Tysmmm for this reading! Your contrast between the Sun of illuminative truth and the Moon of erotic clandestinity and hiding away in solitude is such an interesting idea. As a Lacanian as yourself, I figured you would have quite a lot to say about the speaker’s relationship to their beloved here.
I always feel like I should be taking notes when I read your posts because you pack so much info into them. Nice work!
Now, I would be interested in reading your thoughts about the face saying "don't kill me" and "you are responsible for my life" (iirc), in terms of horror films in which the bad guy wears a mask (Friday the 13th, Halloween, Scream) AND the opposite when superheroes wear masks. Does this relate to the sublime in both of Kant's terms?
That's a nice structural question, and I'll save it for another piece, because while in the sublime and erotic, the safety point against danger is not created by the person themselves, for a slasher and superhero, they are the reason the safety point exists, with the former defining it as any region where they are absent, and the latter defining it as any region where they are present.
Usually the entity of sublimeness or eroticness is separated from the entity that maintains the safety point. But here, both can be the same or can be different at different points in time. For example, a superhero may be looked upon as a sublime person in one instance and a regular person or even hated in another. Or, a slasher may be hated in one instance, and looked upon as erotic in another. So here, the hatred comes from the slasher doing and the superhero not doing their job of defining the safety point.
Overall, I'll have to work out what this separation does to facehood, which is exciting. Thanks for giving me something new to work on :)
Tysmmm for this reading! Your contrast between the Sun of illuminative truth and the Moon of erotic clandestinity and hiding away in solitude is such an interesting idea. As a Lacanian as yourself, I figured you would have quite a lot to say about the speaker’s relationship to their beloved here.
You're welcome :)
I always feel like I should be taking notes when I read your posts because you pack so much info into them. Nice work!
Now, I would be interested in reading your thoughts about the face saying "don't kill me" and "you are responsible for my life" (iirc), in terms of horror films in which the bad guy wears a mask (Friday the 13th, Halloween, Scream) AND the opposite when superheroes wear masks. Does this relate to the sublime in both of Kant's terms?
Thank you :)
That's a nice structural question, and I'll save it for another piece, because while in the sublime and erotic, the safety point against danger is not created by the person themselves, for a slasher and superhero, they are the reason the safety point exists, with the former defining it as any region where they are absent, and the latter defining it as any region where they are present.
Usually the entity of sublimeness or eroticness is separated from the entity that maintains the safety point. But here, both can be the same or can be different at different points in time. For example, a superhero may be looked upon as a sublime person in one instance and a regular person or even hated in another. Or, a slasher may be hated in one instance, and looked upon as erotic in another. So here, the hatred comes from the slasher doing and the superhero not doing their job of defining the safety point.
Overall, I'll have to work out what this separation does to facehood, which is exciting. Thanks for giving me something new to work on :)