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	<title>The Symptom</title>
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	<description>Universalism versus globalization. This at least will be our US chapter - to be read as United Symptoms - Jacques-Alain Miller</description>
	<pubDate>Sun, 18 Jan 2009 22:48:47 +0000</pubDate>
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		<title>Elements of Epistemology   Jacques-Alain Miller </title>
		<link>http://www.lacan.com/symptom2/?p=37</link>
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		<pubDate>Sat, 21 Jun 2008 22:45:31 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques Lacan]]></category>

		<category><![CDATA[Jacques-Alain Miller]]></category>

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		<description><![CDATA[Author’s Bio
This is the last of three lectures which I have been invited to deliver. In my first lecture here I introduced the work and style of Jacques Lacan, and although time constraints did not allow me to go beyond half of what I had planned to tell you, I think I was able to [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#de0013" size="2" face="Verdana"><a href="http://www.lacan.com/biosB.htm#miller" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This is the last of three lectures which I have been invited to deliver. In my first lecture here I introduced the work and style of Jacques Lacan, and although time constraints did not allow me to go beyond half of what I had planned to tell you, I think I was able to give an idea of the theoretical principles whose uninterrupted development started more than thirty years ago.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In my second lecture I attempted to use the example of the <em>piropo</em> or flirtatious message, which I improvised, as a paradigm, in order to transmit some truths which are fundamental and yet unrecognized about language; in particular, about the function of language in sexual separation, the fading of the reference, the equivocation of language (<em>langue</em>), the misunderstanding of communication.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">I am going to dedicate this third lecture to the question of science, and more precisely to respond, as far as I am able, to Professor Cardenas, to whose invitation I owe my presence here (I have already thanked him, and I now thank him again), and whose reaction, after my last exposition, was to say that, in the way in which I presented it, the Lacanian theory appeared to conclude in the impossibility of knowledge. Fair enough. After all, the impossibility of knowledge does not scare me, since knowledge is not science. The difference between knowledge and science appears to me to be fundamental in Lacan&#8217;s epistemology. and acceptable well beyond the strict field of psychoanalysis.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">For greater convenience, I shall divide this lecture into ten points which I shall cover successively. This means that this lecture will have a style and a tone different to the previous one.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>I.</strong> One can postulate that throughout the history of thought the theory of knowledge has always upheld the ideal, which has been formulated in various ways, of the union of subject and object. More precisely, the classical theory of knowledge assumes a co-naturality of subject and object, a pro-established harmony between, the subject who knows and the object known. The theory of knowledge has always commented on the miracle of the adequation of knowledge, reserving a place for the-thing-in-itself which, in Kant&rsquo;s terms, would be unknowable.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">From its beginnings, science has been distinguished from knowledge, if only because the former constructs its object. This principle, let it be understood, is not specifically Lacanian. It is also the principle of Bachelard, for example, for whom the object and the scientific instrument are an incarnated theory - that is his expression. I point out that the same thing happens with the Freudian unconscious: in so far as this is apprehended in the novel device of Freud&#8217;s practice, it also realizes a theory.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Which theory? This is the whole question. This is a first and brief point which is open to discussion, and I should say that it is not specifically Lacanian.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>II.</strong> The second point is more precise. It is pertinent to notice that all knowledge is fundamentally illusory and mythical, in so far as what it does is to comment on the &ldquo;sexual proportion,&rdquo; a term with which David Mauri has very appropriately translated the French expression <em>rapport sexuel</em> used by Lacan. All theory of knowledge has sexual connotations. You can take as an example Aristotle&#8217;s complementarity between form and matter. You can also think of that very elaborate form of knowledge, ancient Chinese astrology, which is a whole discourse about the male and the female and which organizes not only the gods but also the entire society. These are examples that Lacan considers in his seminar <em>The Four Fundamental Concepts of Psycho-analysis</em>. Similarly, one can recall the theory of phlogiston, so compelling and present during the seventeenth and eighteenth centuries, before the emergence of scientific chemistry. I would say since I cannot expose all the historical examples, that knowledge, in so far as it is distinguished from science, sings indefinitely the imaginary wedding of the male and the female principles. I believe it would not be an abusive generalization to state that all the &ldquo;primitive forms&rdquo; of knowledge are erotic. In the last analysis, they even get mixed up with the sexual techniques&#8217;. That is why Lacan&#8217;s thesis that <em>The</em> woman does not exist - which, in the way I presented it, appeared to be somehow abrupt, astonishing - is certainly a fundamental thesis for epistemology as well. Since the object, which in the theory of knowledge is meant to be complementary to the subject, represents also a way of taming the woman. Science - and by science I mean what was born as mathematical physics in the seventeenth century, and also mathematics proper, born well before that time. the gap between the birth of mathematics and the birth of mathematical physics being a big problem of the history of sciences - science, then, in this strict sense, assumes on the contrary that there is no co-naturality between subject and object, that there is no aesthesia of the opposite sex, that there is no natural sexual tropism. This is, furthermore, demonstrated by that structure which is fundamental to psychoanalysis and which introduced Freud to his practice, that is to say, hysteria. It is certainly one of the most surprising theses of Lacan&#8217;s epistemology - which I may not have enough time to develop here - that the structure of scientific discourse is not without relation with the structure of the discourse of hysteria. In this respect, Lacan&#8217;s proposition that there is no sexual rapport (or ratio) may be considered as a sort of secret condition for the emergence of the discourse of science. In a certain way, the men who developed the discourse of science in the seventeenth century must have posed the proposition that there is no sexual rapport. Those who are familiar with the texts from the Renaissance, for example, and the texts which have been preserved from the seventeenth and eighteenth centuries produced by astrologists and philosophers, know about that evident and sudden break in style and in the very approach to problems. One could say, in this sense, that the scientific approach assumes a de-sexualization of the view of the world, and to use a philosophical expression, a de-sexualization of being in the world. Psychoanalysis is not at all a pan-sexualism. Pan-sexualism is, for example, the theory of Schopenhauer, which places life at its start; or, more precisely, which places at its start the sexual instinct, which would animate the entire nature as well as all human creations. Freud, awkwardly perhaps, but in a very significant manner, introduced the paradoxical term of death instinct, and he discovered, through the angle of hysteria, that the other sex is the Other sex, written with the big 0 of exteriority. I restrict myself to mere allusions to the works of epistemologists. Those who know such works will be able to judge the pertinency of this summary.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>III.</strong> One can ask what it is that generates the pan-sexualist illusion. It seems to me that this illusion, which falls precisely with the emergence of the discourse of science, but not before, is, in this connection, something recent. What gives birth to the pan-sexualist illusion is that all signification, being imaginary, is fundamentally sexual. All which is said and which makes sense always reveals that, in the end, it aims at a unique signification that occupies the place of reference - reference which does not exist in natural language, in the maternal tongue, in vulgar language; and this signification, which occupies the place of the reference which is lacking, is fundamentally phallic. This is what confers interest and value on that very ancient exercise of discourse called comedy, which has always consisted in making one laugh while revealing the imaginary object which all discourses surround and at which they aim, namely, the phallus. There is a paper by Lacan in this respect which he delivered in Germany in the 1950s, entitled <em>Die Bedeutung des Phallus</em> (The signification of the phallus). Indeed, it is necessary to understand that the phallus is the fundamental <em>Bedeutung</em> or signification. This idea may appear to be somehow excessive; but not if one considers that for instance Frege, who is at the origins of mathematical logic, proposed the theory that all that is said can be classified in two ways: first the expressions which have the true as reference and then those expressions which have the false as reference. He imagined that language has everyday objects as reference. Now then, the simplification of the formulation provided by Lacan states that the sole reference is the signification of the phallus. And there is a discourse for this malediction, which could well be called a benediction. In any case, there is a law of diction, according to which the phallus is always there; it always reveals itself in a pertinent way in the lapsus or in the joke. One could say: &ldquo;Look for the phallus, it is never very distant. &ldquo; There is, however, a discourse which escapes this law of diction, and that is the discourse of science. But this is precisely, and I stress this point, because this discourse constitutes itself only from the moment of the extinction of signification, from the construction of systematic networks of elements which are in themselves. This is the thesis which can be discussed, and which does not require a detailed knowledge of the Lacanian phraseology: science supposes the extinction of signification. It is a mistake to believe that measurement is constitutive of science. Mathematization does not mean measurement. Evidence of this is to be found for instance in topology. Topology is a geometry without measurement where there is no question of distances, where only the schematic network of the signifier supports the objects. These objects do not have any consistency; they do not possess any substance other than the network of signifiers itself. Evidently, at the beginnings of topology objects were represented; for example, that singular object called the Moebius strip was represented. It is possible to construct this object before one&#8217;s eyes: one takes a ribbon, and instead of joining its ends to form a cylinder, one joins its ends after making a twist through 180 degrees. This object is obviously curious: if one slides a finger on its edge, the finger appears on the other side of the ribbon, without having passed through any frontier. In the case of a cylinder, the finger remains always on the same side; there are two sides: a back and a front. With the Moebius strip one can, without interruption, move from the back to the front. It is a very singular object which had to wait until 1860 to be discovered by the mathematician Moebius. This is rather extraordinary, one wonders why this simple, small operation could not be performed before that date. This is the first topological object which Lacan has utilized to explain that one should not be contented with the thought-that things always have a front and a back, that the unconscious is at the bottom and language is at the surface. There is, on the contrary, a relation of Moebius strip which makes it possible that correlation and continuity between the right side out and the reverse become conceivable in a scientific manner. In this respect, Lacan has taken advantage of these topological objects derived from scientific discourse in order to structure the analytic experience. One should not believe that because in the analytic experience one is faced with phenomena which appear to be paradoxical from the point of view of common sense it is impossible to analyze them scientifically. That what is in the exterior is at the same time in the interior is not simply a witticism. For example, there is an object called a Klein bottle, which was invented by the mathematician Felix Klein soon after the invention of Moebius&rsquo; strip. The Klein bottle materializes, mathematically, a relationship between inside and outside which places the outside, if I may use the expression, inside the outside. I would need more time to give you a&#8217; summary of the works by Lacan which located the main terms of the analytic discourse in topological figures. I should say that this is only the ABC of topology, since these objects can be designed. You can have a Moebius strip in front of your eyes. You can have a Klein bottle in front of your eyes, in three dimensions, only in an approximate form; but it can still be drawn. Then, with algebraic topology, the objects can no longer be drawn: what is called an object is a pure creation of mathematical discourse.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Therefore, we should not take as a criterion of science what experimental science has believed it can define as scientific in its own case. I must tell you that all that we accept as scientific disciplines in the schools of humanities, that is sociology, psychology, medicine, is very often a joke in the eyes of a mathematician or a physicist I say this only to make it clear that the concept  of science is more complex than simply trying to be objective. As Hamlet has it:</font></p>
<p align="justify"><font color="#000000" size="1" face="Verdana">There are more things in heaven and earth, Horatio.<br />
		      Than are dreamt of in your philosophy.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The fate of science is tied to formalization, not to measurement. It is tied to the number in so far as the number represents in an enigmatic way the presence of the signifier in the real. I shall return to this point later. Lacan represents an attempt to formalize the structure which supports the phenomenology of the analytic experience. It is evident that this is a complex structure, since the phenomena which occur in the analytic experience induce, in a first approach, the feeling that they cannot be structured. Yet metaphor can be structured; metonymy can be structured; equivocation can be structured; the function of the Other in the determination of sense can be structured. This is, in a sense, an amazing feat. The feat consists in grasping, with the discourse of science, a Held that science was prepared to leave to obscurantism, that is to say, to leave as the refuge of fantasies of sexual knowledge.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This is why I was able to say, in my first lecture, that Lacan&rsquo;s teaching was a critical and epistemological teaching, opposed to all obscurantist discourses which have found refuge, in the era of science, in the psychotherapeutic game.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>IV.</strong> Once again, I am going to formulate a thesis which in my opinion has consistency outside the Lacanian phraseology, and which I submit for the consideration of teachers and students who are not specialists in Lacan.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Science assumes the disjunction of the symbolic and the imaginary, of the signifier and the image. Lacan has often commented on the works of Alexandre Koyr&eacute;, one of the greatest French epistemologists, on Galileo, Kepler and Newton. Professor Cadenas told me that science is something which gives birth, for instance, to the equation of gravitation. This is also the example that Lacan uses as a model. But the emergence of the key equations of gravitation theory required - Lacan, on the basis of Koyr&eacute;&#8217;s studies, points this out - the disappearance of all the imaginary values attributed to the movements of the stars. It required, according to Lacan&#8217;s expression, the extermination of all imaginary symbolism from heaven. What was. at bottom, the &quot;epistemological obstacle&quot; - to use Bachelard&#8217;s now famous expression - which opposed a barrier to the formulation of the equations of Newton&#8217;s theory? Let us consider Kepler&#8217;s example. Kepler could still think that.  given the eminent dignity of the stars and their superior value, the orbits of planets should have a perfect form. Given that requirement of perfection, the movement of planets could not possibly be elliptical, but circular. This imaginary theory assumed that the circle, is more perfect than the ellipse; hence the requirement, I would say, of an aesthetic and imaginary character, that the movement of the planets be circular. Newton&#8217;s equation could only be formulated from the moment when there was a renunciation of the attribution of any imaginary signification to heaven; from the moment when thinking of the dignity of the planets ceased; when there was a renunciation of the requirement of perfection and one could be contented with those small symbols which can be written on a sheet of paper and which are valid for the entire creation.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In this sense, scientific theory has demanded. an adherence to the signifier in so far as this is separated from all imaginary signification is amusing that this did not prevent Newton from scrutinizing <em>The Book of Daniel</em> and <em>The Apocalypse</em> of John, in an attempt to decipher in the sacred text the future of creation and God&#8217;s plan. As with many other attempts at that moment of birth of scientific discourse. Newton could on the one hand exterminate the celestial signification, and on the other he looked for it, as a cabalist, by scrutinizing the biblical text. This is something which is not very well known. It is not to be found in Koyr&eacute;. but in Lacan, who read Newton&#8217;s text on <em>The Book of Daniel</em>. Lacan has a copy of the edition of that time. It happened, then, as if signification, which had been excluded from heaven, found refuge in the sacred text. Newton is not, in this connection, the man one usually thinks he is. Someone wrote a beautiful article on Newton. He was a rather extraordinary scholar, and not simply an economist: Lord Keynes, John Maynard Keynes, who was very interested in Newton. Soon after the war he wrote an article in which he called Newton the last of the astrologists. That was the paradox which existed at the origins of the discourse of science: simultaneously with his construction of mathematical physics, Newton was passionately fond of astrology. A thesis published by MIT in 1975 or 1976 has revealed a number of papers by Newton concerning his research on physics. This presents to us Newton the individual as crossed by the epistemological cut. This is a remark aimed at avoiding any confusion between the individual and the subject of science, in so far as the latter is tied up with the discourse of science.