Skip to main content

Lacan, Subjectivity, and Ideology

𝕀ð•Ĩð•Ī [t𝕙𝕖𝕠ð•Ģ𝕖ð•Ĩ𝕚𝕔𝕒𝕝 ð•Ļ𝕠ð•Ģ𝕜 𝕠𝕗 𝕃𝕒𝕔𝕒𝕟] ð•Ķ𝕝ð•Ĩ𝕚𝕞𝕒ð•Ĩ𝕖 𝕖𝕗𝕗𝕖𝕔ð•Ĩ 𝕚ð•Ī 𝕒 ð•”ð• ð•žð•Ąð•ð•–ð•Ĩ𝕖 ð•Ķ𝕟𝕕𝕖ð•Ģð•Īð•Ĩ𝕒𝕟𝕕𝕚𝕟𝕘 𝕠𝕗 ð•Ĩ𝕙𝕖 𝕟𝕠ð•Ĩ𝕚𝕠𝕟 𝕠𝕗 𝕒 ð•Ķ𝕟𝕚𝕗𝕚𝕖𝕕 𝕒𝕟𝕕 𝕔𝕠𝕟ð•Ī𝕚ð•Īð•Ĩ𝕖𝕟ð•Ĩ ð•Īð•Ķ𝕓𝕛𝕖𝕔ð•Ĩ, ð•Ĩ𝕙𝕖 𝕒ð•Īð•Īð•Ķð•žð•Ąð•Ĩ𝕚𝕠𝕟 𝕠𝕟 ð•Ļ𝕙𝕚𝕔𝕙 𝕒𝕝𝕝 𝕓𝕠ð•Ķð•Ģ𝕘𝕖𝕠𝕚ð•Ī 𝕚𝕕𝕖𝕠𝕝𝕠𝕘𝕊 𝕚ð•Ī 𝕗𝕠ð•Ķ𝕟𝕕𝕖𝕕.
-ℝ𝕠ð•Ī𝕒𝕝𝕚𝕟𝕕 ℂ𝕠ð•Ļ𝕒ð•Ģ𝕕 & 𝕁𝕠𝕙𝕟 𝔞𝕝𝕝𝕚ð•Ī


To unpack the statement, we need to break it down into its core components: Jacques Lacan’s theoretical work, the notion of a unified and consistent subject, and the claim that this notion underpins bourgeois ideology. The statement suggests that Lacan’s psychoanalytic framework, despite its complexity, ultimately reinforces a concept central to bourgeois ideology: the idea of a coherent, autonomous individual. Let’s explore this step-by-step.
𝟭. 𝗟ð—Ū𝗰ð—Ūð—ŧ’𝘀 𝗧ð—ĩð—ē𝗞ð—ŋð—ē𝘁ð—ķ𝗰ð—Ūð—đ 𝗊𝗞ð—ŋð—ļ
Jacques Lacan (1901–1981) was a French psychoanalyst whose work reinterpreted Sigmund Freud’s psychoanalysis through structuralist and post-structuralist lenses, incorporating linguistics, philosophy, and anthropology. His key contributions include the concepts of the Imaginary, Symbolic, and Real orders, the mirror stage, and the idea that the unconscious is structured like a language. Lacan’s work challenges traditional notions of the self, emphasizing that the subject (the individual’s sense of self) is inherently fragmented, shaped by language, desire, and social structures.
𝟭.𝟭 𝗧ð—ĩð—ē 𝗠ð—ķð—ŋð—ŋ𝗞ð—ŋ ð—Ķ𝘁ð—Ūð—īð—ē:
Lacan argued that the subject’s sense of self begins in the "mirror stage" (around 6–18 months), where a child sees their reflection and misrecognizes it as a unified, whole self. This is an illusion, as the child’s actual experience is fragmented and uncoordinated. The ego, formed here, is based on this misrecognition (or mÃĐconnaissance).
𝟭.ðŸŪ 𝗧ð—ĩð—ē ð—Ķ𝘆𝗚ð—Ŋ𝗞ð—đð—ķ𝗰 ð—Ēð—ŋð—ąð—ēð—ŋ:
The subject is further shaped by entry into the Symbolic order—language, social norms, and cultural laws. The subject is "split" because it can never fully align with the signifiers (words, symbols) that represent it. The subject is thus not unified but divided, caught between its own desires and the demands of the social world.
𝟭.ðŸŊ 𝗧ð—ĩð—ē ð—Ĩð—ēð—Ūð—đ:
This is the realm beyond language and symbolization, which resists integration into the subject’s sense of self. It underscores the impossibility of achieving a fully unified identity.
Lacan’s work seems to destabilize the idea of a coherent, autonomous subject by showing how identity is constructed through external systems (language, society) and is inherently incomplete.

