The Real

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For the song by Tracy Bonham, see Liverpool Sessions. For the episode of The Boondocks, see The Real (The Boondocks). For the daytime talk show, see The Real (talk show).
Main articles: The Void (philosophy), Horror vacui (physics), and Abyss (religion)
For broader coverage of this topic, see Kairos.
Not to be confused with Reality, Ontic, or Chaos (cosmogony).
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In psychoanalysis and continental philosophy, the Real (or the Real Order[1]) is that which is the intelligible form of the object[2] called truth; the opposite of fantasy, dreams, and hallucinations.[3] The Real is a traumatic consensus of intersubjectivity, an absolute noumenalness between signifiers.[4] The "rebel who doubts" (or "Great Melancholic") gazes into a philosophical void (or abyss) devoid of collective unconscious (or "Original Presence").[8]

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Main article: Horror vacui (physics)
For broader coverage of this topic, see Tragic hero and Ego death.
See also: Oedipus Rex, The Purloined Letter, and The Ambassadors (Holbein)

Jacques Lacan defines the Real as a Plenum, contradistinct from the ontic.[9] The Order of the Real is created by the Logos of the Symbolic; and conversely, the Real and Kairos divide the Logos, resist symbolization, and anticipate being symbolized.[10][11][12] The Real can be experienced; e.g., jouissance, alienation, psychological trauma, transcendence, the Sublime, a splitting of ideology, or narrative that separates signifiers from conscious desire-quest.[20] The Lacanian real is a "negative space", a philosophical void of "sociality" and "subjectivity".[21][22] The Lacanian real is a section of the triadic, Borromean knot: the Imaginary, the Symbolic, and the Real; the center of this knot is the sinthome.[23] Lacanian psychoanalysis derives the sinthome by anamorphosically reading the "chain" of signifiers from the eternal return of the objet petit a (metonymic sliding of the signified), rendering the real identity of the subject through resistance and transference.[24][25][26]

[T]he real...is always in its place...[the symbolic] carries it glued to its [metaphorical shoe] heel[.][27] ... The real is without fissure.[28] ... There is no absence [or pleasure principle ] in the real [, concerning Freud's reality principle ].[29]

— Jacques Lacan

The inner voice of the subject has a "Presence" (or frustration), "Intermittence" (or castration anxiety), and "Absence" (or privation; metaphorically-vertical Desire and metaphorically-horizontal Need).[30]

Fredric Jameson interprets Lacan's real through a Marxist-Hegelian lens as meaning "History itself".[31] Malcolm Bowie interprets the Lacanian real as ineffable.[32] Slavoj Žižek has divided the gist of the Lacanian Real into "three modalities":[33]

  1. The "symbolic Real": language without humanity; e.g., abstract symbolic formulas.[34]
  2. The "imaginary Real": an unfathomable mental image of horror and terror.[35]
  3. The "real Real": a fissure of the Symbolic; an absence manifesting as a Thing.[36]

The symbolic introduces "a cut in the real," in the process of signification: "it is the world of words that creates the world of things." Thus the real emerges as that which is outside language: "it is that which resists symbolization absolutely".[37]

The primordial Real in which a (pre-Oedipal) human subject is born is differentiated from the real which a subject integrated into the symbolic order experiences. In the former, the real is the continuous, "whole" reality without categories and the differential function of language.

Pop culture examples[]

Žižek finds that the third form of the Real, i.e. the "real Real," becomes perceptible in the film The Full Monty, in the fact of disrobing the unemployed protagonists completely. Through the extra gesture of "voluntary" degradation, something else, of the order of the sublime, becomes visible.

Žižek also used the film The Sound of Music as an example of the "real Real," where the "invaded" Austrians are depicted more like provincial fascists (blond, boorish, historic dresses), while the Nazis are managers, bureaucrats, etc., "like cosmopolitan decadent corrupted Jews." He posits that the movie has a hidden pro-fascist message that is not directly seen but embedded in the texture.

