Watchmen y psicoanálisis. Doomsday clock, and then…
Through the study of Watchmen in its 3 formats: comic, film and series, a dialogue with psychoanalysis is proposed, in order to extract readings that allow us to think about the time, characterized by the threat of cataclysms and large-scale war conflicts, in the framework of a generalized pandemic...
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| Formato: | Artículo revista |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2022
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/eticaycine/article/view/39642 |
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I10-R10-article-396422022-12-07T21:29:55Z Watchmen y psicoanálisis. Doomsday clock, and then… Watchmen y psicoanálisis. Doomsday clock, and then… Mondada, Javier Psychoanalysis Watchmen Epoch Psicoanálisis Watchmen Época Through the study of Watchmen in its 3 formats: comic, film and series, a dialogue with psychoanalysis is proposed, in order to extract readings that allow us to think about the time, characterized by the threat of cataclysms and large-scale war conflicts, in the framework of a generalized pandemic with its consequent impact on the population. The fantasy of the end of the world, present in Watchmen, is sustained by a common, trans-historical denominator: the object of jouissance, singular for each subject and, therefore, inseparable from his own history. On the one hand, the segregative effects to which the object as a kakón can lead are considered. On the other hand, it is evident how the series moves the bowels of the reactive field to which post-traumatic stress disorder (PTSD) has been circumscribed. As a counterpart, two key concepts are placed in view of the loss of the object: of satisfaction, in the trauma in its two times, and of love, in the duel, which will allow us to return to a reading of the epoch, when it became, not only as an impact, but mainly as an effect of the unique narratives of people’s lives. A través del estudio de Watchmen en sus 3 formatos: comic, película y serie, se plantea una interlocución con el psicoanálisis, a fin de extraer lecturas que permiten pensar la época, caracterizada por la amenaza de cataclismos y conflictos bélicos a gran escala, en el marco de una pandemia generalizada con su consecuente impacto sobre la población. La fantasía del fin del mundo, presente en Watchmen, se sostiene en un denominador común, trans-histórico: el objeto de goce, singular para cada sujeto y, por lo tanto, inseparable de su propia historia. Por un lado, se plantean los efectos segregativos a los que puede conducir el objeto en tanto kakón. Por el otro, se evidencia cómo la serie conmueve las entrañas del campo reactivo al cual ha sido circunscrito el trastorno por estrés post-traumático (TEPT). Como contrapartida, se sitúan dos conceptos claves ante la pérdida del objeto: de satisfacción, en el trauma en sus dos tiempos, y de amor, en el duelo, que nos permitirán volver a una lectura de la época, al constituirse ella, no sólo como impacto, sino principalmente como efecto de las narrativas singulares de la vida de las personas. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2022-12-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/39642 Ética y Cine Journal; Vol. 12 Núm. 3 (2022): El final y después. Duelos y melancolías; 25-33 2250-5415 2250-5660 10.31056/2250.5415.v12.n3 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/39642/39680 Derechos de autor 2022 Ética y Cine Journal https://creativecommons.org/licenses/by-sa/4.0/ |
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Universidad Nacional de Córdoba |
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Español |
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Artículo revista |
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Psychoanalysis Watchmen Epoch Psicoanálisis Watchmen Época |
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Psychoanalysis Watchmen Epoch Psicoanálisis Watchmen Época Mondada, Javier Watchmen y psicoanálisis. Doomsday clock, and then… |
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Psychoanalysis Watchmen Epoch Psicoanálisis Watchmen Época |
| author |
Mondada, Javier |
| author_facet |
Mondada, Javier |
| author_sort |
Mondada, Javier |
| title |
Watchmen y psicoanálisis. Doomsday clock, and then… |
| title_short |
Watchmen y psicoanálisis. Doomsday clock, and then… |
| title_full |
Watchmen y psicoanálisis. Doomsday clock, and then… |
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Watchmen y psicoanálisis. Doomsday clock, and then… |
| title_full_unstemmed |
Watchmen y psicoanálisis. Doomsday clock, and then… |
| title_sort |
watchmen y psicoanálisis. doomsday clock, and then… |
| description |
Through the study of Watchmen in its 3 formats: comic, film and series, a dialogue with psychoanalysis is proposed, in order to extract readings that allow us to think about the time, characterized by the threat of cataclysms and large-scale war conflicts, in the framework of a generalized pandemic with its consequent impact on the population. The fantasy of the end of the world, present in Watchmen, is sustained by a common, trans-historical denominator: the object of jouissance, singular for each subject and, therefore, inseparable from his own history. On the one hand, the segregative effects to which the object as a kakón can lead are considered. On the other hand, it is evident how the series moves the bowels of the reactive field to which post-traumatic stress disorder (PTSD) has been circumscribed. As a counterpart, two key concepts are placed in view of the loss of the object: of satisfaction, in the trauma in its two times, and of love, in the duel, which will allow us to return to a reading of the epoch, when it became, not only as an impact, but mainly as an effect of the unique narratives of people’s lives. |
| publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| publishDate |
2022 |
| url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/39642 |
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