ðŸŪ. 𝗧ð—ĩð—ē ð—Ąð—žð˜ð—ķ𝗞ð—ŧ 𝗞ð—ģ ð—Ū ð—Ļð—ŧð—ķð—ģð—ķð—ēð—ą ð—Ūð—ŧð—ą 𝗖𝗞ð—ŧ𝘀ð—ķ𝘀𝘁ð—ēð—ŧ𝘁 ð—Ķ𝘂ð—Ŋ𝗷ð—ē𝗰𝘁
The "unified and consistent subject" refers to the Enlightenment idea of the individual as a rational, autonomous, self-contained entity with a stable identity and agency. This concept is often associated with thinkers like Descartes ("I think, therefore I am") and underpins modern notions of individualism, personal responsibility, and self-determination. In contrast, Lacan’s subject is not unified or consistent. It is split (sujet barrÃĐ, or barred subject, denoted as $ in Lacanian theory), shaped by unconscious desires, language, and the "Other" (the external social and symbolic structures). The ego’s illusion of unity, formed in the mirror stage, is constantly disrupted by the unconscious and the Real. However, the statement claims that Lacan’s work has the "ultimate effect" of reinforcing this notion of a unified subject. This is paradoxical because Lacan explicitly critiques this idea. The claim likely suggests that, despite Lacan’s deconstruction of the subject, his framework might inadvertently lend itself to interpretations that align with the idea of a coherent self, especially when misread or co-opted by certain ideological frameworks.
ðŸŊ. 𝗕𝗞𝘂ð—ŋð—īð—ē𝗞ð—ķ𝘀 ð—œð—ąð—ē𝗞ð—đ𝗞ð—ī𝘆 ð—Ūð—ŧð—ą 𝘁ð—ĩð—ē ð—Ļð—ŧð—ķð—ģð—ķð—ēð—ą ð—Ķ𝘂ð—Ŋ𝗷ð—ē𝗰𝘁
Bourgeois ideology, broadly speaking, refers to the values, beliefs, and assumptions that sustain capitalist social structures, particularly those associated with the bourgeoisie (the capitalist class). This ideology emphasizes individualism, self-reliance, private property, and personal agency, all of which rely on the notion of a unified, consistent subject who can make rational choices, accumulate wealth, and exercise control over their life. The unified subject is foundational to bourgeois ideology because it supports the idea that individuals are fully responsible for their actions and social position. This aligns with capitalist principles like meritocracy, where success or failure is attributed to personal effort rather than systemic factors. Critics of Lacan might argue that his focus on the subject’s formation through the mirror stage and the Symbolic order, while deconstructing the myth of unity, still provides a framework that can be recuperated by bourgeois ideology. For example, by emphasizing the subject’s entry into language and social systems, Lacan’s work could be (mis)interpreted as endorsing the individual’s ability to navigate these systems as a coherent agent, thus reinforcing the bourgeois ideal of the autonomous self.
𝟰. 𝗜ð—ŧ𝘁ð—ēð—ŋð—―ð—ŋð—ē𝘁ð—ķð—ŧð—ī 𝘁ð—ĩð—ē ð—Ķ𝘁ð—Ū𝘁ð—ē𝗚ð—ēð—ŧ𝘁