Glyn Daly (2004)[38] provides further examples of Žižek's three modalities through pop culture:

The real Real is the hard limit that functions as the horrifying Thing (the Alien, Medusa's head, maelstrom and so on) - a shattering force of negation. The symbolic Real refers to the anonymous symbols and codes (scientific formulae, digitalisation, empty signifiers…) that function in an indifferent manner as the abstract "texture" onto which, or out of which, reality is constituted. In The Matrix, for example, the symbolic Real is given expression at the point where Neo perceives "reality" in terms of the abstract streams of digital output. In the contemporary world, Zizek argues that it is capital itself that provides this essential backdrop to our reality and as such represents the symbolic Real of our age (Zizek, 1999: 222; 276). With the ''imaginary real'' we have precisely the (unsustainable) dimension of fantasmatic excess-negation that is explored in Flatliners. This is why cyberspace is such an ambiguous imaginary realm.

Other uses[]

In philosophy[]

"Reality, says Rudolf Christoph Eucken, is an independent spiritual world, unconditioned by the apparent world of sense. To know it and to live in it is man's true destiny. His point of contact with it is personality: the inward fount of his being: his heart, not his head. Man is real, and in the deepest sense alive, in virtue of this free personal life-principle within him; but he is bound and blinded by the ties set up between his surface-intelligence and the sense-world. The struggle for reality must be a struggle on man's part to transcend the sense-world, escape its bondage. He must renounce it, and be 're-born' to a higher level of consciousness; shifting his centre of interest from the natural to the spiritual plane. According to the thoroughness with which he does this, will be the amount of real life he enjoys. The initial break with the 'world,' the refusal to spend one's life communing with one's own cinematograph picture, is essential if the freedom of the infinite is to be attained. We are amphibious creatures: our life moves upon two levels at once—the natural and the spiritual. The key to the puzzle of man lies in the fact that he is "the meeting point of various stages of Reality." All his difficulties and triumphs are grounded in this. The whole question for him is, which world shall be central for him—the Real, vital, all-embracing life we call spirit, or the lower life of sense? Shall 'Existence,' the superficial obvious thing, or 'Substance,' the underlying verity, be his home? Shall he remain the slave of the senses with their habits and customs, or rise to a plane of consciousness, of heroic endeavour, in which—participating in the life of spirit—he knows reality because he is real?"[39]

"There are," says Plotinus, "different roads by which this end [apprehension of the Infinite] may be reached. The love of beauty, which exalts the poet; that devotion to the One and that ascent of science which makes the ambition of the philosopher; and that love and those prayers by which some devout and ardent soul tends in its moral purity towards perfection. These are the great highways conducting to that height above the actual and the particular, where we stand in the immediate presence of the Infinite, who shines out as from the deeps of the soul."[40]

In aesthetics[]

Édouard Récéjac states:

"If the mind penetrates deeply into the facts of aesthetics, it will find more and more, that these facts are based upon an ideal identity between the mind itself and things. At a certain point the harmony becomes so complete, and the finality so close that it gives us actual emotion. The Beautiful then becomes the sublime; brief apparition, by which the soul is caught up into the true mystic state, and touches the Absolute, the Real. It is scarcely possible to persist in this Esthetic perception without feeling lifted up by it above things and above ourselves, in an ontological vision which closely resembles the Absolute of the Mystics."[41]

Faciality in schizoanalysis[]

Main articles: Uncanny and A Thousand Plateaus
See also: Plane of immanence

The Real is found with the defamiliarized floating signifiers of the uncanny valley, a destroyed sign of imploding gaze, an a-temporal semiotic black hole of faciality.[42][43][44]

Notable figures[]

  • Louis Althusser
  • Alain Badiou
  • Georges Bataille
  • Maurice Blanchot
  • Sigmund Freud
  • Julia Kristeva
  • Philippe Lacoue-Labarthe
  • Jean-Luc Nancy

See also[]

Notes[]