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>V.</strong> You must know Pascal&#8217;s sentence, which irritated Paul Val&eacute;ry so much: &quot;The eternal silence of these infinite spaces frightens me.&quot; Val&eacute;ry was bothered by this sentence; he considered it to be a beautiful verse, but he thought it was rather melodramatic. Pascal was also one of those traversed by the epistemological cut. I would say something different to what Val&eacute;ry said. Pascal&#8217;s sentence on the silence of the infinite spaces reveals a very modern affect, since heavens, the creation, were not at all mute before the advent of science. On the contrary, (he spaces, heavens, the creation, the earth I sung the glory of God and the grandeur of His plan. It is precisely the discourse of science, since the emergence of mathematical physics, that makes the world become silent. Lacan sums up this proposition, which I believe is unquestionable, by saying that science assumes that there exists in the world the signifier which means nothing - and for nobody. That the signifier can be found in the world, a signifier which is organized and which responds to laws, but which is not linked with a subject who would express himself through it&mdash;this is an entirely modem and scientific idea. The signifier may exist independently of a subject who expresses himself through its mediation. This is a signifier separated from its signification; a signifier without intention. The mathematization of physics answers to this requirement. But the Freudian invention of the unconscious also responds to it: the  signifier exists independently of the consciousness that the subject might have of it or its expression. It is rather the subject who is the effect of the functioning of signifying laws. This is why Lacan says, and history seems to confirm it, that psychoanalysis was not possible before the advent of the discourse of science.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The scientific context where the Freudian discovery was born was very significant. Freud was the disciple of Br&uuml;cke and Helmholtz, German scientists who did not want to know anything but the discourse of science. Freud himself remained faithful to that inspiration for the rest of his days. In this sense, psychoanalysis can be considered as the manifestation of the positive spirit of science in a domain which has been specially resistant to the conceptual grasp of science. In a way, this has always been known. One cannot confuse Freud and Jung. If Jung broke with Freud - and, incidentally. it cost him three years of serious depression, apart from all the vicissitudes of history - it was because he returned, with his book <em>The Transformation of Libido</em>, to what in ancient times was called the soul of the world. This is an old theory which has continued to be present in the history of thought, and which treats nature in its entirety as a being. It is a fundamental intuition which German romanticism, for example, developed fully: it found a new youth with the Naturphilosophie and even in our days something of the same order has made Teilhard de Chardin fashionable. There have always been, and specially in the era of science, people who search for what they call a complement of soul in these forms of knowledge (<em>savoirs</em>) which are not scientific and yet are knowledge, that is to say, are organized. The soul of the world: this is precisely what the discourse of science has put aside; this is a movement which in history is incarnated by Descartes. Through this movement the scientific spirit separated from the spirit, which should be called obscurantist, of the Renaissance. The omega of Father Teilhard de Chardin was the grand signified which was supposed to arrange the whole of human history. Furthermore, you must know as I do the part of the theology which still remains in Marxism-Leninism. The separation between Bossuet and Marx has not been completely achieved.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>VI.</strong> With the discourse of science, God ceases to speak. He is silent, even hidden, as Goldmann said when discussing Racine&#8217;s tragedies in <em>The Hidden God</em>. He is silent and hidden and he calculates, as somebody who is also at the emergence of the discourse of science, Leibniz puts it. Koyr&eacute; and Koj&egrave;ve have analyzed the relation between science and Judaeo-Christian monotheism. Their thesis is that the discourse of science was only possible in a religious context, where something totally new and singular was postulated: the creation of the world <em>ex nihilo</em> by a divine grand Other. The creation <em>ex nihilo</em> constructed by the discourse of religion permitted to trust the natural experience, since through the natural experience one can find the traces of a logical creation. This is why science is not. perhaps, as atheist as is generally believed. On the other hand, in the discourse of science, the signifier means nothing within nature; on the other hand, the signifier is there, in nature, in order to organize according to laws. This is why science is always linked with the idea that there is already knowledge (<em>un savoir</em>) in the real: an articulated network of signifiers which function in the real independently of the knowledge that we may have of it. Once again, the history of science teaches us something, this time in connection with Newton. Cartesians were scandalised by Newton. They considered that Newton represented a return to obscurantism, since - and this is something that Lacan as epistemologist has underlined - they wondered how was it possible that the planets knew Newton&#8217;s laws of gravitation. How could the planets obey those laws? This constituted a return to the hidden qualities which Descartes has dismissed. In this respect, Newton says that he did not forge hypotheses that would have only fictional existence. With his small signifying articulation, he verifies that they function in the real. Many things are verified like that, which after all there is no need to comprehend, and which evidently place God in the horizon of science. One can verify, for example, that certain plants arrange their leaves according to the series of Fibonacci, which is a regular order of numbers in a series discovered in the thirteenth century. Do plants know mathematics? All that mathematical physics teaches us is the verification that there is a knowledge (<em>savoir</em>) which functions in the real. In this sense, science assumes God in two forms. In the first place, it assumes God as Descartes recognised him, as the guarantor of truth, that is to say, as an element which does not deceive. There is a very precise demonstration by Descartes in this respect. As God is perfect, it would constitute an infraction to his perfection that he lied; therefore, and although this is a limit to his power. God cannot lie. Not being able to lie does not constitute an impotence, but, on the contrary, an excellence of power. This conviction about an element which does not deceive is completely decisive in science. Avicenna said something similar: &quot;God is shrewd, but He is honest.&quot;</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The idea of God&#8217;s honesty is not simply a joke of Avicenna&#8217;s, and although it is believed that one does not believe in God, perhaps the belief in God nevertheless persists. This is, besides, what Lacan said one day in his seminar, where there were approximately four times the number of people present here: that he was certain that there was not one person in the audience who in fact did not believe in God. In God as the element which does not deceive. In the beginning, that had the appearance of an act of faith, and the philosophical elaboration of divine perfection was an essential component of the discourse of science. One should not think that philosophy consists simply of stories floating in the air. Philosophy has had a decisive importance in the clarification of the discourse of science. This concerns the first aspect of God which I have evoked: God as the guarantor of truth; God who does not deceive.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">There is a second aspect, which refers to God as supposed subject of knowing. This is something against which there is no possible defence. When there is a signifying intention which assumes a concrete form and develops, one cannot defend oneself against the idea that that signifying intention has always been there. This is why we frequently have difficulties in apprehending past epochs or different principles of thought, since the categories within which we are captured often appear to us to be so valid that we believe that they have always existed. But, for example, there is nothing to prove that Plato had at all the sense of I (<em>le sentiment du moi</em>) that we have since the emergence of the discourse of science. There is nothing to confirm the view that the idea that we may have of sexual enjoyment (<em>jouissance</em>) is the same that the Epicureans and the Stoics had. The same thing happens with scientific inventions. I shall consider an example which is more simple: that of Cantor, who invented the uncountable infinite. He developed this invention in mathematics, not through experimentation or measurement. He invented it, undoubtedly, in a subjective experience for which he paid, one could say, with his reason. It is known that Cantor had a number of admissions to psychiatric clinics. What was the source of Cantor&#8217;s references when he invented the uncountable infinite? This is not to be found in a manual of mathematics, but it is mentioned in the works of Bourbaki on the history of mathematics. Those references are contained in the works and letters of Cantor. Cantor looked for references in theology. There is, as well as his mathematics, a theology of Cantor. For him the uncountable infinite and set theory were means of approaching God. He thought that at the moment of his invention of the uncountable infinite he was God&#8217;s administrative employee.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Cantor&#8217;s abuses are of little interest to us. There is. however, a natural movement which consists in projecting a signifying invention onto a supposed subject of knowing. It has obviously become more and more true, and a real thing for us. Cantor&#8217;s uncountable infinite is more true now than at the moment when Cantor invented it. Now it has been grasped, absorbed and developed by the discourse of mathematics. Developments like this have always required, obviously, the consensus of the community of mathematicians. It is apparent that in their case the function of transmission is essential. It is regrettable that instead of conceiving of itself according to the model of the community of scientists, the community of psychoanalysts conceive of itself as an ecclesiastical community. This has been to a great extent responsible for the delay in the diffusion of the positive spirit of science in psychoanalysis, such as Lacan has developed it after Freud.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It is worthwhile to consider Cantor&#8217;s scientific invention again. You may know the way in which Cantor demonstrates the existence of the uncountable infinite. He starts off by building a chart which, by hypothesis, would comprise all numbers between 0 and 1. Then, following what is known as Cantor&#8217;s diagonal method, he changes the symbol which appears in the place corresponding to each number of the diagonal in his chart. He reverses each of the symbols of the diagonal chain. He thus demonstrates that, each of the lines being infinite, the diagonal number cannot appear in the list, and that, in the mathematical sense, there exists an infinite as uncountable, as not being in the list of numbers. This is the paradigm of the mathematical real: the real constructed on the basis of a purely signifying experience. It is a real which emerges from the impossible, determined by a network of signifiers; it arises as a form of impasse in formalization; it is a sort of residue of the signifying operation. I hope that through this example, which obviously assumes some knowledge of mathematics, you grasp the sense of Lacan&#8217;s apparently paradoxical proposition: &quot;The real is the impossible.&quot;</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">When I say that this example requires some knowledge of mathematics, I mean that in fact it can be explained on the blackboard in half an hour, even to people who know nothing of mathematics. I have not talked about this example to make you think that it is something very complex: it is, indeed the ABC of the signifier. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>VII.</strong> Descartes developed what one could call the subject of science. We know that the emergence of the Cartesian subject, the subject who says &quot;I think, I am,&quot; constitutes a cut in the history of ideas. This cut has been identified as such, at any rate, in the history of philosophy. It is an error to think that the Cartesian <em>cogito</em> establishes the identity I=I. The Cartesian <em>cogito</em> is something different to the ego as function of synthesis which psychologists test It is an abuse to extend the specific identity of the Cartesian <em>cogito</em> to the whole psychical sphere - psychical acts, movements and representations. The Cartesian <em>cogito</em> is, at the time of its emergence, correlative of a very distinct moment. Lacan, following the Cartesian text very closely, and in a way which is not contradictory with the most rigorous reading of <em>The Meditations</em> so far, that of the philosopher Martial Gu&eacute;roult, deciphered the first <em>Meditation</em> in this direction. You may know, even if it is only from having heard its being mentioned, about the function of the hyperbolic doubt in Descartes. This function is nothing else than the emptying of the universe of representations, of everything which is imaginary. The <em>cogito</em> in its identity only emerges as the ineradicable residue of this operation of emptying. It we follow Lacan&#8217;s witticism in this connection, the evidence is of an emptied subject (<em>sujet &eacute;vid&eacute;</em>) who does not exist at all as a sphere which would contain lots of representations, qualities and a diversity of properties, but as a simple, vanishing jlot. Descartes says: &quot;I am, I think&quot; - but for how-long? I am only during the instant when I think.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This is a subject who at the moment of his emergence is not a substance at all; on the contrary, he is an entirely desubstantialised subject, who is not a soul in any way, who is not in relation with any nature; a subject for whom all natural adherences have been undone. This subject who has broken with all those adherences and with all signification apart from that punctual and vanishing residue where thought and being become one, is structurally the agent of the discourse of science. This is the subject who then makes the signifier work in its relation with the other signifiers. It is on the basis of this subject that one can simply trust the small letters of algebra. These, small letters are not words; they are not captured by metaphor and metonymy; they are separate from signification. This is also the subject who is correlative to Cartesian extension, that extension which is so singular that is entirely external to itself (as Merleau-Ponty used to say, &quot;without shadow and without hiding place&quot;), that extension which is entirely manipulable and which is effectively the foundation of the discourse of science. I must point out that Descartes does not remain in this point of the subject, because he immediately discovers that the subject is correlative of the divine big Other, supposed subject of knowing who guarantees the automatic manipulation of those small letters.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>VIII.</strong> Lacan postulates, and this may appear to be paradoxical, that the subject of the Freudian unconscious. that subject which is ostensibly very different from a <em>cogito</em>, is the subject of science. Descartes&#8217; punctual and vanishing subject. Two things should be distinguished in this respect. In the first place, this subject of science which emerges with Descartes is, at the same time that it emerges, rejected by the discourse of science. He is simultaneously one of its conditions; but it is a foreclosed condition, rejected to the exterior, which means that science presents itself as a discourse without subject, as an impersonal discourse, as the discourse of the supposed subject of knowing in person.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The academics, and I am one of them, always introduce themselves as the representatives of the supposed subject of knowing. This is particularly evident in the universities, in Caracas or in Brussels: the academics pretend to articulate statements (<em>&eacute;nonc&eacute;s</em>) as if these were without enunciation (<em>&eacute;nonciation</em>). We know that when one says &quot;I&quot; too frequently, and when one puts oneself on the scale, there appears to be a transgression against the discourse of science and its impersonality. In the case of psychoanalysis, the teaching does not take place in the same way as in the other disciplines. In fact, it is in the discourse of science that one can truly find the subject of Chomsky, about whom I spoke in my previous lecture: the ideal speaker- hearer who knows perfectly well the detours of his language and who transmits (that is the hope) without equivocations. Chomsky&#8217;s formulation is the ideal of scientific language, not the language that we speak and the language that speaks to us. Indeed, in the history of science itself one can perceive what could be called returns of the subject. This is observable precisely when one believes in the possibility of identifying oneself with the supposed subject of knowing. We may think of Frege. who believed that he could malhematize classical logic completely, through the achievement of a perfect, unequivocal and total written language. What happened to Frege is one of the great dramas of the history of science. At the time when the second volume of his work was about to be published, he received a letter from Bertrand Russell in which Russell told him that there was a small paradox in his first volume which spoilt the whole work. It is a very short paradox of only one paragraph, it fits within a sheet of paper, and Prege spent the last twenty years of his life ruminating over that significant fact. There are those lapses within the discourse of science which put all certainties in question. There is still another example taken from the history of mathematical logic which is, <em>par excellence</em>, where the perfect certainty of the discourse of science should be established. I am referring to the famous proof of G&ouml;del. When G&ouml;del postulated his theorem, the guarantee provided by the Other for the manipulation of the small letters, which had commenced with Descartes, appeared to suddenly collapse. I quote these examples simply to evoke the discourse of science in so far as this rejects the subject; and in turn, the subject also fractures the consistency of that discourse.