{"id":5321,"date":"2023-08-06T11:04:52","date_gmt":"2023-08-06T09:04:52","guid":{"rendered":"http:\/\/pirem.org\/?p=5321"},"modified":"2023-08-06T11:04:52","modified_gmt":"2023-08-06T09:04:52","slug":"vient-de-paraitre-holbein-lacan-enigme-dune-vanite-par-genevieve-albinet","status":"publish","type":"post","link":"http:\/\/pirem.org\/index.php\/2023\/08\/06\/vient-de-paraitre-holbein-lacan-enigme-dune-vanite-par-genevieve-albinet\/","title":{"rendered":"[Vient de para\u00eetre] HOLBEIN \u2013 LACAN \u00c9nigme d\u2019une Vanit\u00e9 par Genevi\u00e8ve Albinet"},"content":{"rendered":"<p align=\"justify\"><a href=\"http:\/\/pirem.ghouas.fr\/wp-content\/uploads\/2023\/08\/albinet.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-5322\" style=\"margin: 20px; border: 1px solid black;\" title=\"albinet\" src=\"https:\/\/pirem.ghouas.fr\/wp-content\/uploads\/2023\/08\/albinet-213x300.jpg\" alt=\"\" width=\"213\" height=\"300\" \/><\/a>Dans le S\u00e9minaire XI, <em>Les quatre concepts fondamentaux de la psychanalyse<\/em>,1964, Lacan fait un grand usage de l\u2019anamorphose et pose la question : qu\u2019est-ce qu\u2019un tableau ?<\/p>\n<p align=\"justify\">Il prend pour exemple le tableau de Hans Holbein, <em>Les Ambassadeurs,<\/em> 1533.<\/p>\n<p align=\"justify\">En quoi consiste cette anamorphose simple et non cylindrique, flottant au premier plan du tableau ?<\/p>\n<p align=\"justify\">C\u2019est une p\u00e9riode o\u00f9 les artistes et hommes de science, s\u2019interrogent sur les lois g\u00e9om\u00e9trales de la perspective, sans oublier Descartes et sa <em>Dioptrique.<\/em><\/p>\n<p align=\"justify\">Lacan d\u00e9montre que cette \u0153uvre, au-del\u00e0 de sa fascination, est une structure exemplaire pour la psychanalyse. Dans la d\u00e9formation d\u2019une perspective d\u00e9prav\u00e9e, qui n\u2019a rien \u00e0 faire avec la vision comme telle, elle symbolise la fonction du manque et fait apparaitre l\u2019effet fant\u00f4me anamorphico &#8211; phallique.<\/p>\n<p align=\"justify\">Holbein, hant\u00e9 par la mort, a repris et transform\u00e9 son \u0153uvre de jeunesse<em> La Danse macabre-<\/em> en une \u0153uvre d\u00e9cisive, dix ans plus tard, <em>Les Ambassadeurs,<\/em> sous forme d\u2019interrogation sur sa nomination : en tant qu\u2019auto portrait et signature du tableau.<\/p>\n<p align=\"justify\">Cette approche diff\u00e9rente et ambigu\u00eb de la <em>Vanitas <\/em>anamorphique, c\u00e9l\u00e8bre, ce qui s\u00e9pare le champ de la vision et du regard\u00a0&#8211; objet regard, cause du d\u00e9sir.<\/p>\n<p align=\"justify\"><span style=\"font-size: small;\"><strong>ISBN\u00a0: 978-2-494850-02-6<\/strong><br \/>\n<strong>40 pages 18\u20ac<\/strong><\/span><\/p>\n<p align=\"center\">\n<form action=\"https:\/\/www.paypal.com\/cgi-bin\/webscr\" method=\"post\" target=\"_top\">\n  <input type=\"hidden\" name=\"cmd\" value=\"_s-xclick\" \/><br \/>\n  <input type=\"hidden\" name=\"hosted_button_id\" value=\"8NKCYAZPDQLHJ\" \/><br \/>\n  <input type=\"hidden\" name=\"currency_code\" value=\"EUR\" \/><br \/>\n  <input type=\"image\" src=\"https:\/\/www.paypalobjects.com\/fr_FR\/i\/btn\/btn_buynowCC_LG.gif\" border=\"0\" name=\"submit\" title=\"PayPal, votre r\u00e9flexe s\u00e9curit\u00e9 pour payer en ligne.\" alt=\"Acheter\" \/><br \/>\n<\/form>\n","protected":false},"excerpt":{"rendered":"<p>Dans le S\u00e9minaire XI, Les quatre concepts fondamentaux de la psychanalyse,1964, Lacan fait un grand usage de l\u2019anamorphose et pose la question : qu\u2019est-ce qu\u2019un tableau ? Il prend pour exemple le tableau de Hans Holbein, Les Ambassadeurs, 1533. En quoi consiste cette anamorphose simple et non cylindrique, flottant au premier plan du tableau ? [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-5321","post","type-post","status-publish","format-standard","hentry","category-publications"],"_links":{"self":[{"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/posts\/5321","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/comments?post=5321"}],"version-history":[{"count":0,"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/posts\/5321\/revisions"}],"wp:attachment":[{"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/media?parent=5321"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/categories?post=5321"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/pirem.org\/index.php\/wp-json\/wp\/v2\/tags?post=5321"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}