  1. ^ Botting, Fred (1994). "Relations of the Real in Lacan, Bataille and Blanchot". SubStance. 23 (73): 24–40. doi:10.2307/3684791. Retrieved 2022-01-16. the Real ... 'the Real Order'
  2. ^ Wittgenstein, Ludwig (1999) [1922]. Tractatus Logico-Philosophicus. Translated by Ogden, C.K. Dover Publications. pp. 38, 50, 74. ISBN 978-0-486-40445-5. 3.221 Objects[,] I can only name. Signs represent them. I can only speak of them. ... 4.0621 [that] the signs 'p' and '~p' can say the same thing is important, for it shows that the sign '~' corresponds to nothing in [ontic] reality. ... 5.44 And if there was an object called '~', then '~~p' would have to say something other than 'p'.
  3. ^ a b Ricoeur, Paul (1970). "Book II: Analytic: Reading of Freud: Part III: EROS, THANTOS, ANANKE: 3. Interrogations: What is Reality?". Terry Lectures: Freud & Philosophy: An Essay on Interpretation. Translated by Savage, Denis. Yale University Press. pp. 324, 327. ISBN 978-0-300-02189-9. [R]eality is first of all the opposite of fantasy—it is facts...it is the opposite of dreams, of hallucination...thus reality becomes the correlate of the consciousness, and then of the ego. ... [R]eality has the same meaning at the end of Freud’s life as it had at the beginning: reality is the world shorn of God.
  4. ^ Walsh, Michael (1995). "Reality, the Real, and the Margaret-Thatcher-Signifier in Two British Films of the 1980s". American Imago. 52 (2): 169–189. Retrieved 2022-01-22. Reality remains predicated on the signifier, and the subject still inhabits an infinitely signifying universe; however, reality and subjectivity are both organized around a traumatic 'kernal of the Real.' ... 'the real is...the product of a social consensus about the nature of reality' (Landy 1991, 4).
  5. ^ Brisman, Susan Hawk; Brisman, Leslie (1980). "Lies against Solitude: Symbolic, Imaginary, and Real". In Smith, Joseph H. (ed.). The Literary Freud: Mechanisms of Defense and the Poetic Will. Psychiatry and the Humanities. Vol. 4. Yale University Press. p. 40. ISBN 0-300-02405-3. Like an analysand, a poetic speaker may belie the reality of his solitude by invoking an Original Presence (God or idealized parent) or some person or image, like the sea, that represents a fully idealized Presence.
  6. ^ Jung, Carl (1971). "Individual Dream Symbolism in Relation to Alchemy". In Campbell, Joseph (ed.). The Portable Jung. Penguin Books. p. 330. ISBN 978-0-14-015070-4. The sea is the symbol of the collective unconscious, because unfathomed depths lie concealed beneath its reflecting surface.
  7. ^ Cioran, E. M. (1956). "Thinking Against Oneself". The Temptation To Exist. Translated by Howard, Richard. Arcade Publishing. p. 43. ISBN 978-1-61145-738-4. Modern philosophy, [has] establish[ed] the superstition of the Ego[.] ... Whence the obsolescence of the idea of Good; whence the vogue of the Devil. ... The Devil was the ideal figure. ... his attributes coincide with those of time. ... [T]his 'Great Melancholic' is a rebel who doubts.
  8. ^ [3][5][6][7]
  9. ^ Brisman, Susan Hawk; Brisman, Leslie (1980). "Lies against Solitude: Symbolic, Imaginary, and Real". In Smith, Joseph H. (ed.). The Literary Freud: Mechanisms of Defense and the Poetic Will. Psychiatry and the Humanities. Vol. 4. Yale University Press. p. 43. ISBN 0-300-02405-3. Defining the real as a 'plenum', Lacan warns against fusing it with real in the ordinary sense of 'actual'[.]
  10. ^ Bailly, Lionel (2020). "Real, Symbolic, Imaginary". Lacan: A Beginner’s Guide. Oneworld Beginner’s Guides. Oneworld. p. 98. ISBN 978-1-85168-637-7. The Real is a featureless clay from which reality is fashioned by the Symbolic; it is the chaos from which the world came into being, by means of the Word.
