By Sigmund Freud

Perguntando-se sobre os critérios – ao seu ver equivocados – usados pelos seres humanos para eleger os valores da vida que lhes são caros e assim traçar caminhos na busca pela felicidade, Sigmund Freud (1856-1939) inicia uma reflexão sobre a origem da necessidade do sentimento religioso no homem. Recuperando ideias de seus textos anteriores, ele compõe

“O mal-estar na cultura” (escrito em 1929 e publicado em 1930), um dos mais perturbadores ensaios jamais escritos no que diz respeito ao desenvolvimento cultural da humanidade.

Ao investigar por que o ser humano é tão pouco dotado para ser e permanecer feliz, Freud revela que um dos principais e invencíveis obstáculos à felicidade é a constituição psíquica do homem. Ele examina de perto – lançando mão de ferramentas psicanalíticas – o processo de desenvolvimento cultural necessário para que as pessoas possam viver em sociedade. A conclusão é a de que não só a civilização, mas a própria cultura humana implicam uma diminuição na felicidade dos indivíduos, tendo como subproduto um alienável e generalizado sentimento de culpa.

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Perguntando-se sobre os critérios – ao seu ver equivocados – usados pelos seres humanos para eleger os valores da vida que lhes são caros e assim traçar caminhos na busca pela felicidade, Sigmund Freud (1856-1939) inicia uma reflexão sobre a origem da necessidade do sentimento religioso no homem.

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Extra info for O mal-estar na cultura

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17-18). 12. For an overview of the history informed by this notion, see Blatner (1997). Blatner notes that no measurement realistically requires even 100 digits of pi—engineers routinely use no more than seven and physicists use no more than fifteen or twenty. For him, the search for pi is "deeply rooted in the human spirit of exploration—of both our minds and our world—and in our irrepressible drive to test our limits" (p. 3). As Blatner sees it, IT separates the line between the finite and the infinite and thus represents a mystery to be appreciated.

Thus we might clarify the Lacanian dimension of the counterideological thrust of Aronofsky's film by saying that rather than eschew the imaginary altogether as ipso facto ideological, n attempts to break its privileged link to the symbolic so as to illuminate the terror of its real, presymbolic status. 20 Rather than realistic, coherent mirror images offered up for our easy identification, rather than a fantasized compatibility between jouissance and symbolization, Aronofsky gives us instead images of jouissance that overwhelm the coherence of the film.

Indeed, as Lacan points out, what is most distinctive about the existence of the signifier—the possibility of it being used not to inform but to lure—is precisely what does not belong to the psychic economy of the psychotic. For the psychotic, every exchange of words is informational. Put another way, psychotics fail to observe the Lacanian distinction between a signifier that signifies without being significant. In short, for the psychotic, every word is significant; no word merely signifies. Psychoanalysis, however, stakes our equilibrium on the non-sensical dimension of the pure signifier.

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