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Kluszczyński, Ryszard W. Re-Writing the History of Media Art: From Personal Cinema to Artistic Collaboration Leonardo - Volume 40, Number 5, October 2007, pp. 469-474

The MIT Press

The transformation of modern communication technologies and linear text structures characteristic of film work (along with all time-based arts) into interactive multimedia structures has not only transformed the present state of the art film but has also made us look anew into the history of film—made us understand, categorize and value it differently. Once again it has turned out that no historical narrative is by any means a final version of the past, defined once and forever. History is rather a manifestation of our perception and understanding of the past through the present; it is a product of changing philosophical and methodological approaches, cultural strategies and deconstructive and reconstructive strategies. History is continuously written from scratch. We can easily find examples of such processes of reinterpretation of historical phenomena. In his theoretical writing, Sergey Eisenstein analyzed Pushkin and Dickens’s literary works to present his own reading thereof from the perspective of his film-editing and film-construction ideas. In this procedure he followed the Russian Formal School, another exemplar of such a strategy, whose representatives eagerly displayed new methods of analysis of literary work, which they worked out in studying avant-garde poetry, applying Futurism and Constructivism to the literary canon and suggesting new readings, incompatible with the previous ones. These practices ought not to be confused with the kind of interest...


Subject in First Person—Subject in Third Person: Subject, Subjectivity, and Intersubjectivity Author: Lazar R.1 Source: The American Journal of Psychoanalysis, Volume 61, Number 3, September 2001 , pp. 271-291(21) Publisher: Springer < previous article|next article >|view table of contents


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Abstract: In this article, the author traces the history of the concepts of subject, subjectivity, and intersubjectivity in different psychoanalytic theories in the last decades. She argues that the uniqueness of these concepts and their different implications were not emphasized enough. The author discusses the various implications and contexts of the concept of subject in psychoanalytic theory proper and to relate as to: (1). The need to distinguish between the concepts of subject and subjectivity; (2). The mutual interdependence of the subject and his subjectivity and the intersubjective domain (both in the development of the individual and in theoretical thought pertaining to it). Her point of departure is from the position of the subject as a free creature, the centrality of the experiencing individual, from his/her perspective—the subject in the first person. She tries to explain the paradox implicit in the experiential dimension, the place of the other as participant, as both negating and recognizing—the subject in the third person. She suggests the interdependency of the first-person experience of subjectivity on the intersubjective dimension. Keywords: subject; subjectivity; intersubjectivity Language: English Document Type: Regular paper Affiliations: 1: Sackler School of Medicine, Tel Aviv University, Tel Aviv, Israel; rlazar@post.tau.ac.il