The statement’s claim that Lacan’s work’s "ultimate effect" is a "complete understanding of the notion of a unified and consistent subject" is likely critical or ironic. It suggests that, despite Lacan’s radical critique of the unified subject, his theories might be co-opted or misread in ways that support bourgeois ideology. Here are possible interpretations:
𝟰.𝟭 𝗠ð—ķ𝘀ð—ķð—ŧ𝘁ð—ēð—ŋð—―ð—ŋð—ē𝘁ð—Ū𝘁ð—ķ𝗞ð—ŧ 𝗞ð—ģ 𝗟ð—Ū𝗰ð—Ūð—ŧ:
Lacan’s complex ideas are often simplified or domesticated in academic or cultural contexts. For instance, the mirror stage could be misconstrued as affirming the ego’s unity rather than exposing its illusory nature. This misreading could align Lacan’s work with bourgeois notions of a stable, autonomous self.
𝟰.ðŸŪ ð—œð—ąð—ē𝗞ð—đ𝗞ð—īð—ķ𝗰ð—Ūð—đ ð—Ĩð—ēð—°ð˜‚ð—―ð—ēð—ŋð—Ū𝘁ð—ķ𝗞ð—ŧ:
Bourgeois ideology has a tendency to absorb and neutralize radical critiques. Lacan’s focus on the subject’s formation within social and linguistic structures might be repurposed to support the idea that individuals can achieve coherence and agency within capitalist systems, thus reinforcing bourgeois values.
𝟰.ðŸŊ 𝗖ð—ŋð—ķ𝘁ð—ķð—ū𝘂ð—ē 𝗞ð—ģ 𝗟ð—Ū𝗰ð—Ūð—ŧ’𝘀 𝗟ð—ķ𝗚ð—ķ𝘁𝘀:
Some Marxist or post-structuralist critics argue that Lacan’s focus on the psyche and language, rather than material conditions or class struggle, limits his revolutionary potential. By providing a detailed account of how the subject is formed within existing social structures, his work might inadvertently legitimize those structures, including the bourgeois ideal of the individual.
ðŸą. 𝗖ð—ŋð—ķ𝘁ð—ķ𝗰ð—Ūð—đ ð—Ĩð—ēð—ģð—đð—ē𝗰𝘁ð—ķ𝗞ð—ŧ
The statement seems to come from a critical perspective, possibly Marxist or post-Marxist, that sees Lacan’s work as insufficiently radical. While Lacan dismantles the myth of the unified subject, his focus on the psyche and language might not go far enough in challenging the material and economic foundations of bourgeois ideology. Alternatively, the statement could reflect a concern that Lacan’s ideas, when stripped of their complexity, are easily absorbed into dominant ideologies that rely on the fiction of the autonomous individual.
ðŸē. 𝗖𝗞ð—ŧ𝗰ð—đ𝘂𝘀ð—ķ𝗞ð—ŧ
Lacan’s theoretical work seeks to undermine the notion of a unified and consistent subject by revealing its fragmented, illusory nature. However, the statement argues that its "ultimate effect" is to reinforce this notion, which underpins bourgeois ideology. This likely points to a tension: either Lacan’s ideas are misread in ways that align with bourgeois values, or his focus on the subject’s formation within symbolic systems inadvertently supports the ideological framework of capitalism. To fully assess this claim, one would need to consider how Lacan’s work has been interpreted and applied in cultural, academic, or political contexts, and whether it truly serves to uphold or challenge the bourgeois ideal of the self.

