Black Swan: blemish of the self in the mirror’s double
Black Swan | Aronofsky | 2010)
Ignacio Roldán Martínez

Universidad Internacional de La Rioja (UNIR), España
Orcid: 0000-0002-3582-4873

Abstract

Aronofsky’s Black Swan, 2010 film, focuses on young Nina’s rehearsals to play the black and white swans in Tchaikovsky’s Swan Lake. The demand to release his libidinous unconscious allows the irruption of the disturbing and fantastic element of the Double, and to apply to the analysis Freud’s contributions on Super Ego, Ego and Id, and those contained in his essay The Uncanny. Likewise, the contrast between white and black refers to the question about the evil implied in the Chariot Allegory of Plato, whose answer Ricoeur enriches when it points to the fallibility of the human being, to the pre-understanding of his miserable condition and to original guilt. For its part, the myth of Narcissus explains the function of the mirror in the film, the nature of longing and the tragic meaning of the death of the heroine.

Keywords: mirror | identity | the double | evil | Narcissus

This article is, for the time being, only available in Spanish: Black Swan: la mancilla del yo en el doble del espejo


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Volumen 16 | Nº 1

MARCH 2026
March 2026 - June 2026

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