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In the second place, the subject of the unconscious, in Lacan&#8217;s sense, is nothing else but subject of the signifier, that is to say, the subject of science, but regained in a scientific field as the subject who speaks. He is a subject who serves in an integral form as the vehicle of the signifier. Psychoanalysis is different from all forms of initiation and contemplative asceticism known in Antiquity. It is also different from all the vague bodily manipulations which are again fashionable today - those exercises through which an attempt is made to help the subject to get rid of his pain, to encourage him. to influence him by suggestion and to stimulate him. The psychoanalytic exercise is different from all initiation precisely because, if psychoanalysis is to work, the subject is not to have any form of mental preparation, contemplation or asceticism. On the contrary, the subject of psychoanalysis must arrive without preparation and must offer himself for the exercise without any previous purification. He must attend his sessions regularly, in a manner that can be called bureaucratic, and tell everything that goes through his head. He must not prepare fine speeches. It is not a question of purification through language, but on the contrary of releasing the material in disorder. And which is the operation peculiar to the psychoanalyst? To guarantee that all this material released in disorder has a cause. In this respect the fundamental postulate of psychoanalysis is determinist. Everything has a cause. This is one of the two formulations of the principle of sufficient reason, which emerged only with Leibniz. Once again, this is a principle linked to the discourse of science and which, incidentally, Heidegger commented in his work <em>The Essence of Reasons</em>. This is why in the psychoanalytic operation the psychoanalyst plays the part of the supposed subject of knowing. The analyst occupies this place in order to render the analytic operation possible. It is a very dangerous place, because this can easily lead the psychoanalyst to identify himself with the good God. This is, in fact, what we can verify in the history of psychoanalysis. The analysts have gladly identified with the divinity. They even experience a very special infatuation: given that as a consequence of their function they are supposed to know, they do not feel obliged to know anything. I mean that they can well be swimming in ignorance, but this does not prevent that, as their position is that of the Other in the experience, they consider themselves to be perfect. Sometimes they regard themselves as the model for their patients, as their ideal; sometimes they confuse the psychoanalytic treatment with a form of education which would simply aim at leading the subject to identifying with the psychoanalyst. They believe themselves to be the sovereign good. Lacan has made remarks like these, and naturally he did not make many friends among the psychoanalysts through them. If he is occasionally critical of the practitioners of other disciplines, certainly he is less critical of them than of his colleagues.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Lacan has also stated that the analytic experience does not consist in the identification of the patient with the psychoanalyst, but on the contrary in the evacuation of the supposed subject of knowing. There is only one practice that could truly be called atheist, and that is psychoanalysis. This is why priests are so interested in psychoanalysis. One can also observe the opposite trend. One can see psychoanalysts, even of Lacan&#8217;s school, like Fran&ccedil;oise Dolto, telling the masses that the first psychotherapist was Jesus Christ, which pleases neither the psychoanalysts nor the Church. This is what after thirty years of Lacan&#8217;s discourse one can again hear in Paris. We must be sceptical about the effects that can be achieved through the! production of theory.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It is already time to finish. I still have to discuss two points, which I shall only do briefly.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>IX.</strong> This point was originally aimed at showing how Lacan has, in the analytic experience itself, structured those paradoxes of communication which I presented in my second lecture and which prompted Professor Cadenas to say that they rendered knowledge impossible. I would have liked to demonstrate how Lacan, in a domain which is undoubtedly very difficult, attempts to structure those paradoxes. It is true that generalized equivocation is a motive to lose one&#8217;s mind; and yet this generalized equivocation has a structure.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>X.</strong>    I would have like to acquaint you with that formula of Lacan&#8217;s which I presented rather abruptly: &quot;<em>The</em> woman does not exist.&quot; It is a very good example precisely because Lacan attempts to write this paradox in a logical form; by this I mean he borrows the tools of mathematical logic. One should not believe that logic is simply what is taught at the first classes of the University about the principle of contradiction, and that where the principle of contradiction is not valid, there is no logic. This is an error. On the contrary. There exists something like Russell&#8217;s paradox which requires elaboration. There are inconsistent mathematical logics, founded on the negation of the principle of contradiction. It is possible to make a mathematical logic work while negating the principle of contradiction. If there are logicians present here, I think they will not disqualify what I am saying, given the existence of inconsistent mathematical logics. Lacan&#8217;s logic of the signifier. that logic which suits the unconscious and which does not know of contradiction, as Freud^said, is an inconsistent logic. The whole algebra of Lacanian terms .is organized around inconsistency.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">I hope that logicians from Venezuela, if they are present here, will not contradict me, since the development of inconsistent mathematical logics has taken place particularly in Latin America. The Brazilian, Argentinian and Chilean schools of mathematical logic, whose recent symposium has been published two years ago by the North Holland Collection of works on logic, have shown all the resources that from the mathematical point of view can be found in the inconsistent logics. This demonstrates that there are more things in science than one imagines.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Lacan developed an inconsistent logic .of the phallus. He thought, very faithful in this respect to his teacher. Little Hans, that the phallus could be considered as a predicate. Lacan was able to arrange the Freudian paradoxes of castration of the basis of an inconsistent logic of the predicate phallus.</font></p>
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		<title>Extimity   Jacques-Alain Miller </title>
		<link>http://www.lacan.com/symptom2/?p=36</link>
		<comments>http://www.lacan.com/symptom2/?p=36#comments</comments>
		<pubDate>Fri, 20 Jun 2008 22:40:29 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=36</guid>
		<description><![CDATA[Author’s Bio
The term extimacy (extimité), coined by Lacan from the term &#8220;intimacy&#8221; (intimité), occurs two or three times in the Seminar, and it will be for us to transform this term into an articulation, a structure, to produce it as an S1 which would allow us to go beyond and over the confusion that we [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#de0013" size="2" face="Verdana"><a href="http://www.lacan.com/biosB.htm#miller" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The term extimacy (<em>extimité</em>), coined by Lacan from the term &#8220;intimacy&#8221; (<em>intimité</em>), occurs two or three times in the Seminar, and it will be for us to transform this term into an articulation, a structure, to produce it as an S1 which would allow us to go beyond and over the confusion that we first experience when faced with such a signifier.</p>
<p>                </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>1. &#36;</p>
<p>              </strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">For analysts, referring only to the analytic experience is illusory; for Freud&#8217;s and Lacan&#8217;s works are also part of our relation to psychoanalysis. And our common reading of the commentary on Freudia texts which forms the subject of the first ten years of Lacan&#8217;s Seminar is not unlike the lectio of the Middle Ages. At that time, the lesson of a master was to be divided into three parts: <em>littera</em>, <em>sensus</em> and <em>sententia</em>. <em>Littera</em> is the level of the construction of the text, the most grammatical level; <em>sensus</em> is the level of the signified, of the explicit and easy meaning; and <em>sententia</em> is the deep understanding of meaning. Only this level of <em>sententia</em> can justify the discipline of commentary.</p>
<p>                </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The problem posed by Lacan&#8217;s teaching is precisely that one of its constants is a commentary on Freud. Moreover, of his own sayings, Lacan makes maxims or <em>sententiae</em> (in the Middle Ages, the word also meant &#8220;common place&#8221;). Thus, he does not allow the Other to choose what of Lacan must be repeated - and this, because he formalizes his own thought by expressing it in formulas which are simple, or which at least seem simple. Thus, &quot;The unconscious is structured like a language.&#8221; &#8220;Desire is the desire of the Other,&#8221; and &quot;The signifier represents the subject for another signifier&#8221; are <em>sententiae</em> of Lacan. At present, part of our task lies in culling these sententiae, in gathering them into a florilegium. Thus we do with Lacan, because he seems to present himself as an author in the medieval sense of the word, i.e., as the one who knows what he says.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Despite his <em>sententiae</em> however, Lacan is not an author. His work is a teaching. We must take this into consideration; we must know that following his star requires that we do not synchronize and dogmatize this teaching, that we do not hide but rather stress its contradictions, its antinomies, its deadlocks, its difficulties. For, a teaching on the analytic experience is like a work in progress and implies a back and forth motion between text and experience. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>2. Extimacy (<em>extimité</em>)</strong> </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Why this title? First, because last year I gave my attention to gathering, developing, articulating the quaternary structures in Lacan&#8217;s teaching; and as a result it seems to me that extimacy must be formalized and dealt with apart from these structures. Second, I could not disregard this question of extimacy since I am particularly devoting myself to the question of the Real in the Symbolic. It so happens that extimacy is a term used by Lacan to designate in a problematic manner me real in the symbolic. Third, it seems to me that this term has a great potential for crystallization. When reconsidering the problems of analytic experience and of Lacan&#8217;s teaching from this starting point, one realizes indeed that a number of scattered questions raised by our practice fall into place. Fourth, this expression &#8220;extimacy&#8221; is necessary in order to escape the common ravings about a psychism supposedly located in a bipartition between interior and exterior.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Let us qualify this last point, however, for it is not enough to say that this bipartition is unsatisfactory; we must also elaborate a relation in its stead. Indeed, it is so easy to slide into this interior-exterior bipartition that we need, for our own use, to substitute for it another relation, the simplest possible, which we will represent with the following drawing: </font></p>
<p>         <center><br />
<img SRC="http://www.lacan.com/ext1.jpg" BORDER="0" WIDTH="200" height="130" align="center"><br />
</center></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This very simple diagram of Lacan&#8217;s means that the exterior is present in the interior. The most interior - this is how the dictionary defines &#8220;intimate&#8221; (<em>l&#8217;intime</em>) - has, in the analytic experience, a quality of exteriority. This is why Lacan invented the term extimate. The word indeed is not current yet. But with a little effort and luck, it will perhaps come to exist - in a few centuries - in the <em>Académie Française</em> dictionary.</p>
<p>                </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It should be observed that the term &#8220;interior&#8221; is a comparative which comes to us from Latin and of which <em>intimus</em> is the superlative. There, there is an effort on the part of language to reach the deepest point in the interior. Let us note as well that quotations from literary works given by dictionaries show that one says commonly, constantly that the most intimate is at the same time the most hidden. Therefore, paradoxically, the most intimate is not a point of transparency but rather a point of opacity. And this point of opacity is generally used to found the necessity of certain covers, the most common being the religious cover, as we are going to see. </font></p>
<p align="justify"><font color="#000000" size="2"><strong><font face="Verdana">3. A —> $</font></strong> </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Extimacy is not the contrary of intimacy. Extimacy says that the intimate is Other-like a foreign body, a parasite. In French, the date of birth of the term &#8220;intimacy&#8221; can be located in the seventeenth century; it is found for instance in Madame de Sevigné&#8217;s <em>Correspondence</em>, a model of intimacy, from which comes mis sentence: &#8220;I could not help telling you all this detail, in the intimacy and love of my heart, like someone who unburdens herself to a maid whose tenderness is without parallel.&#8221; Is it not charming that one of the first occurrences in the French language of the term &#8220;intimacy&#8221; already has a relation to a kind of confession of the heart to someone full of tenderness? </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In psychoanalysis, it seems to us natural from the start to place ourselves in the register of intimacy, for there is no experience more intimate than that of analysis, which takes place in private and requires trust, the most complete lack of restraint possible, to the point that in our consulting rooms - these places reserved for the confessions of intimacy - analysands, though in the house of someone else, sometimes act as if they were at home. This is confirmed when such an analysand takes out of his pocket the key to his own house as he is reaching the door-step of his analyst.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">However, in no way can one say that the analyst is an intimate friend of his analysand. The analyst, on the contrary, is precisely extimate to this intimacy. Perhaps this shows that one cannot have one&#8217;s own house. Perhaps also it is this position of the psychoanalyses extimacy which makes so distinct and so constant the role of the Jew in the history of psychoanalysis.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">If we use the term extimacy in this way, we can consequently make it be equivalent to the unconscious itself. In this sense, the extimacy of the subject is the Other. This is what we find in &#8216;The Agency of the Letter&#8221; (<em>Écrits</em>, 172), when Lacan speaks of &#8220;this other to whom I am more attached than to myself, since, at the heart of my assent to my identity to myself, it is he who stirs me&#8221; (translation modified) - where the extimacy of the Other is tied to the vacillation of the subject&#8217;s identity to himself. Thus the writing A—> $ is justified. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">There are several covers of this point of extimacy, one of which is the religious cover. Thus Saint Augustine speaks of God as <em>interior intimo meo</em>, &#8220;more interior than my innermost being.&#8221; God here is thus a word which covers this point of extimacy which in itself has nothing likeable. This implies this schema: </font></p>
<p>         <center><br />
<img SRC="http://www.lacan.com/ext2.jpg" BORDER="0" WIDTH="200" height="130" align="center"><br />
</center></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">where the circle of the subject contains as the most intimate (<em>intime</em>) of its intimacy the extimacy of the Other. In a certain way, this is what Lacan is commenting on when he speaks of the unconscious as discourse of the Other, of this Other who, more intimate than my intimacy, stirs me. And this intimate which is radically Other, Lacan expressed with a single word: extimacy.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">We could apply this term to the psychiatric clinic and call men automatism &#8220;extimate automatism&#8221; in so far as it manifests in obvious fashion the presence of the Other and of its discourse at the very center of intimacy. In the analytic clinic, it is interesting to note that it is always when extimacy is punctualized that an analyst&#8217;s hesitations about the diagnosis occur, between obsession and psychosis for example, despite the very clear distinctions that he makes in other respects between one and the other. Extimacy indeed is so structural for the speaking being that no analyst can say he has never encountered it, if only in the experience of his own hesitations. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>4. <em>a</em> &#9674; A</strong> </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Let us introduce now a dimension other than the one from our previous schema, by posing the <em>petit a</em> as pan of the Other. The structure is the same but, this time, the exterior circle is that of the Other and the central area, the area of extimacy, is occupied by <em>a</em>.			  </font></p>
<p>         <center><br />
<img SRC="http://www.lacan.com/ext3.jpg" BORDER="0" WIDTH="200" height="129" align="center"><br />