Comments

Popular posts from this blog

āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪો : ‘āŠ•ંāŠ•ુ’, ‘āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ’ āŠ…āŠĻે ‘āŠ§ાāŠĄ’āŠĻા āŠļંāŠĶāŠ°્āŠ­ે

  āŠ†āŠŪ āŠœોāŠˆāŠ āŠĪો āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪ āŠ‡āŠĻ્āŠĄāŠļ્āŠŸ્āŠ°ી āŠ–ૂāŠŽ āŠœૂāŠĻી āŠ›ે āŠ…āŠĻે āŠ•ેāŠŸāŠēાāŠŊ āŠŪāŠđāŠĪ્āŠĩāŠĻા āŠ•āŠēાāŠ•ાāŠ°ો āŠ…āŠĻે āŠŦિāŠē્āŠŪો āŠ†āŠŠી āŠšૂāŠ•ી āŠ›ે. āŠŠāŠ°ંāŠĪુ āŠ†āŠœેāŠŊ āŠ āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ-āŠ†ંāŠĪāŠ°āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ āŠļ્āŠĪāŠ° āŠŠāŠ° āŠ–ૂāŠŽ āŠœ āŠŠાāŠ›āŠģ āŠĶેāŠ–ાāŠŊ āŠ›ે. āŠ…āŠđીં , āŠđું āŠĪ્āŠ°āŠĢ āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪો ‘ āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ ’ , ‘āŠ•ંāŠ•ુ ’ āŠ…āŠĻે ‘ āŠ§ાāŠĄ ’ āŠĩિāŠķે āŠĩાāŠĪ āŠ•āŠ°ીāŠķ, āŠ…āŠĻે āŠ—ુāŠœāŠ°ાāŠĪી āŠŦિāŠē્āŠŪોāŠĻાં āŠŠāŠŸ āŠŠāŠ° āŠĪેāŠŪāŠĻાં āŠŪāŠđāŠĪ્āŠĩ āŠĩિāŠķે āŠĩાāŠĪ āŠ•āŠ°āŠĩાāŠĻો āŠĻાāŠĻāŠ•āŠĄો āŠŠ્āŠ°āŠŊાāŠļ āŠ•āŠ°ીāŠķ. āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ (āŦ§āŦŊāŦŪāŦĶ) āŠ•ેāŠĪāŠĻ āŠŪāŠđેāŠĪા āŠĶ્āŠĩાāŠ°ા āŠĶિāŠ—્āŠĶāŠ°્āŠķિāŠĪ āŠŦિāŠē્āŠŪ ‘ āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ ’ āŦ§āŦŊāŦŪāŦĶāŠŪાં āŠŠ્āŠ°āŠĶāŠ°્āŠķિāŠĪ āŠĨāŠˆ āŠđāŠĪી āŠœે āŠ§ીāŠ°ુāŠŽāŠđેāŠĻ āŠŠāŠŸેāŠēāŠĻા āŠĻાāŠŸāŠ• āŠŠāŠ° āŠ†āŠ§ાāŠ°િāŠĪ āŠđāŠĪી , āŠ…āŠĻે āŠœાāŠĪિāŠĩાāŠĶāŠĻા āŠŪુāŠĶ્āŠĶા āŠĩિāŠķે āŠ–ૂāŠŽ āŠœ āŠ°āŠļāŠŠ્āŠ°āŠĶ āŠ°ીāŠĪે āŠĩાāŠĪ āŠ•āŠ°ે āŠ›ે. āŠ† āŠŦિāŠē્āŠŪāŠĻે āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ āŠ…āŠĻે āŠ†ંāŠĪāŠ°āŠ°ાāŠ·્āŠŸ્āŠ°ીāŠŊ āŠļ્āŠĪāŠ° āŠŠāŠ° āŠ–્āŠŊાāŠĪિ āŠŠ્āŠ°ાāŠŠ્āŠĪ āŠĨāŠˆ āŠ›ે. āŠŪાāŠ°ા āŠŪાāŠŸે āŠŦિāŠē્āŠŪāŠĻું āŠļāŠđુāŠĨી āŠŪāŠđāŠĪ્āŠĩāŠĻું āŠĶૃāŠķ્āŠŊ āŠķāŠ°ૂāŠ†āŠĪāŠĻી āŦŽ āŠļેāŠ•āŠĻ્āŠĄ્āŠļāŠŪાં āŠœ āŠœોāŠĩા āŠŪāŠģે āŠ›ે; āŠ āŠ•āŠđે āŠ›ે, āŠ…āŠļાāŠˆāŠĪ āŠ ાāŠ•ોāŠ° āŠ…āŠĻે āŠŽેāŠ°્āŠĪોāŠē āŠŽ્āŠ°ેāŠ–્āŠĪāŠĻે āŠļāŠŪāŠ°્āŠŠિāŠĪ. āŠ† āŠāŠ• āŠŦ્āŠ°ેāŠŪ āŠŦિāŠē્āŠŪāŠĻે āŠ—ુāŠœāŠ°ાāŠĪી āŠ…āŠĻે āŠĩૈāŠķ્āŠĩિāŠ• āŠĻાāŠŸ્āŠŊāŠŠāŠ°ંāŠŠāŠ°ા āŠļાāŠĨે āŠœોāŠĄી āŠ†āŠŠે āŠ›ે. ‘āŠ­āŠĩāŠĻી āŠ­āŠĩાāŠˆ’ (āŠĶિ. āŠŪāŠđેāŠĪા , āŦ§āŦŊāŦŪāŦĶ)       āŠŦિāŠē્āŠŪ āŠŠોāŠĪાāŠĻી āŠĩાāŠĪ āŠ•āŠđેāŠĩાāŠŪાં āŠ­āŠĩાāŠˆ āŠĻાāŠŸ્āŠŊāŠŠāŠ°ંāŠŠāŠ°ાāŠĻો āŠ‰āŠŠāŠŊોāŠ— āŠ•āŠ°ે āŠ›ે, āŠ…āŠĻે āŠāŠ• āŠĻāŠĩી āŠœ āŠĻેāŠ°ેāŠŸીāŠĩ āŠŠāŠĶ્āŠ§āŠĪિ...

