دانشگاه هنر نامه هنرهای نمایشی و موسیقی 2008-2649 2 3 2011 08 23 Studying of Lacan`s Concepts in “Sahereh” خوانش فیلم “ ساحره“ از منظر مباحث لکان 46 35 35 10.30480/dam.2011.35 FA فریده آفرین دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، استان تهران، شهر تهران اشرف السادات موسو ی لر استادیار دانشکده هنر، دانشگاه الزهرا، استان تهران، شهر تهران Journal Article 2011 07 19 Abstract This paper is allocated to consider Lacan’s concepts. Lacan as a psychoanalyst considered and invented several different concepts in psychoanalytic cases. He believed that human’s psyche has been made of three orders, which he called them, “Imaginary, Symbolic and Real orders”. He also (contrary to Freud’s definition of “self”) emphasized on spited self and also on interesting terms that called others, Phalluscenterism and the trilogy of “need, demand and desire”. Lacan defined Freud’s theories, in Saussure words and language, the plurality of signifier in language is one of his new terms. He also is called as a structuralism thinker, because he believed that the human’s unconsciousness is structuralized like language. Therefore he emphasized on similarity between unconsciousness and language structure. Lacan didn’t write any distinguished book or pamphlet during his career. There is just a book entitled Ecrits which was his Ph.D. thesis. He just communicated through different seminars with scholars and his followers. This psychoanalyst changed lots of his ideas during his career. In this paper the authors explain Lacan’s concepts and apply them as analytic approaches. A comprehensive framework for theoretical and thematic analysis is needed. So a Lacanian framework is made by using his applyable concepts. Also his most common concepts have been used, because Lacan wrote so complicated, and not many people understood him thoroughly. Then the authors searched these concepts in Sahereh (a movie by Dawood Mirbaghery). This movie is not an “A” group movie, but today cultural studies let critics study even a “B” group movie and also TV advertisement. The importance of movie or artistic abject isn’t the main critic’s preoccupation, but making connection between theoretical and practical aspects in film studies is more important for them. According to Lacan’s concepts in Sahereh, the authors reach to some results. For example, one of the main characters in Sahereh – called Bahram – shows his spilited self, conversely, Raana presents more balanced self. They got married, and therefore entered to the worlds of each other, as well as the languages, etc. The silence of Bahram’s mother and a sense of death which is implied through the Bam’s Shots (in Kerman) show the Real order. Bahram hasn’t passed the mirror stage (which is between imaginary and symbolic orders) thoroughly. Men in this movie feel and apply virility power more than women (except Raana). Raana doesn’t show manhood lackage, till the middle of the movie. But at the end, this lackage hurts her. According to this analysis, the authors find some new hidden meanings and interpretations. They practically saw, as a conclusion, the application of psychoanalytic concepts چکیده مقالة حاضر به تحلیل برخی دیدگاه های لکان در فیلم ساحره می پردازد. لکان نظریات متعددی را بعد از فروید به حوزه روان شناسی وارد کرد. مفاهیمی مانند منِ چندوجهی، سه نظم خیالی و نمادین و واقعی، مرحلة آ یین ه، دیگری، نرینگی، نیاز، خواست، میل و کثرت دال ها از مفاهیم لکانی هستند. این مفاهیم در بخش نخست با عنوان مبانی نظری بررسی می شوند. بخش دوم مقاله به بررسی و تحلیل این فیلم بر اساس مفاهیم نام برده اختصاص دارد. بر اساس خوانش لکانی، شخصیت اصلی فیلم، بهرام، نمایانگر منِ چندوجهی است و از مرحلة آ یینه به درستی عبور نکرده است. رفتارهای او نشان دهندة علاقه به بازگشت به دورة نظم خیال یاند. رعنا، شخصیت دیگر فیلم در جاهایی این میل را نشان می دهد. ورود رعنا و بهرام به عالم همدیگر، نوعی ورود به زبان عالم آنهاست که نشانه از ورود به عالم نمادین از پیش موجود دارد. سکوت مادر بهرام و حس مرگ ناشی از صحنة ارگ بم، ورود به «نظم واقعی » است. در این فیلم مردان به علاوة رعنا )تا مدتی( به سبب داشتن قدرت، کمتر از زنان احساس اختگی میک‌نند. در نهایت، این بررسی نوعی تحلیل متنی برای شناخت هر چه بیشتر لایه های ضمنی و پنهان فیلم را به دست می دهد https://dam.journal.art.ac.ir/article_35_e9779575936e0660bb78814b8c7aa03c.pdf