Stage6 °F1 Right, M8 Mirror, Chrome

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Early on, Stage6 also became involved in the racing scene. They established Stage6 Cup, a series of national championships in Germany, Holland, Italy and Spain. Racing events are the perfect platform to test new products and show the true potential of the powerful Stage6 tuning parts. helps to vindicate psychoanalysis in feminist terms, enabling it to be used as an explanatory model for social and political relations. Lacan can be utilized to explain such notorious concepts as women’s ‘castration’ or ‘penis envy’ in socio-historical and linguistic terms, that is, in terms more politically palatable than Freud’s biologism. (2002) The mirror stage is a phenomenon to which I assign a twofold value. In the first place, it has historical value as it marks a decisive turning-point in the mental development of the child. In the second place, it typifies an essential libidinal relationship with the body image. (Lacan, Some reflections on the Ego, 1953)

During the mirror stage, then, the child for the first time becomes aware, through seeing its image in the mirror, that his/her body has a total form. The infant can also govern the movements of this image through the movements of its own body and thus experiences pleasure. This sense of completeness and mastery, however, is in contrast to the child’s experience of its own body, over which it does not yet have full motor control. While the infant still feels his/her body to be in parts, as fragmented and not yet unified, it is the image that provides him/her with a sense of unification and wholeness. The mirror image, therefore, anticipates the mastery of the infant’s own body and stands in contrast to the feelings of fragmentation the infant experiences. What is important at this point is that the infant identifies with this mirror image. The image is him/herself. This identification is crucial, as without it – and without the anticipation of mastery that it establishes – the infant would never get to the stage of perceiving him/herself as a complete or whole being. At the same time, however, the image is alienating in the sense that it becomes confused with the self. The image actually comes to take the place of the self. Therefore, the sense of a unified self is acquired at the price of this self being an-other, that is, our mirror image. Lacan describes it like this: Rose, J. (2020) Sexuality in the Field of Vision. Verso. Available at: https://www.perlego.com/book/1841606/sexuality-in-the-field-of-vision-pdf. Bianchi, P. (2018) Jacques Lacan and Cinema: Imaginary, Gaze, Formalisation. Routledge. Available at: https://www.perlego.com/book/1511116/jacques-lacan-and-cinema-imaginary-gaze-formalisation-pdf By critiquing Lacan and reinterpreting his ideas from a feminist perspective, feminist scholars have created a rich tradition of feminist psychoanalytic theory. For more, see our guide to psychoanalytic feminism, Sexuality in the Field of Vision (2020), and Toward a Feminist Lacanian Left (2022). The child's initiation into what Jacques Lacan would call the "mirror stage" entails a "libidinal dynamism" caused by the young child's identification with its own image and creation of what Lacan terms the "Ideal-I" or "Ideal ego". This reflexivity inherent in fantasy is apparent in the mirror stage, since to recognize oneself as "I" is like recognizing oneself as other ("yes, that person over there is me"); this act is thus fundamentally self-alienating. Indeed, for this reason feelings towards the image are mixed, caught between hatred ("I hate that version of myself because it is so much better than me") and love ("I want to be like that image"). A type of repetition compulsion develops from this vacillation as the attempt to locate a fixed subject proves ever elusive. "The mirror stage is a drama...which manufactures for the subject, caught up in the lure of spatial identification, the succession of phantasies that extends from a fragmented body-image to a form of its totality." This misrecognition (seeing an ideal-I where there is a fragmented, chaotic body) subsequently "characterizes the ego in all its structures."Michael Lewis, Jeanne Brooks-Gunn, and John Jaskir. "Individual Differences in Visual Self-recognition as a Function of Mother-infant Attachment Relationship." Developmental Psychobiology 21.6 (1985) 1181-87 Vehicles with ABE approval (before 01.10.2005) must only use mirrors which meet the above criteria. Instead of simply producing and selling spare and run-of-the-mill tuning parts, Stage6 are still following their passion for two-wheelers and continue designing and developing parts for a variety of uses, for thestreet, sport, racing or high-end range