Mikhail Bakhtin and his Dialogic Imagination

Book: The Dialogic Imagination: Four Essays (1981) Author: M. M. Bakhtin Translated by: Caryl Emerson & Michael Holquist Edited: Michael Holquist Austin & London: University of Texas Press "The Dialogic Imagination: Four Essays" by Mikhail Bakhtin is already considered a classic not only from the perspective of literary genre but also as an important work on the philosophy of language. The present book contains the four essays: 1. Epic and Novel, 2. From the Prehistory of Novelistic Discourse, 3. Forms of Time and of the Chronotope in the Novel, 4. Discourse in the Novel and an Introduction and Glossary by the editor. The essays are a commentary on the  historical development of novel form and how it is different from the other literary form. His argument is that as the novel form is different from the other literary forms, we need a different type of stylistic and poetic analysis and dogmas for that in order to truly evaluate the Novel. He tries ...

"āŠ§ુāŠģāŠ•ી āŠĪાāŠ°ી āŠŪાāŠŊા āŠēાāŠ—ી": āŠāŠ• āŠ…āŠĩāŠēોāŠ•āŠĻ

āŠŦિāŠē્āŠŪ “ āŠ§ુāŠģāŠ•ી āŠĪાāŠ°ી āŠŪાāŠŊા āŠēાāŠ—ી ” āŠ°ાāŠ āŠĩા āŠļāŠŪાāŠœāŠĻી āŠāŠ• āŠŊુāŠĩāŠĪી , āŠ§ુāŠģāŠ•ી , āŠĻી āŠĩાāŠĪ āŠ•āŠ°ે āŠ›ે . āŠ† āŠŦિāŠē્āŠŪ ‘ āŠ°ાāŠ  ’ āŠĩિāŠļ્āŠĪાāŠ° āŠĪāŠ°ીāŠ•ે āŠ“āŠģāŠ–āŠĪા āŠ›ોāŠŸાāŠ‰āŠĶેāŠŠુāŠ° , āŠŠાāŠĩીāŠœેāŠĪāŠŠુāŠ° , āŠĻāŠļāŠĩાāŠĄી , āŠŽોāŠĄેāŠēી , āŠĩāŠ—ેāŠ°ે āŠœેāŠĩા āŠ—ાāŠŪāŠĄાંāŠ“āŠŪાં āŠ–ૂāŠŽ āŠļāŠŦāŠģ āŠĨāŠ‡ āŠđāŠĪી . āŠ† āŠĩિāŠļ્āŠĪાāŠ°āŠĻા āŠļિāŠĻેāŠŪાāŠ˜āŠ°ોāŠŪાં , āŠœ્āŠŊાં āŠŦિāŠē્āŠŪ āŠŦāŠ•્āŠĪ āŠĪ્āŠ°āŠĢ āŠĶિāŠĩāŠļ āŠšાāŠēāŠĪી , āŠ† āŠŦિāŠē્āŠŪ āŠŪāŠđિāŠĻાāŠ“ āŠļુāŠ§ી āŠšાāŠēી . āŠŠāŠ°ંāŠĪુ , āŠŪાāŠ°ા āŠ•ેāŠŸāŠēાāŠ• āŠŪાāŠđિāŠĪીāŠĶાāŠĪાāŠ“āŠĻા āŠŪāŠĪ āŠ…āŠĻુāŠļાāŠ° āŠ† āŠŦિāŠē્āŠŪ āŠ°ાāŠ āŠĩા āŠļāŠŪાāŠœ āŠĩિāŠ·ે āŠĻ āŠđāŠĪી . āŠĪો āŠŠāŠ›ી āŠ† āŠŦિāŠē્āŠŪ āŠ•ેāŠŸāŠēાāŠ• āŠšોāŠ•્āŠ•āŠļ āŠĩિāŠļ્āŠĪાāŠ°ોāŠŪાં āŠœ āŠ†āŠŸāŠēી āŠļāŠŦāŠģ āŠ•ેāŠŪ āŠĨāŠ‡ ? āŠŠ્āŠ°āŠļ્āŠĪુāŠĪ āŠŠેāŠŠāŠ° āŠāŠĻા āŠ•ેāŠŸāŠēાāŠ• āŠ•ાāŠ°āŠĢો āŠĩિāŠ·ે āŠĩાāŠĪ āŠ•āŠ°āŠķે , āŠ…āŠĻે āŠŦિāŠē્āŠŪāŠŪાં ‘ āŠ°ાāŠ āŠĩા ’ āŠ“āŠģāŠ– āŠ•āŠˆ āŠ°ીāŠĪે āŠ‰āŠ­ી āŠ•āŠ°āŠĩાāŠŪાં āŠ†āŠĩી āŠ›ે āŠĪેāŠĻા āŠĩિāŠ·ે āŠĩાāŠĪ āŠ•āŠ°āŠķે . āŠļાāŠŪાāŠœીāŠ• āŠ°ીāŠĪે āŠŠāŠ›ાāŠĪ āŠĩāŠ°્āŠ—āŠĻી āŠ‰āŠŠāŠēા āŠĩāŠ°્āŠ— āŠĪāŠ°āŠŦāŠĻી āŠ—āŠĪિ āŠœે āŠŦિāŠē્āŠŪāŠĻી āŠŪુāŠ–્āŠŊ āŠ•āŠĨાāŠĻો āŠ—āŠ°્āŠ­ીāŠĪાāŠ°્āŠĨ āŠ›ે , āŠœે āŠŦિāŠē્āŠŪāŠĻું āŠ…āŠĻ્āŠŊ āŠŠાāŠļુ āŠ°āŠœુ āŠ•āŠ°ે āŠ›ે . āŠĪāŠĶુāŠŠāŠ°ાંāŠĪ , āŠ†āŠŠāŠĢે āŠŦિāŠē્āŠŪ āŠ…āŠĻે āŠļāŠŪાāŠœāŠŪાં āŠŠ્āŠ°āŠļ્āŠĨાāŠŠિāŠĪ āŠŪાāŠēીāŠ•્āŠĩāŠ°્āŠ— āŠ…āŠĻે āŠŠીāŠĄીāŠĪāŠĩāŠ°્āŠ— āŠĩāŠš્āŠšેāŠĻા āŠŠાāŠ°āŠļ્āŠŠāŠ°િāŠ• āŠļંāŠŽંāŠ§ોāŠĻે āŠŠāŠĢ āŠœોāŠˆāŠķું . ***                 āŠŪાāŠĢāŠļ āŠļāŠđુāŠĨી āŠŠāŠđેāŠēા āŠāŠ• āŠŪાāŠĢāŠļ āŠ›ે , āŠ§āŠ°્āŠŪ , āŠœાāŠĪિ , āŠĩંāŠķ , āŠŽāŠ§ું āŠœ āŠĪેāŠĻી āŠŪાāŠĻāŠĩāŠĪા āŠ…āŠĻે āŠŪાāŠĻāŠĩāŠ§āŠ°્āŠŪ āŠļાāŠŪે āŠ—ૌāŠĢ āŠ›ે . āŠ†āŠĩો āŠļāŠ°āŠļ āŠļંāŠĶેāŠķો āŠ°āŠœુ āŠ•āŠ°āŠĪી...