XXIII depicted in Ingmar Bergman’s film, Persona. The latter has been analysed in various ways: one considers it as one of the art films and the other, as a protest against the typical custom of hollywood. These perspectives,however, do not reveal the unique way of the film originating from the director’s life. The film cannot be analysed without looking at the directors own life and his belief in human holiness. It has to be understood as an evidence that proves the unique way of Bergman’s organizing his life. The world created by Bergman’s sinthome is not completely subjected to the Lacanian symbolic order since it does not follow the name/law of the father. The nomination process is carried out not centering around the latter but around the directors own commend.
This is exactly what Lacan has examined in Joyce’s writings, or his sinthome. He asserts that Joyce has created a unique world in which the law of the father is substituted by his own way of nomination. It is a world where the writer can live according to his own rules and plans.
The sinthome is the very concept that has been offered in order to refer to this singularity which has the structure of ‘mais pas ça’(but not that).
The sinthome is the forth knot that connects the remaining orders of the Symbolic, the Imaginary, and the Real in the Borromean knot. This concept has been introduced in the 23rd seminar of Lacan in connection 85김 서 영with his analysis of James Joyce.
This paper has demonstrated that one can observe the similar sinthome/writing in Bergman’s life and in his work, and has shown how Bergman’s sinthome has created the basic structure of Persona. There is the element of human holiness at the center of the film and yet it is combined with the most humanly limits, both leading the audiences to witness the birth of the subject. The ultimate aim of this paper has been to represent the possibility of the birth of the subject who can create his/her individual space where the singularity of each person is most cherished and the dream of each subject comes true. This is also the ultimate place where the subject has to be at the end of the analysis in psychoanalytic practice.

영어초록

This paper examines the implication of Jacques Lacan’s Seminar XXIII depicted in Ingmar Bergman’s film, Persona. The latter has been analysed in various ways: one considers it as one of the art films and the other, as a protest against the typical custom of hollywood. These perspectives,however, do not reveal the unique way of the film originating from the director’s life. The film cannot be analysed without looking at the directors own life and his belief in human holiness. It has to be understood as an evidence that proves the unique way of Bergman’s organizing his life. The world created by Bergman’s sinthome is not completely subjected to the Lacanian symbolic order since it does not follow the name/law of the father. The nomination process is carried out not centering around the latter but around the directors own commend.
This is exactly what Lacan has examined in Joyce’s writings, or his sinthome. He asserts that Joyce has created a unique world in which the law of the father is substituted by his own way of nomination. It is a world where the writer can live according to his own rules and plans.
The sinthome is the very concept that has been offered in order to refer to this singularity which has the structure of ‘mais pas ça’(but not that).
The sinthome is the forth knot that connects the remaining orders of the Symbolic, the Imaginary, and the Real in the Borromean knot. This concept has been introduced in the 23rd seminar of Lacan in connection 85김 서 영with his analysis of James Joyce.
This paper has demonstrated that one can observe the similar sinthome/writing in Bergman’s life and in his work, and has shown how Bergman’s sinthome has created the basic structure of Persona. There is the element of human holiness at the center of the film and yet it is combined with the most humanly limits, both leading the audiences to witness the birth of the subject. The ultimate aim of this paper has been to represent the possibility of the birth of the subject who can create his/her individual space where the singularity of each person is most cherished and the dream of each subject comes true. This is also the ultimate place where the subject has to be at the end of the analysis in psychoanalytic practice.

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