Leader, D. and Groves, J. (2014) Introducing Lacan: A Graphic Guide. Icon Books. Available at: https://www.perlego.com/book/569732/introducing-lacan-a-graphic-guide-pdf Lacan first introduced “the mirror stage” at the 1936 International Congress of Psychoanalysis, later reworking the article and presenting on the mirror stage again in 1949. Lacan writes, Dylan Evans [2] argues that Lacan's earliest versions of the mirror stage, while flawed, can be regarded as a bold pioneering in the field of ethology (the study of animal behavior) and a precursor of both cognitive psychology and evolutionary psychology. In the 1930s, zoologists were increasingly interested in the then-new field of ethology, but not until the 1960s would the larger scientific community believe that animal behavior offered any insights into human behavior. Mulvey argues that we see movie stars as more complete, more perfect versions of ourselves, just as we, as children, see more whole versions of ourselves in the mirror. Mulvey posits that the cinematic gaze is a male one, with the woman always as the object. The gaze comes in three forms: the gaze of the camera (a voyeuristic one) and the gaze of male characters on screen toward female characters, which combine to create the gaze of the spectator (inherently male). While the Imaginary and the Symbolic work upon us before the mirror stage — we see images, we hear language, we experience culture — the mirror stage is our true entry into these realms as it leads us to construct our core senses of self (the ego and the Subject) which exist within those registers.Many film scholars use Lacan’s visually-oriented theories to analyze the experiences of subjects watching films. Slavoj Žižek, a giant of twentieth and twenty-first century critical and cultural theory, offers a guide to psychoanalysis and cinema in Enjoy Your Symptom! (1992). In Pixar with Lacan (2015), Lilian Munk Rösing applies Lacanian theories to Pixar’s iconic animated films, illustrating Lacan’s ideas through recognizable media and analyzing the films’ ideological implications. In Jacques Lacan and Cinema(2018), Pietro Bianchi breaks with previous approaches that focus on the subjective experience of film; instead, he applies Lacan’s theories to the mathematization and geographies of visual space. While the mirror stage may seem to refer to a specific moment, it is more metaphorical than literal. By the end of his career, Lacan viewed the mirror stage as a paradigm or structure of subjectivity rather than a quantifiable moment in human development. A self-loosening and self-adjusting of the mirror is now a thing of the past. The mirrors are delivered with a short M8 thread.

Evans, D. (2006) An Introductory Dictionary of Lacanian Psychoanalysis. Routledge. Available at: https://www.perlego.com/book/1620555/an-introductory-dictionary-of-lacanian-psychoanalysis-pdf The influence of Lacan’s mirror stage extends far beyond psychoanalytic practice. Elizabeth Grosz writes, scooter and moped riders loved and apprecciated Stage6 products right from the start. Stage6 kept extending their product catalogue, innovative manufacturing techniques and new product designs ensured the company’s reputation as a pioneer in technology and design. The brand established itself as one of the leading names on the 50cc scene, with a constantly growing product range for scooters with CVT as well as mopeds with manual transmission. The mirror stage ( French: stade du miroir) is a concept in the psychoanalytic theory of Jacques Lacan. The mirror stage is based on the belief that infants recognize themselves in a mirror (literal) or other symbolic contraption which induces apperception (the turning of oneself into an object that can be viewed by the child from outside themselves) from the age of about six months. At the same time, she critiques Lacan’s sexist shortcomings. Discussing the mirror stage specifically, she argues that Lacan’s “vision-centredness [...] privileges the male body as a phallic, virile body and regards the female body as castrated” becauseTo better understand Lacan’s mirror stage, and the difference between the ego and the Subject, we should examine how these ideas fit into other Lacanian theories: namely, the Real, the Imaginary, and the Symbolic.

Valdés, A. (2022) Toward a Feminist Lacanian Left: Psychoanalytic Theory and Intersectional Politics. Routledge. Available at: https://www.perlego.com/book/3237285/toward-a-feminist-lacanian-left-psychoanalytic-theory-and-intersectional-politics-pdf The Real is the 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. (2012)Rösing, L. M. (2015) Pixar with Lacan: The Hysteric’s Guide to Animation. Bloomsbury. Available at: https://www.perlego.com/book/801202/pixar-with-lacan-the-hysterics-guide-to-animation-pdf The spectator identifies less with what is represented, the spectacle itself, than with what stages the spectacle, makes it seen, obliging him to see what it sees [i.e., the camera]. (1974) Reading Lacan's Écrits: From 'Signification of the Phallus' to 'Metaphor of the Subject' (2018) edited by Stijn Vanheule, Derek Hook, and Calum Neill