  11. ^ Johnson, Kevin A.; Asenas, Jennifer J. (2013). "The Lacanian Real as a Productive Supplement to Rhetorical Critique". Rhetoric Society Quarterly. 43 (2): 155–176. Retrieved 2022-01-17. Victor J. Vitanza...[states] 'the Lacanian Real ' is associated 'with the Gorgian notion of Kairos, both of which divide the Logos '
  12. ^ Long, Jordana Ashman (2018). "The Romance and the Real: A.S. Byatt's Possession: A Romance". Mythlore. 37 (1): 147–164. Retrieved 2022-01-18. Bruce Fink clarifies, 'The real is perhaps best understood as that which has not yet been symbolized, remains to be symbolized, or even resists symbolization'
  13. ^ Žižek, Slavoj (1989). "Part III The Subject: Which Subject of the Real?". The Sublime Object of Ideology. Verso. p. 184. ISBN 978-1-84467-300-1. [I]t becomes clear that the Real par excellence is jouissance: jouissance does not exist, it is impossible, but it produces a number of traumatic events.
  14. ^ Parker, Ian (2011). "Disturbed selves: Allocation". Lacanian Psychoanalysis: Revolutions in Subjectivity. Advancing Theory in Therapy. NY: Routledge. p. 88. ISBN 978-0-415-45543-5. [A]lienation is 'real' as [a] gap in the symbolic, as a necessary contradiction that sustains the way we account for where we are in this political-economic 'reality'.
  15. ^ Long, Jordana Ashman (2018). "The Romance and the Real: A.S. Byatt's Possession: A Romance". Mythlore. 37 (1): 147–164. Retrieved 2022-01-18. Lacan associates the Real with trauma. ... The Real naturally takes on what Glyn Daly identifies as a 'transcendental aspect'[.]
  16. ^ Bloom, Harold (1980). "Freud's Concepts of Defense and the Poetic Will". In Smith, Joseph H. (ed.). The Literary Freud: Mechanisms of Defense and the Poetic Will. Psychiatry and the Humanities. Vol. 4. Yale University Press. pp. 7–8. ISBN 0-300-02405-3. '[T]hose very objects so terrible to the will...he is then filled with the feeling of the sublime...'...Repression, like the movement to the Sublime, is a turning operation, away from the drive and toward the heaping up of the unconscious. Pragmatically, repression, like Schopenhauer’s Sublime, exalts mind over reality, over the hostile object-world[.]
  17. ^ Champagne, Roland A. (1979). "THE DIALECTICS OF STYLE: INSIGHTS FROM THE SEMIOLOGY OF ROLAND BARTHES". Style. 13 (3): 279–291. Retrieved 2022-01-18. A reality is thus implemented by differentiation from another already recognized as existing.
  18. ^ MacCannell, Juliet Flower (1983). "Oedipus Wrecks: Lacan, Stendhal and the Narrative Form of the Real". MLN. 98 (5): 910–940. doi:10.2307/2906054. Retrieved 2022-01-17. [F]or Lacan...The Real lurks in ... the very signifiers out of which the Symbolic is constructed ... whose method consists in separating signifiers not from their referent (their referents are already symbols) but from the aim of satisfaction, from conscious desire ... The story that narrates the act both of stopping the fiction-making machine ... by examining both the impossibility of satisfaction, and ironically, simultaneously, its reality, makes a good narrative against narratives.
  19. ^ Barthes, Roland; Duisit, Lionel (1975). "An Introduction to the Structural Analysis of Narrative". New Literary History. 6 (2): 237–272. doi:10.2307/468419. Retrieved 2022-01-18. A. J. Greimas…has proposed…in narrative…desire (or the quest)[.]
  20. ^ [13][14][15][16][17][18][19]
  21. ^ Foster, Hal (2003). "Medusa and the Real". RES: Anthropology and Aesthetics (44): 181–190. Retrieved 2022-01-16. [T]he Lacanian real is a black hole, a negative space of non-sociality, indeed of non-subjectivity.
  22. ^ Johnson, Kevin A.; Asenas, Jennifer J. (2013). "The Lacanian Real as a Productive Supplement to Rhetorical Critique". Rhetoric Society Quarterly. 43 (2): 155–176. Retrieved 2022-01-17. Kevin A. Johnson wrote that the Real as Void is a ‘radical nothingness’ at the core of Burke’s theory of subjectivity.