</center></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This is not the negation of the preceding schema but a new use of the same structure, which responds to another consideration. Up to this point in our argument, we have used the concept of the Other as something obvious. Now, the question of extimacy leads us to problematize this concept, to ask the question of the alterity of the Other, i.e., of why the Other is really other.			    </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">&#8220;What is the Other of the Other?&#8221; is the very simple question asked by Lacan in order to ground the alterity of the Other. To say that this Other of the Other is the subject would not take us very far, for the precise reason that the subject of the analytic experience is nothing that it is a barred function. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The first attempt made by Lacan was to posit that the Other of the Other of the signifier was the Other of the law. This hypothesis concludes his essay on psychoses. <a title="" name="_ftnref1" href="#_ftn1">[1]</a> There would exist an Other who lays down the law to the Other. This would imply the existence of a metalanguage which would be the Law, for the Law as absolute is a metalanguage. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Later Lacan, thinking against Lacan, says on the contrary that &#8220;there is no Other of the Other,&#8221; that &#8220;there is no metalanguage.&#8221; To whom does he say this? He says it to the previous Lacan. Thus, there is no reason to confuse an effort at rationality with a dogmatization. Let us note that this famous <em>sententia</em>, &#8220;There is no Other of the Other,&#8221; implies a devalorization and a pluralization of the Name-of-the-Father. But it also implies a problem in grounding the alterity of the Other. Indeed, what is it, this Other, if not a universal function, an abstraction? Father Takatsuga Sasaki&#8217;s reaction, for example, testifies to it when he tells us that this kind of abstraction seems impossible in the Japanese language, in which there is no Other but various categories of alterity, of plurality. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The Other that we experience through the religious cover is omnivalent. It is precisely what is called, in Christianity, the neighbour. It is a way to nullify extimacy; it grounds what is common, what conforms conformity. It belongs fundamentally, as universal, to this conformity. But if there is no Other of the Other, what is the ground of its alterity?		      </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><em>Jouissance</em> is precisely what grounds the alterity of the Other when there is no Other of the Other. It is in its relation to <em>jouissance</em> that the Other is really Other. This means that no one can ground the alterity of the Other from the signifier, since the very law of the signifier implies that one can always be substituted for the other and vice versa. The law of the signifier is indeed the very law of 1-2, and in this dimension, it is as though there is a democracy, an equality, a community, a principle of peace. Now, what we are attempting to see is what makes the Other other, i.e., what makes it particular, different, and in this dimension of alterity of the Other, we find war. In racism, for example, it is precisely a question of the relation to an Other as such, conceived in its difference. And it does not seem to me that any of the generous and universal discourses on the theme of &#8220;we are all fellow-beings&#8221; have had any effectiveness concerning this question. Why? Because racism calls into play a hatred which goes precisely toward what grounds the Other&#8217;s alterity, in other words its <em>jouissance</em>. If no decision, no will, no amount of reasoning is sufficient to wipe out racism, it is indeed because it is founded on the point of extimacy of the Other. It is not simply a matter of an imaginary aggressivity which, itself, is directed at fellow-beings. Racism is founded on what one imagines about the Other&#8217;s <em>jouissance</em>; it is hatred of the particular way, of the Other&#8217;s own way of experiencing <em>jouissance</em>. We may well think that racism exists because our Islamic neighbor is too noisy when he has parties; nevertheless it is a fact that what is really at stake is that he takes his <em>jouissance</em> in a way different from ours. Thus the Other&#8217;s proximity exacerbates racism: as soon as there is closeness, there is a confrontation of incompatible modes of <em>jouissance</em>. For it is simple to love one&#8217;s neighbor when he is distant, but it is a different matter in proximity. Racist stories are always about the way in which the Other obtains a <em>plus-de-jouir</em>: either he does not work or he does not work enough, or he is useless or a little too useful, but whatever the case may be, he is always endowed with a part of <em>jouissance</em> that he does not deserve. Thus true intolerance is the intolerance of the Other&#8217;s <em>jouissance</em>. Of course, we cannot deny that races do exist, but they exist in so far as they are, in Lacan&#8217;s words races of discourse, i.e., traditions of subjective positions. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>5. a &#8834; A</strong> </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">One usually stresses what, of the Other, is subject. When Lacan speaks, for example, of the subject-supposed-to-know, there seems to be no difficulty: there is a way of the Other which is to be a subject. However, we must point out something else, i.e., what in the Other is object. We will develop this point from two seminars by Lacan, <em>The Ethics</em>, and <em>Le transfert</em>.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The opposition between <em>das Ding</em>, the Thing, and the Other is laid out in <em>The Ethics</em>. This antinomy is worked out enigmatically - which explains the fact that das Ding has long remained wrapped in mystery. But it is the case that, in the Seminar on transference, which comes immediately after <em>The Ethics</em>, this opposition if transformed into a relation which can be written in this way: a &#8834; A. Lacan makes this transformation from a metaphor borrowed from philosophy which is nowadays known as that of Silenus which contains the object, <em>agalma</em>, inside itself. Here, we see a revolution ir<br />
			  Lacan&#8217;s teaching, for this relation, established in a literary, mythical non-formalist way, appears to be completely antagonistic to earlier developments. The Other, in <em>Le transfert</em>, is no longer only the place of the signifier, there the object is included in the Other - which appears somewhat mystical because the Seminar works only with the idea of interior and exterior. Plato&#8217;s model is nothing more: a cover which looks like a Silenus and inside of which something else is found. We must therefore formalize this model of interior and exterior.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Something has been introduced in Lacan&#8217;s teaching which has only been understood recently, i.e., the devalorization of the Other of the signifier. He could thus say: &#8220;The Other does not exist,&#8221; which does not prevent the Other from functioning, for many things function with without existing. However, the sentence, &#8220;The Other does not exist,&#8221; is meaningless if it does not imply that a, on the contrary, exists. The Lacanian Other, the Other that functions, is not real. That is what allows us to understand that a is real, to understand how this a as <em>plus-de-jouir</em> founds not only the Other&#8217;s alterity but also what is real in the Symbolic Other. It is not a matter of a link of integration, of interiorization, but of an articulation of extimacy.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Let us illustrate this with the incident which interrupted my class: a bomb scare. <a title="" name="_ftnref2" href="#_ftn2">[2]</a> The bomb did not exist. However, we had the proof that, without existing, it could produce its effect. My class is of me order of the signifier and is held in a place devoted to teaching, where an object was introduced which, let me tell you, had a great effect, but which no one knew the location of. Thus did we prove that at the very moment when this object crops up via die signifier &#8220;Bomb!&#8221; the Other is emptied, disappears. Only the object remains, the object in a desert. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This is a good example of the antinomy existing between A and a. And this antinomy is compatible with the formula which we write a &#8834; A. For this object, the bomb - an object which is perfectly efficacious without existing or which perhaps will explode tomorrow or next week - is the result of the discourse of the Other. It is not a natural phenomenon, not an earthquake; it is not a substance but on the contrary a result, a product of the discourse of science. The sentence, &#8220;Bomb!&#8221; is located on the level of intersections which Lacan studied to prove mat the presence of the subject of the enunciation does not need the presence of the <em>énoncé</em>. At the same time, this sentence gives a clear indication of the relation between signifier and object. Indeed, if the signifier &#8220;Bomb!&#8221; is truly a reference to the bomb, it still does not represent this bomb; it does not say where the bomb is. There is thus a link between this signifier and the object, but we cannot say that &#8220;Bomb&#8221; is the signifier of this bomb. The best proof of this is that no one will get the idea to go speak to the bomb so that it will not blow up. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">To be done with this point, which has a paradigmatic value, my own position is to say that the young woman who burst into the room shouting &#8220;Bomb!&#8221; should have written this on a sheet of paper and handed it to me. At that time, I would have asked the people from one side of the room to leave, then from another side, then from a third one; i.e., I would have tried to do things in the most orderly way. This indicates a clinical difference between her and me, and the importance of the way a subject situates him or herself in a moment of crisis. When I asked this person why she had not warned me in writing, she answered: &#8220;But the bomb could have exploded any moment &#8220;Of course, but identifying with the bomb may not be the best way to get out of such a situation. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>6. <em>Quod without quid</em></strong> </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This part of my development concerns the type of the object and what makes its localization in the place of the Other difficult When we speak of the <em>objet a</em>, we are not speaking about an object summoned opposite the subject of the representation. If we take the bomb, for       example, no one is there to gaze at it; it is really an object incompatible with the presence of the subject; it implies a physical disappearance of bodies and persons that, in this example, represent the subject. If you can sit down opposite a painting and chat with the people next to you, it is not so with the bomb; when you speak about this type of object, the subject disappears.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The <em>objet a</em> is not a chapter of ontology. Indeed, ontology says what is common to all objects. It consists in gathering several features of the object of representation before the object itself is experienced. This is what Heidegger called &#8220;ontological pre-comprehension&#8221;: we can know a priori that an object is an object if it has such and such a feature. We can also enumerate the object&#8217;s criteria. An ontology tells a priori what can be said about objects. These are Aristotle&#8217;s categories, where the said is already placed on the object. An ontology is indeed always a doctrine of categories. It can be said that there the structure of objects is already the same as that of the <em>énoncé</em>.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">But when we speak of <em>objet a</em>, we speak of another objectivity - let&#8217;s say of another &#8220;objectify,&#8221; an objectity which is not summoned opposite the subject of representation. For representation is not an imaginary function. In <em>The Ethics</em>, <em>Vorstellung</em> is the Symbolic itself - what Lacan will formalize a few years later with the representation of the subject by the signifier. The definition, in the Lacanian sense, of <em>Vorstellung</em> refers thus to the symbolic and not to the Imaginary. However, this new objectify is such that one cannot avoid experiencing it It is an object articulated not to the subject but to if division, to a subject which does not represent to itself the objects of the world but which is itself represented. For this reason, we cannot say that the structure of this object is identical to that of the <em>énon&eacute;. </em>There is no specificity of the object in the Other, where, nonetheless, the <em>objet a</em> does not dissolve. It escapes categories because it does not have the same structure as the <em>énoncé</em>. By using the medieval reference reactualized by Yankelevich, we can say that here it is a matter of a quod, in the sense of difference between quodity and quidity. We could also say that it is a question of the difference between existence an essence, of something that there is, but the essence of which one cannot define in the Other.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">One can say that it is - i.e., quidity - but one cannot say what it is. There we have a kind of paradox of the quod: something exists but without quid. m this way no one can describe the bomb I was speaking about earlier, except the person who would encounter it, but then, he would not live long! This quod without quid is a &#8220;being without essence&#8221; (this expression is found once or twice in Lacan). </font></p>
<p align="justify"><img SRC="http://www.lacan.com/ext4.jpg" BORDER="0" WIDTH="78" height="29" align="left">	</p>
<p></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>A/<i>a</i></b> is constructed on the model of another formula of Lacan, <b><i>i</i>(<i>a</i>)/<i>a</i></b>, which means that in reality, the image of the other clothes or covers the real of the object. But this can also be said of capital A. <b>A/<i>a</i></b> is a formula  which implies the devalorization of the Other. It indicates that the Other does not exist, that it has no other status than that of illusion. For this reason, Lacan was able to characterize the end of an analysis as &#8220;cynical.&#8221; Cynicism means here the end of the illusion of the Other. And sometimes, this fall allows a new access to <em>jouissance</em>, to a <em>jouissance</em> that Lacan terms perverse because it does not involve the relation to the Other. Sometimes, in fact, this is what someone gains at the end of an analysis - which is then nothing more than the naiveté of this cynicism. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Cynicism as such is indeed a form of naiveté, because it consists in thinking that the fact that the Other does not exist means that it does not function. However, deducing from the fact that the Other does not exist that we can erase its universal function and that only <em>jouissance</em> real is naive. Thus, Lacan could say that psychoanalysis made scoundrels stupid. They become so because they think, after an analysis, that the values of the Other do not function.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">For lack of time, we won&#8217;t develop here me analyst&#8217;s position between cynicism and sublimation. Let us only specify mat sublimation can be written <b><i>a</i>/A</b>. This does not mean that the analyst is only semblance of object - which would imply that the ultimate truth of the <em>objet a</em> is that it is real. The apparatus of analytic discourse involves something more difficult: the <em>objet a</em> is a semblance as such. In the expression &#8220;semblance of object&#8221; that we often use, we find the naïve belief that the <em>objet a</em> is real. However, the <em>objet a</em> as such, as I must emphasize, is a semblance. And the A which is below me bar can perfectly function as supposition - the fact that it does not exist, as such.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>8. <em>a</em> &#9674; &#934;</strong> </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">We are going to introduce here a case that was presented in Barcelona <a title="" name="_ftnref3" href="#_ftn3">[3]</a> and in which we can see a way to refer to the absolute risk. It concerns a woman who gets married, then goes to a lawyer to establish a deed stipulating that she will give up all her rights the day her husband ceases to desire her. This case seems to me paradigmatic for explaining the antinomy between these two terms, since it concerns the very inversion of marriage, marriage being precisely what can permit one to insure oneself against the cause of desire. Marriage implies that the cause of desire is inscribed in the signifier, whereas this woman goes to her lawyer to inscribe in the law the risk of desire. </font></p>
<p align="justify"><img SRC="http://www.lacan.com/ext5.jpg" BORDER="0" WIDTH="51" height="30" align="left">	</p>
<p>  </p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It concerns what I call, in Lacan, the formula of the second paternal metaphor. It corresponds point by point to the formula of the Name-of-the-Father, which we must absolutely not forget but, in the clinic itself, we must refer to the second formula, which poses the signification of the phallus as minus &#966; and which forces us to operate with the inexistence and the inconsistency of the Other, and not with the function of its consistency. This seems to me to have important consequences for analytic practice. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>10. The <em>objet a</em> </strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The Real, when it concerns the <em>objet a</em>, is thus a semblance. It is so because it is a lie. Where does the <em>objet a</em> come from in Lacan? It comes from the partial object of Karl Abraham, i.e., from a corporeal consistency. The interesting thing is to see that Lacan transforms this corporeal consistency into a logical consistency. It is a fact, and a significant one: Lacan reduces the <em>objet a</em>, which is not a signifler, to a logical consistency. This is why we can read unmistakably, in <em>Encore</em>, that the <em>objet a</em> introduces a semblance of being. Note that he does not say that there is an opposition between semblance and real, quite the opposite. But it is not enough to develop the logical consistency of the Other; it is also necessary to articulate it with the logical consistency of the <em>objet a</em>. It is only from there that<br />
