One way of theorising the fundamental reorganisation of the aesthetic coordinates that modernism brought about is to understand modern and post-modern artistic creation as phases of a dialectical ...movement. As Fredric Jameson and Slavoj Žižek pointed out, modernism may well be understood as the negation of pre-modern art, whereas post-modernism acts as the moment of sublation – the final synthesis – that preserves and combines elements from both stages. Admittedly, this is Plumpes Denken at its best – there is no room for finesse here – although it does work surprisingly well in the field of architecture. After all, the advent of the modern upended the lavish styles of the late nineteenth century by producing their polar opposite (think of Adolf Loos, who went as far as to criminalise the use of ornaments), whereas post-modern architecture succeeded in blending both traditional and modern elements in a jocular, casual and often parodistic fashion. Against this background, this article proposes an in-depth exploration of an even more recent phenomenon: huachafo architecture, an emerging cultural trend in Bolivia and Peru. Although frequently dismissed, or even derided, by its detractors, with the term huachafo itself being translated as ‘tacky’ or ‘tasteless’, it has already established itself in many neighbourhoods of the countries’ largest cities, often in less affluent, or even informal, areas. Much like its Western counterpart, huachafo architecture approaches its subject with a sensitivity to traditional and modern stylistic codes; however, its results differ considerably from most classically post-modern designs. This article posits huachafo architecture as a kind of alternate post-modernism that draws heavily on regional influences, while challenging some of our preconceived notions about the importance of good taste and the implicit assumptions about class that often accompany this type of reasoning.
After a brief reflection on the characteristics of the historiography of psychoanalysis in recent decades, this article aims to show certain dilemmas and/or debates that cross the psychoanalytic ...field both in the region and in the contemporary world. To this end, the focus will be placed on the campaign organized by Nina Krajnik in favor of the psychoanalytic clinic and against the theoretical psychoanalysis of Slavoj Žižek, Alenka Zupan?i? and Mladen Dolar. It is of particular interest to examine how Krajnik’s arguments are embedded in a broader project aiming both at an expansion of the World Association of Psychoanalysis (WAP) headed by Jacques- Alain Miller, and at obtaining a monopoly over psychoanalytic theory and its political effects. It will be shown that it is possible to find the first manifestations of this process in Latin America even before the WAP project. In this sense, based on the productions of Dolar, Zupancic and Žižek, some current contributions of the Slovenian school will be shown, which are taken up here in the light of the Latin American context, seeking to illuminate the theoretical, institutional, political, ideological and cultural implications of the domination and hegemony of the Millerian current in the psychoanalytic field. This logic of power, as will be seen, has not prevented the emergence and development of some radical and irreverent approaches which, nevertheless, seem to have failed: in some Latin American countries, such as Argentina, Millerian psychoanalysis managed to impose itself even more intensely than in France itself. This poses a challenge and a dilemma worthy of consideration and which must be taken up.
Purpose
The purpose of this paper is to examine how deeper psychosocial structures can be examined utilising a contemporary provocative theory within workplace reflection to generate more radical ...insights and innovation.
Design/methodology/approach
This paper outlines a provocative theory and then presents case examples of how deeper structures can be examined at the micro, meso and macro levels.
Findings
Deeper psychosocial structures are the forces that keep the status quo firmly in place, but deeper examination of these structures enable radical insights and therefore the possibility of innovation.
Research limitations/implications
Deep psychosocial structures shape and constitute daily action, and so work-based and practitioner researchers can be tricked into thinking they have identified new ways of working, but may be demonstrating the same workplace behaviours/outcomes. Workplace behaviours, including emotional responses to apparent change, are key indicators of deeper structures.
Practical implications
Ideas and processes for examining deeper structures can be integrated into daily reflective practices by individuals, within organisational processes, and wider, system processes. However, because deeper structures can appear in different forms, we can be tricked into reproducing old structures.
Social implications
Examining deeper structures increases the possibilities for more radical insights into workplace structures, and therefore, how to potentially mobilise innovations which may better serve people and planet.
Originality/value
This paper is the first to examine the work of Slavoj Žižek in the context of work-based learning.
En el presente artículo abordamos lapoética y la ideología implícitas en Unahabitación propia de Virginia Woolf apartir de las consideraciones de SlavojŽižek, Michel Foucault y Ricardo Piglia,entre ...otros. Atendemos, asimismo, a ladimensión espacial que vertebra ese textoy buena parte del horizonte de lectura dela propia Virginia Woolf.
Freedom is approached in this article as an empty signifier and as an object of discursive struggle, from a discourse-theoretical perspective. The hegemonic centrality of freedom in Western discourse ...and identity construction is acknowledged, but at the same time the article argues that hegemony is never total and all-encompassing. In other words, hegemonic constructions are seen as always particular, with their universal claims displaying cracks and gaps. Especially when different discursive communities (e.g. the West and Russia) engage in global discursive struggles, these cracks become visible through dislocatory strategies. The second part of the article then addresses a case study about how this discursive struggle is organised in practice, focussing on the RT mini-series How to Watch the News, which prominently features Slavoj Žižek. The discourse-theoretical analysis demonstrates how the mini-series deconstructs the Western articulation of freedom, in three ways, namely by showing the failures of Western liberal democracies, and the divided nature of Western societies, and by critiquing the individualistic articulation of freedom. The article concludes by pointing to the ambiguities related to the centrality of freedom, the role of RT and the role of Žižek as public intellectual.
Perspective dominates the writing on colonial art. Conceptualized as a way of seeing that inherently supports the processes of colonial conquest and control, its use in colonial art is routinely ...linked to an overseeing and all-powerful 'colonial gaze'. It is surprising, then, that upon return to the supposed source of this idea, the work of French psychoanalyst Jacques Lacan, you will find that he continually associates the 'gaze' not with perspective but anamorphosis. Undertaking a close study of several inter-related Australian works by the British travel artist, Augustus Earle, in this article I seek to look again at colonial art by placing perspective to one side. In shifting the focus from perspective to anamorphosis, I will be arguing for the need to consider another, often neglected and overlooked aspect to the ideology of the colonial encounter, one based on what Slavoj Žižek paradoxically refers to as a 'pre-ideological enjoyment structured in fantasy'.
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