  23. ^ Johnson, Kevin A.; Asenas, Jennifer J. (2013). "The Lacanian Real as a Productive Supplement to Rhetorical Critique". Rhetoric Society Quarterly. 43 (2): 155–176. Retrieved 2022-01-17. Lundberg's skepticism is rooted in an interpretation of the Real that is carefully located in contradistinction with 'reality.'
  24. ^ Botting, Fred (1994). "Relations of the Real in Lacan, Bataille and Blanchot". SubStance. 23 (73): 24–40. doi:10.2307/3684791. Retrieved 2022-01-16. [A]rgues Lacan, 'the real is...the return, the coming-back, the insistence of signs, by which we see ourselves governed by the pleasure principle' (53-4).
  25. ^ Bell, Lucy (2011). "Articulations of the Real: from Lacan to Badiou". Paragraph. 34 (1): 105–120. ISSN 1750-0176. Retrieved 2022-01-16. Lacanian analysis['s] ... aim is to 'grasp real identity', to grasp the Freudian Thing that is 'in you more than you', albeit through the pure negativity of the subject's non-identity to himself.
  26. ^ Scott, Maria (2008). "Lacan's 'Of the Gaze as Objet Petit a' as Anamorphic Discourse". Paragraph. 31 (3): 327–343. Retrieved 2022-01-17. Lacan's running metaphor of the text as labyrinth...Anamorphosis can therefore be produced by the traversal of a grid...the text-tapestry is traversed ... The object a represented by the gaze is, like desire itself for Lacan, metonymic in structure, always slipping away from understanding.
  27. ^ Lacan, Jacques (2006) [1966]. "Seminar on 'The Purloined Letter'". Écrits. Translated by Fink, Bruce. W. W. Norton & Company. p. 17. ISBN 978-0-393-32925-4. For it can literally be said that something is missing from its place only of what can change it: the symbolic. For the real, whatever upheaval we subject it to, is always in its place; it carries it glued to its heel, ignorant of what might exile it from it.
  28. ^ Botting, Fred (1994). "Relations of the Real in Lacan, Bataille and Blanchot". SubStance. 23 (73): 24–40. doi:10.2307/3684791. Retrieved 2022-01-16. (Seminar II:97)
  29. ^ Botting, Fred (1994). "Relations of the Real in Lacan, Bataille and Blanchot". SubStance. 23 (73): 24–40. doi:10.2307/3684791. Retrieved 2022-01-16. [quote from] Seminar II:303 ... [and principles from] 1966:388
  30. ^ Barthes, Roland (2010) [1977]. A Lover’s Discourse: Fragments. Translated by Howard, Richard. Hill and Wang. pp. 6, 16. ISBN 978-0-374-53231-4. Underneath the figure, there is something of the 'verbal hallucination' (Freud, Lacan) ... Frustration would have Presence as its figure...castration has Intermittence as its figure...Absence is the figure of privation...The discourse of Absence is a text...[ Ruysbroeck’s ] the raised arms of Desire...the wide-open arms of Need.
  31. ^ Jameson, Fredric (1977). "Imaginary and Symbolic in Lacan: Marxism, Psychoanalytic Criticism, and the Problem of the Subject". Yale French Studies (55/56): 338–395. doi:10.2307/2930443. Retrieved 2022-01-17. [W]hat is meant by the real in Lacan[?]...It is simply History itself[.]
  32. ^ MacCannell, Juliet Flower (1983). "Oedipus Wrecks: Lacan, Stendhal and the Narrative Form of the Real". MLN. 98 (5): 910–940. doi:10.2307/2906054. Retrieved 2022-01-17. Malcolm Bowie writes, that the Real is impossible to distinguish from the Symbolic except in the fact that it is 'ineffable' (198, p. 135)
  33. ^ Luque, Juan Luis Pérez de (2013). "Lovecraft, Reality, and the Real: A Žižekian Approach". Lovecraft Annual (7): 187–203. Retrieved 2022-01-16. Žižek...divides the Real into three different categories, which coincide with the imaginary/real/symbolic division: 'There are thus THREE modalities...the 'real Real'...'symbolic Real'...'imaginary Real'...On Belief 82’’