			  one can understand that the real can be situated only from the deadlocks of logic. Lacan introduces this use of the category of the real in <em>L&#8217;étourdit</em>. <a title="" name="_ftnref4" href="#_ftn4">[4]</a> If there were an ontic in psychoanalysis, it would be the ontic of the <em>objet a</em>. But precisely, this is not the road taken by Lacan. The one he took is the road of logical consistency. It is only in this way that we can conceive of the analyst as the <em>objet a</em>. The analyst is not only a corporeal consistency. He is so also, obviously, as presence, but his value comes especially from logic. And this does not allow one to sit quietly between the signifier and the object, but requires on the contrary seeing in what sense the <em>objet a</em> is a logical consistency. To speak in this way is perhaps equivalent to thinking against what we said previously, but you know now that thinking against oneself is also the lesson of Lacan.			  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">I will add as a final note that this festival of mathemes that I gave here rests on the in-depth work which is done in my class in a looser, more entertaining way, where I make it more palatable by using stories. But these stories are not, for all that, more valuable than the in-depth work of which the present text is the result. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>Notes:</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn1" href="#_ftnref1">[1]</a> See &quot;Of a question to any possible treatment of psychosis&quot;.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn2" href="#_ftnref2">[2]</a> The class of February 19 1986 was interrupted by a bomb scare and was rescheduled the same evening in another location.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn3" href="#_ftnref3">[3]</a> See <em>Ornicar?</em> 43, Winter 1988, Paris: Navarin. p. 107.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn4" href="#_ftnref4">[4]</a> See <em>Scilicet</em> 4, 1983, p. 5.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Text established by Elisabeth Doisneau and translated by Françoise Massardier-Kenney.</font> <font color="#000000" size="2"><br />
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		<title>Philosophy as Biography  Alain Badiou </title>
		<link>http://www.lacan.com/symptom2/?p=62</link>
		<comments>http://www.lacan.com/symptom2/?p=62#comments</comments>
		<pubDate>Fri, 20 Jun 2008 03:40:38 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

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		<description><![CDATA[Author’s Bio
&#x2022; VIDEO Version

Nietzsche wrote that a philosophy is always the biography of the philosopher. Maybe a biography of the philosopher by the philosopher himself is a piece of philosophy. So I shall tell you nine stories taken of my private life, with their philosophical morality&#8230; The first story is the story of the father [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana"><a href="http://www.lacan.com//bios.htm#badiou" target="top"><b>Author’s Bio</b></a></font></p>
<p><font color="000000" size="3" face="Verdana"><a href="http://www.lacan.com/badioumigelabrieu07.html" target="top"><b>&#x2022; VIDEO Version</b></a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><br />
Nietzsche wrote that a philosophy is always the biography of the philosopher. Maybe a biography of the philosopher by the philosopher himself is a piece of philosophy. So I shall tell you nine stories taken of my private life, with their philosophical morality&#8230; The first story is the story of the father and the mother.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">My father was an alumnus of the &Eacute;cole Normale Supérieure and agr&eacute;g&eacute; of mathematics: my mother an alumna of the &Eacute;cole Normale Sup&eacute;rieure and agr&eacute;g&eacute;e of French literature. I am an alumnus of the &Eacute;cole Normale Sup&eacute;rieure and agr&eacute;g&eacute;, but agrege of what, of philosophy, that is to say, probably, the only possible way to assume the double filiation and circulate freely between the literary maternity and the mathematical paternity. This is a lesson for philosophy itself : the language of philosophy always constructs its own space between the matheme and the poem, between the mother and the father, after all.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"> Someone saw that very clearly, my colleague, the French analytic philosopher Jacques Bouveresse, from the Coll&egrave;ge de France. In a recent book in which he paid me the horror of speaking of me, he compared me to a five-footed rabbit and says in substance: &quot;This five-footed rabbit that Alain Badiou is runs at top speed in the direction of mathematic formalism, and then, all of a sudden, taking an incomprehensible turn, he goes back on his steps and runs at the same speed to throw himself into literature.&quot; Well, yes, that&#8217;s how with a father and a mother so well distributed, one turns into a rabitt.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Now the second story: about mother and philosophy.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">My mother was very old and my father was not in Paris. I would take her out to eat in a restaurant. She would tell me on these occasions everything she had never told me. It was the final expressions of tenderness, which are so moving, that one has with one&#8217;s very old parents. One evening, she told me that even before meeting my father, when she was teaching in Algeria, she had a passion, a gigantic passion, a devouring passion, for a philosophy teacher. This story is absolutely authentic. I listened to it, obviously, in the position you can imagine, and I said to myself: well, that&#8217;s it, I have done nothing else except accomplish the desire of my mother, that the Algerian philosopher had neglected. He had gone off with someone else and I had done what I could to be the consolation for my mother&#8217;s terrible pain &mdash; which had subsisted underneath it all even until she was eighty-one.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The consequence I draw for philosophy is that, contrary to the usual assertion according to which &#8220;the end of metaphysics&#8221; you know, is being accomplished, and all that, philosophy precisely can not have an end, because it is haunted, from within itself, by the necessity to take one more step within a problem that already exists. And I believe that this is its nature. The nature of philosophy is that something is eternally being bequeathed to it. It has the responsibility of this bequeathal. Your are always treating the bequeathal itself, always taking one more step in the determination of what was thus bequeathed to you. As myself, in the most unconscious manner, I never did anything as a philosopher except respond to an appeal that I had not even heard.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The third story is about the famous notion of engagement.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">I arrive in Paris in 1955, during the beginning of the war in Algeria. The horrors of this war that are today coming into the open - mass murders, torture, razzia, systematic rapes - are well known to everyone. Nevertheless, we are a small number in 1955, a very small number to want stop these horrors, to be against the war in Algeria. We demonstrate, from time to time, boulevard Saint-Michel, shouting &quot;Peace in Algeria!&quot;, and when we get to the end of the street, the police are waiting for us, striking us with their cloaks, and we were joyfully knocked senseless. What is strange is that we could not say anything but this: we have to do it again. And yet, I can tell you this, the &#8220;pelerine&#8221; cloak is not particularly gay. I even think I prefer to be clubbed. But we had to do it again, because that&#8217;s what the pure present is: wanting the end of this war, as few as we were to share this wanting. I drew the conviction that philosophy exists if it takes charge of the quick of the contemporary. It is not simply a question of engagement, or a question of political exteriority, but that something of the contemporary is always raw, and philosophy must testify to this raw or take place within it, however sophisticated its intellectual production be.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The story number four is about love and religion.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Before coming to Paris, I lived in a province, I am a provincial who came to Paris a bit late. And one of the traits that characterized my provincial youth is that a majority of the girls were still raised in religion. These girls were still kept or reserved for an interesting destiny. Which gave an important figure to the masculine parade: the different manners to shine in front of these girls still pious, the principal of these being to refute the existence of God. This was an important exercise of seduction, both because it was transgress! ve, and rhetorically brilliant when one had the nieans of doing it.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Before conquering their virtues, the souls had to be yanked out of the Church. Which of the two is the worst, that&#8217;s for the priests to decide. But out of this conies the idea, that I had very early, that the most argumentative, the most abstract philosophy also always constitutes a seduction. A seduction whose basis is sexual, no doubt about it. Of course, philosophy argues against the seduction of images and I remain Platonist on this point. But it also argues in order to seduce. We can thus understand the Socratic function of corruption of the youth. Corrupting youth means being seductively hostile to the normal regime of seduction. I maintain and I repeat that is the destiny of philosophy to corrupt the youth, to teach it that immediate seductions have little value, but also that superior seductions exist. In the end, the young man who knows how to refute the existence of God is more seductive than the one who could only propose to the girl. a game of tennis. It&#8217;s a good reason to become a philosopher.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This is what has become the place of the question of love, as a key question of philosophy itself, exactly in the sense it already had for Plato in <i>Symposium</i>. The question of love is necessarily at the heart of philosophy, because it governs the question of its power, the question of its address to its public, the question of its seductive strength. On this point, I believe I have followed Socrates&#8217;s very difficult direction: &#8220;the one who follows the path of total revelation must begin at an early age to be taken by the beauty of bodies&#8221;.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The fifth story is a marxist one.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Naturally, my family tradition was to the left. My father had bequeathed to me two images: the image of the anti-nazi resistant during the war, and then the image of the socialist militant in power, because he was mayor of a big French town, Toulouse, for thirteen years. My story is the story of a rupture with this sort of official left.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">There are two periods in the history of my rupture with the official left. The last, well known, is May 68 and its continuation. The other, less known, more secret and so even more active. In 1960 there was a general strike in Belgium. I will not give the details. I was sent to cover this strike as a journalist - I was often a journalist, I have written, it seems to me, hundreds of articles, maybe thousands. I met mine workers on strike. They have reorganized the entire social life of the country, by constructing a sort of new popular legitimacy. They have even edited a new money. I assisted at their assemblies, I spoke with them. And I was from then on convinced, up till this day I am speaking to you, that philosophy is on that side. &#8220;On that side&#8221; is not a social determination. It means: on the side of what is spoken orpronounced there, on the side of this obscure part of common humanity. On the side of equality.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The abstract maxim of philosophy is necessarily absolute equality. After my experience of mine workers strike in Belgium, I have give a philosophical order to myself : &#8220;transform the notion of truth in such a way that it obeys the equalitarian maxim, this is why I gave the truth three attributes:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">1) It depends on an irruption, and not on a structure. Any truth is new, this will be the doctrine of the event.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">2) All truth is universal, in a radical sense, the anonymous equalitarian for-all, the pure for-all, constitutes it in its being, this will be its genericity.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">3) A truth constitutes its subject, and not the inverse, this will be its militant dimension.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">All that, in a still total obscurity, is at work when I meet in 1960 the Belgium Mine Workers.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The story number six is a very moral story.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">After 68, during what we can call the red years, when we invented new things, when we created bonds with peoples that we did not know, when we were in the conviction that an entirely other world than that of our academic destiny awaited us, we entered into a political enterprise with a good many people, - and some of them, me included, continue this new political enterprise.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">But what really struck me, the experience I wish to speak of here, is the experience of those who, starting with the middle of the 1970s, renounced this enterprise. Not only did they renounce this enterprise, but they entered into a systematic renegation that, starting with the new philosophers, from the end of the 1970s, little by little establish themselves, spread and dominate. And this is planted in philosophy like an arrow. It is a question in itself: How is it possible that one can cease being the subject of a truth? How is it possible that one return to the routine of the world This question nourishes my conviction that what is constitutive of philosophy is to stay not only within the vividness of the event, but within its becoming, that is, within the treatment of its consequences. Never to return to structural passivity : That is properly constitutive of philosophy as thought. It is what I simply called fidelity. And fidelity forms a knot, it is a concept that brings together the subject, the event and truth. It is what traverses the subject with regard to an event capable of constituting a truth.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Here again I think of Plato. At the end of Book IX of the <i>Republic</i>, Socrates responds to the objection that the ideal city which he had traced the plan of would probably never exist. This is a massive objection that the young people make: &#8220;All that is magnificent, but we don&#8217;t see it coming!&#8221;. Socrates responds more or less like this: that this city exists or may one day exist is of no importance, because it is only its laws that must dictate our conduct. That is the principle of consequence. And it is not a question that is inferred from a problem of existence or inexistence. It&#8217;s our philosophical duty : to continue.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It&#8217;s my story seven which is an erotic story. This is what is expended by all biographers. Will you be disappointed? I will stay within the discreet erotic genre. A &#8220;soft&#8221; story.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Just like everyone, in the 50s and 60s, we were tormented by sexuality. This torment is certainly stil very perceptible in my first novels, Almagestes, in 1964 and then Portulans in 1967. But literature is a filter here. In the end, this trouble is foreign to philosophy strictly speaking., in conformity to its great classical tradition. I would say that I learned little by little why. It is certain that sexual situations are fascinating, and it is also certain that the formalism of these situations, the erotic formalism is extraordinarily poor. And all its force depends on a repetitive injunction, with variations of little amplitude. I would say then that little by little in life a relation of charmed connivance is established with this formalism. Finally neither transgressive fascination, nor the repression of the superego are really at their place in this affair. All that is delicious, and, after all, without great consequence for thought. I have come to conclude philosophically, that as acute as this pacifying charmed connivance might be, at least for me, desire is not a central category for philosophy, and cannot be. Or rather desires only touches philosophy - just as well as <em>jouissance</em> - as bodies are seized in love. That is why, from this long crossing through sexual torment the final result is, as I had already said for other reasons, that love, and not desire, must instantly return into the constitution of the concept.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The story number eight is a formal story, or a story concerning forms.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">I said, on the subject of the erotic injunction, &#8220;formalism&#8221;, and I said it as a philosopher. Because I deeply believe that what permits a singular truth - amorous as well as political — to touch philosophy is, in the end, its form. In this sense, I would sustain that the only philosophy is formalist. Perhaps in the sense of Plato when he says: &#8220;the only veritable thought is in forms&#8221; — what is often translated by &#8220;Idea&#8221; is better rendered by &#8220;form&#8221;. And I believe that the creation of concepts lies in this: philosophy conceives the singularity of theorms of truth. And there again, we have a Platonic program. Why Platonic? Dialectics is the science of forms. And form is, in philosophy, singularity. It is, as Socrates says in <i>Phaedo</i>, &#8220;the unique form of what remains identical to itself.&#8221;</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">From this we have an intimate tie between philosophy and mathematics (a tie strongly thematized by Plato himself.) If the philosophic concepts are in the end the form of the concepts of truth, then they must support the proof of formalization. Whatever this proof be. All the great philosophers have submitted the concept to an overwhelming, speculative form of formalization. I think this is why mathematics must have remained a passion for me? I scrutinize this precisely - in mathematics: What is thought capable of when it is devoted to, pure form? As the literality of form? And the conclusion I have progressively drawn is that what it is capable of, when it is ordained as pure form, is thinking being as such, being as being. Which gives my provoking formula according to which effective ontology is nothing else than constituted mathematics. Which, obviously, in the eyes of the psychoanalyst, means that my desire is only there to sublimate the image of my mathematician father.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The final story, the story number nine, is about my masters.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Philosophy is a question of mastery, and this in a triple sense. First because it belongs in effect to what Lacan called the discourse of the master. Then because it supposes, in its very subjectivity, the encounter with a master. Finally and lastly, because if we look closely at it, philosophy always ends up by constituting a discourse that is ordained to a principal signifier, a master signifier, such as is, in my thought, the signifier &#8220;truth. In the three cases, philosophy is a question of mastery; So, biographically, who were my masters?</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">During the decisive years of my education, I had three masters: Sartre, Lacan and Althusser. They were not masters of the same thing.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">What Sartre taught me was simply, existentialism. But what does existentialism mean? It means that you must have a tie between the concept on the one hand and on the other the existential agency of choice, the agency of the vital decision. The conviction that the philosophic concept is not worth an hour of toil if, be it by mediations of a great complexity, it does not reverberate, clarify and ordain the agency of choice, of the vital decision. And in this sense, the concept must be, also and always, an affair of existence. That is what Sartre taught me.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Lacan taught me the connection, the necessary link between a theory of subjects and a theory of forms. He taught me how and why the very thinking of subjects, which had so often been opposed to the theory of forms, was in reality intelligible only within the framework of this theory. He taught me that the subject is a question that is not at all of a psychological character, but is an axiomatic and formal question. More than any other question!</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Althusser taught me two things: that there was no object proper to philosophy — this is one of his great theses —, but that there were orientations of thought, lines of separation. And, as Kant had already said, a sort of perpetual fight, a fight that was constantly begun again, in new conditions. He taught me consequently the sense of delimitations, of what he called the demarcation. In particular the conviction that philosophy is not the vague discourse of totality, or the general interpretation of what there is. That philosophy must be delimited, that it must be separated from what is not philosophy. Politics and philosophy are two distinct things, art and philosophy are two distinct things, science and philosophy are two distinct things.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Finally, I was able then to keep all my masters. I kept Sartre despite the disregard he was object of for a long time. I kept Lacan despite what must really be called the terrible character of his disciples. And I kept Althusser despite the substantial political divergences that opposed me to him starting with May 68. Crossing through the possibility of oblivion, the dissemination of disciples and the political conflict, I succeeded in conserving my fidelity to three disparate masters.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">And I maintain today that in philosophy masters are necessary; I maintain a constitutive hostility to the tendency towards democratic professionalization of philosophy and to the imperative that is rampant today and humiliates youth: &#8220;Be little, and work as a team.&#8221; I would also say that the masters, must be combined and surmounted, but finally, it is always disastrous to deny them.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It&#8217;s the end, now. And when I am at my wits&#8217; end, my trick is to pass the stick on to the poet. I have chosen the poet of my adolescence. Saint John Perse. With him, I can speak of another dimension of life, the companions, the companions of existence.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The companions of the poet are different from the companions of the philosopher. The companions of the philosopher are the different societies within which the question of a truth is at least posed. The companions of the poet are often the companions of his solitude, which is why Saint John Perse enumerates them as companions in exile, at the moment when he himself must go into exile. And aftet the enumeration of his companions, he returns to his solitude, and he says that:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Stranger, on all the beaches of this world, with neither audience nor witness, press to the ear of the West a seashell without memory:<br />
Precarious host on the outskirts of our cities, you will not cross the sill of Lloyds, where your word is not honored and your gold has no title&#8230;<br />
&#8216;I shall inhabit my name&#8217; was his response to the questionnaires of the port;<br />
And on the tables of exchange, you have nothing but trouble to produce,<br />
Just as these great moneys in iron exhumed by lightning. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">&#8220;I shall inhabit my name&#8221;: this is precisely what philosophy tries to render possible for each and every one. Or rather, philosophy searches for the formal conditions, the possibility for each and every one to inhabit his name, to be simply there, and recognized by all as the one who inhabits his name, who, by right of this, as inhabiting his name, is the equal of anyone else.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">That is why we mobilize so many resources. That is also what our monotonous biography can be used for: to constantly begin again the search for the conditions by which the proper name of each one can be inhabited.</font></p>
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		<title>Political TextsThe University in the New Reich Martin Heidegger </title>
		<link>http://www.lacan.com/symptom2/?p=63</link>
		<comments>http://www.lacan.com/symptom2/?p=63#comments</comments>
		<pubDate>Wed, 18 Jun 2008 04:03:03 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=63</guid>
		<description><![CDATA[followed by
Declaration of Support for Adolf Hitler
Schlageter
German Students
National Socialist Education (Wissensschulung)
Author’s Bio
The University in the New Reich
June 30, 1933 *
 We have the new Reich and the university that is to receive its tasks from the Reich&#8217;s will to existence. There is revolution in Germany, and we must ask ourselves: Is there revolution at the [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana">followed by<br />
<b>Declaration of Support for Adolf Hitler</b><br />
<b>Schlageter</b><br />
<b>German Students</b><br />
<b>National Socialist Education (<i>Wissensschulung</i>)</b></font></p>
<p align="justify"><font color="#de0013" size="2" face="Verdana"><a href="http://www.lacan.com/bios.htm#heidegger" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font size="3" face="Verdana" color="000000"><b>The University in the New Reich</b></font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">June 30, 1933 *</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"> We have the new Reich and the university that is to receive its tasks from the Reich&#8217;s will to existence. There is revolution in Germany, and we must ask ourselves: Is there revolution at the university as well? No. The battle still consists of skirmishes. So far, a breakthrough has only been achieved on one front: because new life is being educated (<em>durch die Bildung neuen Lebens</em>) in the work camp and educational association (<em>Erziehungsverband</em>) as well as at the university, the latter has been relieved of educational tasks to which it has till now believed it had an exclusive right.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The possibility could exist that the university will suffer death through oblivion and forfeit the last vestige of its educational power. It must, however, be integrated again into the <em>Volksgemeinschaft</em> and be joined together with the State. The university must again become an educational force that draws on knowledge to educate the State&#8217;s leaders to knowledge. This goal demands three things: 1. knowledge of today&#8217;s university; 2. knowledge of die dangers today holds for the future; 3. new courage. </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Up to now, research and teaching have been carried on at the universities as they were for decades. Teaching was supposed to develop out of research, and one sought to find a pleasant balance between the two. It was always only the point of view of the teacher that spoke out of this notion. No one had concerned himself with the university as community. Research got out of hand and concealed its uncertainty behind the idea of international scientific and scholarly progress. Teaching that had become aimless hid behind examination requirements.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">A fierce battle must be fought against this situation in the National Socialist spirit, and this spirit cannot be allowed to be suffocated by humanizing, Christian ideas that suppress its unconditionality. Nor is it enough to desire to take the new situation (<em>dem Neuen</em>) into account by painting everything with a touch of political color. Of great danger are the noncommittal plans and slogans that are turning up everywhere; and so, too, is the &#8220;new&#8221; concept of <em>Wissenschaft</em>, which is nothing more than the old one with a slight anthropological underpinning. All of the talk about &#8220;politics&#8221; is nonsense as well, for it does nothing to put an end to the old routine way of doing and thinking about things (<em>dem alten Schlendrian</em>). What the real gravity of the new situation (<em>des Neuen</em>) calls for is the experience of affliction, is the active engagement with real conditions (<em>die zugreifende Auseinandersetzung mit den wirklichen Zuständen</em>). Only that activity is justified that is performed with full inner commitment to the future. The warning cry has already been sounded: &#8220;<em>Wissenschaft</em> is endangered by the amount of time lost in martial sports and other such activities.&#8221; But what does that mean, to lose time, when it is a question of fighting for the State! Danger comes not from work for the State. It comes only from indifference and resistance. For that reason, only true strength should have access to me right path, but not half-heartedness. </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">New courage allows these dangers to be seen clearly. Only it alone opens our eyes to that which is to come and which is now emerging. It forces each teacher and pupil to make up his mind about the fundamental questions of <em>Wissenschaft</em>, and this decision is of epochal importance, for on it depends whether we Germans shall remain a people that is, in the highest sense of the word, knowing. The new teaching which is at issue here does not mean conveying knowledge, but allowing students to learn and inducing them to learn. This means allowing oneself to be beset by the unknown and then becoming master of it in comprehending knowing; it means becoming secure in one&#8217;s sense for what is essential. It is from such teaching that true research emerges, interlocked with the whole through its rootedness in the <em>Volk</em> and its bond to the State. The student is forced out into the uncertainty of all things, in which the necessity of engagement (<em>Einsatz</em>) is grounded. University study must again become a risk (<em>Wagnis</em>), not a refuge for the cowardly. Whoever does not survive the battle, lies where he falls. The new courage must accustom itself to steadfastness, for the battle for the institutions where our leaders are educated will continue for a long time. It will be fought out of the strengths of the new Reich that Chancellor Hitler will bring to reality. A hard race (<em>Geschlecht</em>) with no thought of self must fight this battle, a race that lives from constant testing and that remains directed towards the goal to which it has committed itself. It is a battle to determine who shall be the teachers and leaders at the university (<em>ein Kampf um die </em>Gestalt des Lehrers<em> und des </em>Führers<em> an der Universität</em>). </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"><strong>*</strong>  This speech was given by Heidegger as part of a series of political lectures organized by the Heidelberg Student Association. It appeared originally in <em>Heidelberger Neuste Nachrichten</em>, ]uly 1, 1933. Compiled by Richard Wolin and translated by William S. Lewis. Published in <em>New German Critique</em>, 45, Fall 1988.</font></p>
<p align="justify"><font size="3" face="Verdana" color="000000"><b>Declaration of Support for Adolf Hitler</b></font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">November 11, 1933 *</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">German teachers and comrades!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">German <i>Volksgenossen</i> and <i>Volksgenossinnen</i>!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The German people has been summoned by the Führer to vote; the Führer, however, is asking nothing from the people. Rather, he is giving the people the possibility of making, directly, the highest free decision of all: whether the entire people wants its own existence (<i>Dasein</i>) or whether it does not want it.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Tomorrow the people will choose nothing less than its future.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">This election remains absolutely incomparable with all previous elections. What is unique about this election is the simple greatness of the decision that is to be executed. The inexorability of what is simple and ultimate (<i>des Einfachen und Letzten</i>) tolerates no vacillation and no hesitation. This ultimate decision reaches to the outermost limit of our people&#8217;s existence. And what is this limit? It consists in the most basic demand of all Being (<i>Sein</i>), that it keep and save its own essence. A barrier is thereby erected between what can be reasonably expected of people and what cannot. It is by virtue of this basic law of honor that the German people retain the dignity and resoluteness of its life. However, the will to self-responsibility is not only the basic law of our people&#8217;s existence; it is also the fundamental event in the bringing about of the people&#8217;s National Socialist State. From this will to self-responsibility, every effort, be it humble or grand, of each social and occupational group (<i>Stand</i>) assumes its necessary and predestined place in the social order (<i>in den Standort und Rang ihrer gleich notwendigen Bestimmung</i>). The labor of the various groups (<i>Stände</i>) supports and strengthens the living framework of the State; labor recovers for the people its rootedness; labor places the State, as the reality of the people, into the field of action of all essential forces of human Being.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">It is not ambition, not desire for glory, not blind obstinacy, and not hunger for power that demands from the Fuhrer that Germany withdraw from the League of Nations. It is only the clear will to unconditional self-responsibility in suffering and mastering the fate of our people. That is not a turning away from the community of peoples. On the contrary: with this step, our people is submitting to that essential law of human Being to which every people must first give allegiance if it is still to be a people.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">It is only out of the parallel observance by all peoples of this unconditional demand of self-responsibility that there emerges the possibility of taking each other seriously so that a community can also be affirmed. The will to a true national community (<i>Volksgemeinschaft</i>) is equally far removed both from an unrestrained, vague desire for world brotherhood and from blind tyranny. Existing beyond this opposition, this will allows peoples and states to stand by one another in an open and manly fashion as self-reliant entities (<i>das offene und mannhafte Aufsich und Zueinanderstehen der Volker und Staaten</i>). What is it that such a will brings about? Is it reversion into barbarism? No! It is the averting of all empty negotiation and hidden deal-making through the simple, great demand of self-responsible action. Is it the eruption of lawlessness? No! It is the clear acknowledgement of each people&#8217;s inviolable independence. Is it the denial of the creative genius of a spiritual (<i>geistig</i>) people and the smashing of its historical traditions? No! It is the awakening of the young who have been purified and are growing back to their roots. Their will to the State will make this people hard towards itself and reverent towards each genuine deed.</font</p>
<p align="justify"><font size="2" face="Verdana" color="000000">What sort of event is this then? The nation is winning back the truth of its will to existence, for truth is the revelation of that which makes a people confident, lucid, and strong in its actions and knowledge. The genuine will to know arises from such truth. And this will to know circumscribes the right to know. And from there, finally, the limits are measured out within which genuine questioning and research must legitimize and prove themselves. Such is the origin of <i>Wissenschaft</i>, which is constrained by the necessity of self-responsible <i>volkisch</i> existence. <i>Wissenschaft</i> is thus the passion to educate that has been restrained by this necessity, the passion to want to know in order to make knowing. To be knowing, however, means: to be master of things in clarity and to be resolved to action.</font</p>
<p align="justify"><font size="2" face="Verdana" color="000000">We have declared our independence from the idol of thought that is without foundation and power. We see the end of the philosophy that serves such thought. We are certain that the clear hardness and the sure, steady competence (<i>werkgerechte Sicherheit</i>) of unyielding, simple questioning about the essence of Being are returning. For a volkische Wissenschaft, the courage either to grow or to be destroyed in confrontation with what is (dem Seienden), which is the first form of courage, is the innermost motive for questioning. For courage lures one forward; courage frees itself from what has been up to now; courage risks the unaccustomed and the incalculable. For us, questioning is not the unconstrained play of curiosity. Nor is questioning the stubborn insistence on doubt at any price. For us, questioning means: exposing oneself to the sublimity of things and their laws, it means: not dosing oneself off to the terror of the untamed and to the confusion of darkness. To be sure, it is for the sake of this questioning that we question, and not to serve those who have grown tired and their complacent yearning for comfortable answers. We know: the courage to question, to experience the abysses of existence and to endure the abysses of existence, is in itself already a higher answer than any of the all-too-cheap answers afforded by artificial systems of thought.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">And so we, to whom the preservation of our people&#8217;s will to know shall in the future be entrusted, declare: The National Socialist revolution is not merely the assumption of power as it exists presently in the State by another party, a party grown sufficiently large in numbers to be able to do so. Rather, this revolution is bringing about the total transformation of our German existence (<i>Dasein</i>). From now, on each and every thing demands decision, and every deed demands responsibility. Of this we are certain; If the will to self-responsibility becomes the law that governs the coexistence of nations, then each people can and must be the master who instructs every other people in the richness and strength of all the great deeds and works of human Being (<i>Sein</i>).</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The choice that the German people must now make is, simply as an event in itself, quite independent of the outcome, the strongest expression of the new German reality embodied in he National Socialist State. Our will to national (<i>volfdsch</i>) self-responsibility desires that each people find and preserve the greatness and truth of its destiny (<i>Bestimmung</i>). This will is the highest guarantee of peace among nations, for it binds itself to the basic law of manly respect and unconditional honor. The Fuhrer has awakened this will in the entire people and has welded it into one single resolve. No one can remain away from the polls on the day when this will is manifested.<br />