  34. ^ Žižek, Slavoj (2007). "Troubles with the Real: Lacan as a Viewer of Alien". How to Read Lacan. W. W. Norton & Company. p. 66. ISBN 978-0-393-32955-1. [T]he scientific Real, the real of a formula that expresses nature’s automatic and senseless functioning ... [I]f we start with the Symbolic...we get language deprived of the wealth of its human sense, transformed into the Real of a meaningless formula[.]
  35. ^ Žižek, Slavoj (2007). "Troubles with the Real: Lacan as a Viewer of Alien". How to Read Lacan. W. W. Norton & Company. pp. 62, 66. ISBN 978-0-393-32955-1. [I]ts status is purely phantasmatic ... [T]he terrifying formless Thing...[I]f we start with the Imaginary (the mirror-confrontation of Freud and Irma), we get the Real in its imaginary dimension, the horrifying primordial image that cancels the [dream] imagery itself[.]
  36. ^ Žižek, Slavoj (2007). "Troubles with the Real: Lacan as a Viewer of Alien". How to Read Lacan. W. W. Norton & Company. pp. 72, 73. ISBN 978-0-393-32955-1. [I]t is not an external thing that resists being caught in the symbolic network, but the fissure within the symbolic network itself. ... [F]or Lacan the Real—the Thing—is not so much the inert presence that curves symbolic space (introducing gaps and inconsistencies in it), but, rather, an effect of these gaps and inconsistencies.
  37. ^ Luque, Juan Luis Pérez de (2013). "Lovecraft, Reality, and the Real: A Žižekian Approach". Lovecraft Annual (7): 187–203. Retrieved 2022-01-16. Seminar I: Freud’s Papers on Technique
  38. ^ Daly, Glyn (2004). "Slavoj Zizek: A Primer". lacan dot com. Retrieved 17 August 2012.
  39. ^ Underhill, Evelyn. 1911. Mysticism, A Study in the Nature and Development of Man's Spiritual Consciousness. Available at the Internet Archive. p. 40.
  40. ^ Plotinus. Letter to Flaccus.
  41. ^ Récéjac, Édouard. 1897. Fondements de la Connaissance Mystique. p. 74.
  42. ^ Gilbert-Rolfe, Jeremy (1997). "Blankness as a Signifier". Critical Inquiry. 24 (1): 159–175. Retrieved 2022-01-22. The face signifies by refusing to signify. ... [Deleuze's] Bergsonianism...predicated on the idea of the surface—the plane and the point—as opposed to the form—the shape and its interior. ... The passage from Victorian horror vacui to the present is that passage, the passage from potentiality to instantaneity. If in the former blankness was not a sign, but rather the place for the sign, in the latter it has become signally characteristic of the surface of all the signs which exclude it with recognizability and narrative...[l]ying outside of art it would have to be art's subject.
  43. ^ Deleuze, Gilles; Guattari, Félix (1987). "Year Zero: Faciality". A Thousand Plateaus. Capitalism and Schizophrenia. Translated by Massumi, Brian. University of Minnesota Press. pp. 168, 171, 174. ISBN 978-1-85168-637-7. The face constructs the wall that the signifier needs in order to bounce off of ... The [Sartre] gaze is but secondary in relation to the gazeless eyes, to the black hole of faciality. The [Lacanian] mirror is but secondary in relation to the white wall of faciality ... there is a face-landscape aggregate proper to the novel.
  44. ^ Morrione, Deems D. (2006). "When Signifiers Collide: Doubling, Semiotic Black Holes, and the Destructive Remainder of the American Un/Real". Cultural Critique (63): 157–173. Retrieved 2022-01-22. The semiotic black hole is...the destruction of the whole sign...that radically transforms the socius, possessing a gravitational pull that has the power to massively reshape and remotivate ... the semiotic black hole...[leaves] little or no trace of its influence. ... a collision of a fatal event and a perfect object[.] ... Temporality is constant motion; to mark a point in time is to freeze only that moment, to celebrate impression and deny expression.

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