Heil Hitler!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"><strong>*</strong> Address presented by Heidegger at an election rally held by German universiy professors in Leipzig in support of the plebiscite of November 12, 1933 called by Hitler to sanction (ex post facto) Germany&#8217;s withdrawal from The League of Nations. Compiled by Richard Wolin and translated by William S. Lewis. Published in <em>New German Critique</em>, 45, Fall 1988. </font> </p>
<p align="justify"><font size="3" face="Verdana" color="000000"><b>Schlageter</b></font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">May 26, 1933 *</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In the midst of our work, during a short break in our lectures, let us remember the Freiburg student, Albert Leo Schlageter, a young Ger- man hero who a decade ago died the most difficult and the greatest death of all.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Let us honor him by reflecting, for a moment, upon his death in order that this death may help us to understand our lives.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Schlageter died the most difficult of all deaths. Not in the front line as the leader of his field artillery battery, not in the tumult of an attack, and not in a grim defensive action - no, he stood defenseless before the French rifles.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">But he stood and bore the most difficult thing a man can bear.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Yet even this could have been borne with a final rush of jubilation, had a victory been won and the greatness of the awakening nation shone forth.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Instead — darkness, humiliation, and betrayal.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">And so, in his most difficult hour, he had also to achieve the greatest thing of which man is capable. Alone, drawing on his own inner strength, he had to place before his soul an image of the future awakening of the <i>Volk</i> to honor and greatness so that he could die believing in this future.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Whence this hardness of will, which allowed him to endure the most difficult thing of all?</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Whence this clarity of heart, which allowed him to envision what was greatest and most remote?</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Student of Freiburg! German student! When on your hikes and outings you set foot in the mountains, forests, and valleys of the Black Forest, the home of this hero, experience this and know: The mountains among which the young farmer&#8217;s son grew up are of primitive stone, of granite. They have long been at work hardening the will.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The autumn sun of the Black Forest bathes the mountain ranges and forests in the most glorious clear light. It has long nourished clarity of the heart.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">As he stood defenseless facing the rifles, the hero&#8217;s inner gaze soared above the muzzles to the daylight and mountains of his home that he might die for the German people and its Reich with the Alemannic countryside before his eyes.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">With a hard will and a clear heart, Albert Leo Schlageter died his death, the most difficult and the greatest of all.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Student of Freiburg, let the strength of this hero&#8217;s native mountains flow into your will!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Student of Freiburg, let the strength of the autumn sun of this hero&#8217;s native valley shine into your heart! Preserve both within you and carry them, hardness of will and clarity of heart, to your comrades at the German universities.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Schlageter walked these grounds as a student. But Freiburg could not hold him for long. He was compelled to go to the Baltic; he was compelled to go to Upper Silesia; he was compelled to go to the Ruhr.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">He was not permitted to escape his destiny so that he could die the most difficult and greatest of all deaths with a hard will and a clear heart. We honor the hero and raise our arms in silent greeting.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">* Albert Leo Schlageter, a former student at Freiburg University, was shot for acts of sabotage against the French occupation army in the Ruhr on May 26, 1925. Subsequently, he was elevated to the status of a great Nazi martyr and hero. The German original of these texts can be found in Guido Schneeberger, <i>Nachlese zu Heidegger</i> (Bern: 1962). Compiled by Richard Wolin and translated by William S. Lewis. Published in <em>New German Critique</em>, 45, Fall 1988. </font></p>
<p align="justify"><font size="3" face="Verdana" color="000000"><b>German Students</b></font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">November 3, 1933 *  </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The National Socialist revolution is bringing about the total transformation of our German existence (<em>Dasein</em>).              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In these events, it is up to you to remain the ones who always urge on and who are always ready, the ones who never yield and who always grow.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Your will to know seeks to experience what is essential, simple, and great.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">You crave to be exposed to that which besets you most directly and to that which imposes upon you the most wide-ranging obligations.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Be hard and genuine in your demands.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Remain dear and sure in your rejection.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Do not pervert the knowledge you have struggled for into a vain, selfish possession. Preserve it as the necessary primal possession of the leader (<em>führerischen Menschen</em>) in the <em>völkisch</em> professions of the State. You can no longer be those who merely attend lectures (<em>die nur &#8220;Hörenden&#8221;</em>). You are obligated to know and act together in the creation of the future university (<em>hohe Schule</em>) of the German spirit. Every one of you must first prove and justify each talent and privilege. That will occur through the force of your aggressive involvement (<em>Einsatz</em>) in the struggle of the entire <em>Volk</em> for itself.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Let your loyalty and your will to follow (<em>Gefolgschaftswille</em>) be strengthened daily and hourly. Let your courage grow without ceasing so that you will be able to make the sacrifices necessary to save the essence of our <em>Volk</em> and to elevate its innermost strength in the State.              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Let not propositions and &#8220;ideas&#8221; be the rules of your Being (<em>Sein</em>).              </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The Führer alone is the present and future German reality and its law. Learn to know ever more deeply: from now on every single thing demands decision, and every action responsibility. </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Heil Hitler!<br />
              Martin Heidegger, Rector </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"><strong>*</strong> This appeal was launched by Heidegger on the occasion of the plebiscite of November 12, 1933 called by Hitler to sanction (ex post facto) Germany&#8217;s withdrawal from The League of Nations, published in the <em>Freiburger Studentemeitung</em>. Compiled by Richard Wolin and translated by William S. Lewis. Published in <em>New German Critique</em>, 45, Fall 1988. </font> </p>
<p align="justify"><font size="3" face="Verdana" color="000000"><b>National Socialist Education <i>Wissensschulung</i></b></font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">January 22, 1934 *</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">German <i>Volksgenossen</i>! German Workers!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">As Rector of the University, I cordially welcome you to our institution. This welcome will at the same time be the beginning of our work together. Let us start by understanding clearly the significance of the fact that you, for whom the City of Freiburg has created jobs by emergency decree, are coming together with us in the largest lecture hall of the University.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">What does this fact mean?</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Because of novel and comprehensive employment measures on the part of the City of Freiburg, you have been given work and bread has been put on your tables. You thereby enjoy a privileged position among the rest of the City&#8217;s unemployed. But this preferential treatment means at the same time an obligation.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">And your duty is to understand the creation of jobs, and to accept the work for which you are paid, in the way that the Führer of our new State demands. For the creation of jobs means not only the alleviation of external need, not only the elimination of inner discouragement or, indeed, despair; the creation of jobs means not only the warding off of that which burdens. The creation of jobs is at the same time, and in its essence, an act of building up and construction (<i>Aufbau und Bau</i>) in the new future of our <i>Volk</i>.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The creation of work must, first of all, make the unemployed and jobless <i>Volksgenosse</i> again capable of existing (<i>daseinsfähig</i>) in the State and for the State and thereby capable of existing for the Volk as a whole. The <i>Volksgenosse</i> who has found work should learn thereby that he has not been cast aside and abandoned, that he has an ordered place in the <i>Volk</i>, and that every service and every accomplishment possesses its own value that is fungible by other services and accomplishments. Having experienced this, he should win back proper dignity and self-confidence in his own eyes and acquire proper self-assurance and resoluteness in the eyes of the other <i>Volksgenossen</i>.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The goal is: to become strong for a fully valid existence as a <i>Volksgenosse</i> in the German <i>Volksgemeinschaft</i>.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">For this, however, it is necessary:</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know where one&#8217;s place in the <i>Volk</i> is,</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know how the <i>Volk</i> is organized and how it renews itself in this organization,</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know what is happening with the German <i>Volk</i> in the National Socialist State.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know in what a bitter struggle this new reality was won and created,</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know what the future recovery of the body of the <i>Volk</i> (<i>Volkskörper</i>) means and what it demands of each individual,</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know to what point urbanization has brought the Germans, how they should be returned to the soil and the country through resettlement,</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">to know what is entailed in the fact that 18 million Germans belong<br />
to the <i>Volk</i> but, because they are living outside the borders of the Reich, do not yet belong to the Reich.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Everyone of our <i>Volk</i> who is employed must know for what reason and to what purpose he is where he is. It is only through this living and ever-present knowledge that his life will be rooted in the <i>Volk</i> as a whole, and in its destiny. Providing this knowledge is thus a necessary part of the creation of work; and it is your right, but therefore also your obligation, to demand this knowledge and to endeavor to acquire it.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">And now, your younger comrades from the university stand ready to help you acquire this knowledge. They are resolved to help that knowledge to become alive in you, to help it develop and grow strong and never again to slumber. They stand ready, not as &#8220;intellectuals&#8221; (<i>Gschtudierten</i>) from the class of your &#8220;betters,&#8221; but as <i>Volksgenossen</i> who have recognized their duty.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">They stand ready, not as the &#8220;educated&#8221; vis-à-vis a class — indeed, a &#8220;lower class&#8221; — of uneducated individuals, but as comrades. They are prepared to listen to your questions, your problems, your difficulties, and your doubts, to think through them with you, and, in shared effort, to bring them to a clear and decisive resolution. What, therefore, is the significance of the fact that you are assembled here in the auditorium of the University with us?</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">This fact is a sign that a new, common will exists, the will to build a living bridge between the worker of the &#8220;hand&#8221; and the worker of the &#8220;head.&#8221; Today, the will to bridge this gap is no longer a project that is doomed to failure. And why not? Because the whole of our German reality has been changed by the National Socialist State, with the result that our whole past way of understanding and thinking must also become different.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">What we thought up to now when we used the words &#8220;knowledge&#8221; and <i>Wissenschaft</i> has taken on another significance.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">What we meant up to now with the words &#8220;worker&#8221; and &#8220;work&#8221; has acquired another meaning.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"><i>Wissenschaft</i> is not the possession of a privileged class of citizens, to be used as a weapon in the exploitation of the working people. Rather, <i>Wissenschaft</i> is merely the more rigorous and hence more responsible form of that knowledge which the entire German <i>Volk</i> must seek and demand for its own historical existence as a state (<i>sein eigenes gesckichtiich-staat-liches Dasein</i>) if it still wants to secure its continued existence and greatness and to preserve them in the future. In its essence, the knowledge of true <i>Wissenschaft</i> does not differ at all from the knowledge of the farmer, the woodcutter, the miner, the artisan. For knowledge means: to know one&#8217;s way around in the world into which we are placed, as a community and as individuals.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Knowledge means: in our decisions and actions to be up to the task that is assigned us, whether this task be to till the soil or to fell a tree or to dig a ditch or to inquire into the laws of Nature or to illumine the fate-like force of History.</font</p>
<p align="justify"><font size="2" face="Verdana" color="000000">Knowledge means: to be master of the situation into which we are placed.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">What is decisive is not so much how varied our knowledge is and what quantity of things we know, but whether our knowledge has grown naturally out of and is directed towards our circle of existence (<i>ein urspriinglich gewachsenes und aufunseren Daseinskreis ausgerichtetes</i>) and whether, through our deeds and in our behavior, we take responsibility for what we know. We no longer distinguish between the &#8220;educated&#8221; and the &#8220;uneducated.&#8221; — And not because these are both the same, but because we no longer tie our esdmation of a person to this distinction. We do, on the other hand, differentiate between genuine knowledge and pseudo-knowledge. Genuine knowledge is something that both the farmer and die manual laborer have, each in his own way and in his own field of work, just as the scholar has it in his field. And, on the other hand, for all his learning, the scholar can in fact simply be wasting his time in die idle pursuit of pseudo-knowledge.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">If you are to become ones who know here, then that does not mean that you will be served up scraps of some &#8220;general education,&#8221; as a charitable afterthought. Rather: that knowledge shall be awakened in you by means of which you — each in his respective class and work group — can be clear and resolute Germans.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Knowledge and die possession of knowledge, as National Socialism understands these words, does not divide into classes, but binds and unites <i>Volksgenossen</i> and social and occupational groups (<i>Stände</i>) in the one great will of the State.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Like these words &#8220;knowledge&#8221; and <i>Wissenschaft</i>, the words &#8220;worker&#8221; and &#8220;work,&#8221; too, have a transformed meaning and a new sound. The &#8220;worker&#8221; is not, as Marxism claimed, a mere object of exploitation. The workers (<i>Arbeiterstand</i>) are not the class of the disinherited who are rallying for the general class struggle. But labor is also not simply the production of goods for others. Nor is labor simply the occasion and die means to earn a living. Rather:</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">For us, &#8220;work&#8221; is the title of every well-ordered action that is borne by the responsibility of the individual, the group, and the State and which is thus of service to the <i>Volk</i>.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Work only exists where man&#8217;s determination and perseverance are freely engaged in the assertion of will and die accomplishment of a task; but there it exists everywhere. Therefore, all work is, as work, something spiritual (<i>Geistiges</i>), for it is founded in die free exercise of expert knowledge and in the competent understanding of one&#8217;s task; mat is: It is founded in authentic knowledge (<i>eigentliches Wissen</i>). The accomplishment of a miner is basically no less spiritual than the activity of a scholar.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Worker and work, as National Socialism understands these words, does not divide into classes, but binds and unites <i>Volksgenossen</i> and the social and occupational groups into the one great will of the State.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">&#8220;Workers&#8221; and &#8220;academics&#8221; (<i>die wissenschaftlich Wissenden</i>) are not opposites. Every worker is, in his own way, one who knows; and only as one who knows is he able to work at all. The privilege of work is denied the animal. And conversely: Every person who acts knowingly and who makes decisions in and on the basis of <i>Wissenschaft (wissenschaftlich Entscheidender</i>) is a worker.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">For this reason, neither for you nor for us can the will to build a living bridge remain any longer an empty, hopeless wish. This will, to consummate the creation of jobs by providing the right kind of knowledge, this will must be our innermost certainty and never faltering faith. For in what this will wills, we are only following the towering will of our Führer. To be his loyal followers means: to will that the German people shall again find, as a people of labor, its organic unity, its simple dignity, and its true strength; and that, as a state of labor, it shall secure for itself permanence and greatness.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">To the man of this unprecedented will, to our Führer Adolf Hitler — a threefold &#8220;Sieg Heil!&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"><strong>*</strong> This address was given by Heidegger at Freiburg University to 600 &#8220;beneficiaries&#8221; of the Nazi &#8220;labor service&#8221; program. Published in <i>Der Alemanne Kampftlatt der Nationalsotialisten Oberbadens</i>, February 1, 1934.  Compiled by Richard Wolin and translated by William S. Lewis. Published in <em>New German Critique</em>, 45, Fall 1988.<br />
              </font></p>
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		<title>Heidegger&#8217;s ExistentialismPolitical Implications  Karl Löwith </title>
		<link>http://www.lacan.com/symptom2/?p=55</link>
		<comments>http://www.lacan.com/symptom2/?p=55#comments</comments>
		<pubDate>Sat, 14 Jun 2008 05:47:59 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Existentialism]]></category>

		<category><![CDATA[Martin Heidegger]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=55</guid>
		<description><![CDATA[followed by
My Last Meeting with Heidegger, Rome 1936
Author’s Bio
It is possible that a philosopher could be guilty of a compromise with political authority in an apparently inconsequential manner; he himself might be aware of this. But what he could not be aware of is the possibility that this apparent compromise with authority finds its basis [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana">followed by<br />
<b>My Last Meeting with Heidegger, Rome 1936</b></font></p>
<p align="justify"><font color="#de0013" size="2" face="Verdana"><a href="http://www.lacan.com/biosB.htm#lowith" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font size="1" face="Verdana" color="000000">It is possible that a philosopher could be guilty of a compromise with political authority in an apparently inconsequential manner; he himself might be aware of this. But what he could not be aware of is the possibility that this apparent compromise with authority finds its basis in the most profound deficiency &#8230; of his own doctrine.<br />
If therefore a philosopher should &#8220;conform&#8221; (by making concessions to authority), his disciples will have to explain what he himself was aware of in a merely external way, in an internal and essential fashion.<br />
Karl Marx, <i>Contribution to a Critique of Hegel&#8217;s Philosophy of Right</i>.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The essay that follows was written outside of Germany in 1939 with the sole aim of clarifying my own ideas and without any intention of being published. Today (1946), I am publishing it in French translation, since I am convinced that the immediate political - i.e., National Socialist - implications of Heidegger&#8217;s concept of existence - though they might seem outstripped by contemporary events - possess an historical significance which reaches well beyond the figure of Heidegger, as well as the German situation of the interwar period. The fact that during the last war, Heidegger found a wide audience among French intellectuals, in contrast to the situation of Germany at that time, is a symptom which merits renewed attention.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">His <i>Sein und Zeit</i>, which appeared in 1927, is still one of the rare, truly important contemporary philosophical publications, and when, in an era such as ours, an author is able to develop a following and to increase his influence continually over the course of 25 years, he must certainly contain something of substance. One should not forget either that this same man, whose thought was so relevant, also assimilated Greek philosophy and scholastic theology into his work. His knowledge, which is of the first hand variety, derives from the sources themselves.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The following study treats the implications and historico-philosophical consequences of Heidegger&#8217;s philosophy almost exclusively in relation to his speeches and lectures, rather than in terms of his philosophical oeuvre properly speaking. This may appear unjust insofar as the influence of Heidegger&#8217;s thought has been spurred much more by his work than his speeches, which aim explicitly at a practical effect. This appearance of injustice disappears, however, as soon as one realizes that <i>Sein und Zeit</i> also represents - and in a far from inessential manner - a theory of historical existence; whereas, on the other hand, the practical application of this project to an actual historical situation is only possible insofar as <i>Sein und Zeit</i> already contains a relation to contemporary reality. It is this practical-political application in terms of an actual commitment to a determinate decision that in truth justifies or condemns the philosophical theory that serves as the basis of this commitment. What is true or false in theory is also so in practice, above all when the theory itself originates in conscious fashion from a supreme fact - historical existence - and when its path leads it toward the latter.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The author, for many years a student of Heidegger, indebted to his master for certain essential intellectual impulses, will undoubtedly have to justify the employment of passages taken from private letters in face of the currently dominant conception of the separation of public from private life. My sole justification is that the personal and spontaneous thoughts of a thinker who was so discrete and guarded about his powerful dialectical capacities clarifies the fundamental traits of his philosophical aim better than a sagacious discussion of the existential categories, the aspects of which have already been fully elaborated.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The reader of this essay may choose to find a significant defense of Heidegger&#8217;s philosophy or a condemnation of his political attitudes. In the author&#8217;s eyes, however, these alternatives lack real meaning, insofar as the historical importance of Heideggerianism rests to a large extent on the fact that he took on political responsibilities and involvements in a manner consistent with the fundamental thesis of <i>Sein und Zeit</i>:</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Only an essentially futural being&#8230; that is free for its death and can let itself be thrown back upon its factual &#8220;there&#8221; by shattering itself against death &#8230; can, by handing down to itself the possibility it has inherited, take over its own thrownness and be in the moment of vision for &#8220;its time.&#8221; </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In order to understand the historical background of Heidegger&#8217;s philosophy, it will be useful to relate it to remarks by Rilke and Van Gogh. Certain sentences from Rilke&#8217;s letters (cf. <i>Briefe</i>, 1914-1921, pp. 89ff.) could easily serve as guiding threads to the intellectual achievement of Heidegger&#8217;s oeuvre. By dint of belief in progress and humanity, observes Rilke, the bourgeois world has forgotten the &#8220;ultimate instances&#8221; of human life, i.e., &#8220;that it has been once and for all surpassed by death and by God.&#8221; In <i>Sein und Zeit</i>, death has no other meaning than that of an &#8220;unsurpassable last instance&#8221; of our Being and capacities. In Heidegger, God is no longer at issue; he had been too much of a theologian to be able, like Rilke, to once again tell &#8220;Stories of the Dear Lord.&#8221; For Heidegger, death is the nothingness that reveals the finitude of our temporal existence; or, as he put it in one of his first courses in Freiburg, death is historical &#8220;facticity.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Van Gogh is the painter whose influence was the greatest in Germany after World War I. &#8220;For years,&#8221; Heidegger wrote me in 1923, &#8220;a saying of Van Gogh&#8217;s has obsessed me: &#8216;I feel with all my power that the history of man is like that of wheat: if one is not planted in the earth to flourish, come what may, one will be ground up for bread.&#8217; Woe to him who is not pulverized.&#8221; Instead of devoting oneself to the general need for cultivation, as one would upon receiving the command to &#8220;save culture,&#8221; one must - in a (time of) radical disintegration and regression, a <i>Destruktion</i > - convince oneself firmly of &#8220;the one thing that matters&#8221;&#8216; without bothering with the chatter and bustle of clever and enterprising men.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In this search for the &#8220;one thing that matters,&#8221; Heidegger turns  above all toward Kierkegaard, though he does not permit himself to be consumed by him. The goal and theme of his existentialist philosophy is not &#8220;to attract attention to Christianity, but to formally thematize this-worldly existence.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">&#8220;My will, fundamentally, aspires to something else, and that is not much: living in an actual revolutionary situation, I pursue what I feel to be &#8216;necessary,&#8217; without caring to know whether it emerges from &#8216;culture&#8217; or whether my search will lead to ruin&#8221; (letter from Heidegger, 1920). He had a horror of all &#8220;philosophies of culture,&#8221; as well as of philosophy conferences; the vast number of journals that appeared after World War I aroused his emotional wrath. With bitter severity, he wrote to Scheler that he &#8220;renewed&#8221; E. Von Hartmann, while other scholars published an <i>Ethos</i> and a <i>Kairos</i>, in addition to an already antiquated <i>Logos</i>. &#8220;What will be next week&#8217;s joke? I believe that a lunatic asylum viewed from within would offer a more reasonable and clear perspective than this epoch.&#8221; Following this negation in principle of all that existed, as well as all programs aiming at reform, Heidegger at the same time made us guard against a false interpretation and over-estimation of his own work — against the idea that he would have some- thing &#8220;positive&#8221; to say or &#8220;new results&#8221; to show.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">&#8220;The idea has emerged that our critique must be opposed to something that corresponds in content to that which has just been denied, or that our work would find its destiny in a school or trend, that it could be continued and complemented.&#8221; This work, he continued, is nothing of this nature. It is limited to a critical and rational destruction of philosophical and theological traditions; it thereby remains &#8220;something apart from and perhaps out of reach of the bustle of the day&#8221; (letter from Heidegger, 1924). On the whole, by viewing himself as beyond what is in and out of fashion, the philosopher must derive satisfaction, for where things age rapidly, there is not necessarily much depth to be found. The later attempt at a &#8220;fundamental ontology&#8221; was born of this attitude: i.e., an analysis of Being that is based on temporal existence - our <i>Dasein</i> which is at the same time historical and tied to particular moments - and the attempt to &#8220;destroy,&#8221; beginning from this position, the history of the reflection on Being, from the Greeks to Nietzsche, in order thereby to concentrate this reflection completely on the unique question of the meaning of Being - the question that is, at the same time, the simplest, the most essential, and the most original.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">It was only against his original expectations that the enormous success of his courses and the extraordinary influence of his work - despite its difficulty - pushed him beyond the desired limits and made his thought fashionable. The primary attraction of his philosophical doctrine was not that it led his disciples to await a new system, but was instead its thematic indeterminacy and pureness; more generally, it was his concentration on &#8220;the one thing that mattered.&#8221; It was only later that many of his students understood that this &#8220;one thing&#8221; was nothingness, a pure Resolve, whose &#8220;aim&#8221; was undefined. One day a student invented the far from innocent joke: &#8220;I am resolved, only toward what I don&#8217;t know.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The inner nihilism, die &#8220;national socialism,&#8221; of this pure Resolve in face of nothingness, remained at first hidden beneath certain traits which suggested a religious devotion; in effect, at this time (the early 1920s), Heidegger had not yet definitively broken with his theological origins. I remember having seen on his desk in Freiburg portraits of Pascal and Dostoyevsky, and on the wall in a comer of die room - which resembled a cell — hung a magnificent Expressionist crucifixtion scene. He gave me <i>The Imitation</i> by Thomas à Kempis as a Christmas present in 1920. Again in 1925, he saw spiritual substance in theology alone, and even here, only in Karl Barth, whose <i>Commentary on the Epistle to the Romans</i> had appeared in 1918 (at the same time as Spengler&#8217;s <i>Decline of the West</i>).</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The extraordinary fascination that Spengler, Barth, and Heidegger - despite their various divergences - exerted upon a generation of young Germans following the First World War derives from a common source. Their shared position can be seen in the clear awareness of being situated in a crisis - a turning point between epochs; and thus being obliged to confront questions too radical to find an answer in the enfeebled, 19di-century belief in progress, culture, and education. The questions that agitated this young generation, devoid of illusions, yet sincere, were fundamentally questions of faith. One read Nietzsche, Dostoyevsky, and Kierkegaard; and here one rediscovered the internal nexus between radical negation and radical affirmation, between skepticism and faith. In this period, Heidegger still explicitly counted himself among the ranks of the &#8220;theological Christians;&#8221; just as, ten years later, he affirmed that Nietzsche, the great destroyer, had been the &#8220;sole true believer&#8221; of the 19th century. The power of this spiritual stance is in direct relation to its power of negation, for a new faith is possible and necessary as soon as one has recognized the decrepitude of what one formerly believed. It was above all the young Luther - the Protestant whose rigorous faith considered the &#8220;natural reason&#8221; of the Scholastics a form of prostitution - to whom Heidegger was attracted. He knew Luther&#8217;s works better than many a professional theologian.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The hidden motto of <i>Sein und Zeit</i> - <i>Unus quisque robustus sit in existentia sua</i> - also comes from Luther. Heidegger, abandoning faith in God, translates it by ceaselessly insisting on that which alone, in his opinion, is important: &#8220;that each individual do what his capacities permit,&#8221; — i.e., the &#8220;authentic capacity-for-Being always specific to each individual&#8221; - or the &#8220;existential limit of our ownmost particular historical facticity.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">He referred to this &#8220;capacity-for-Being&#8221; both as a duty and as a &#8220;destiny.&#8221; &#8220;I do only what I must do and what I believe to be necessary, and I do it as my powers permit. I do not embellish my philosophical labors with cultural requirements suitable for a vague historical present. I no longer subscribe to a Kierkegaardian outlook. I work from my own &#8216;I am&#8217; and from my entirely particular spiritual origin. From this facticity surges the fury of &#8216;Existence&#8217; &#8221; (Letter, 1920).</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Whoever, on the basis of these remarks, reflects on Heidegger&#8217;s later partisanship for Hitler, will find in this first formulation of the idea of historical &#8220;existence&#8221; the constituents of his political decision of several years hence. One need only abandon the still quasi-religious isolation and apply [the concept of| authentic "existence" — "always particular to each individual" - and the "duty" (<i>Müssen</i>) which follows from it to "specifically German existence" and its historical destiny in order thereby to introduce into the general course of German existence the energetic but empty movement of existential categories ("to decide for oneself; "to take stock of oneself in face of nothingness"; "wanting one's ownmost destiny"; "to take responsibility for oneself) and to proceed from there to "destruction," now on the terrain of politics. It is not chance, if one finds a political "decisionism" in Carl Schmitt which corresponds to Heidegger's existentialist philosophy, in which the "capacity-for-Being-a-whole" of individual authentic existence is transposed to the "totality" of the authentic state, which is itself always particular. Corresponding to the preservation and affirmation of this authentic <i>Dasein</i> (in Heidegger) is the affirmation of political existence (in Schmitt); to "freedom for death" (in Heidegger), the "sacrifice of life" in the politically paramount case of war (in Schmitt). The principle is the same in both cases: naked "facticity," which is all that remains of life when one has surpressed all traditional living contents.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The term in <i>Sein und Zeit</i> which expresses the concept of facticity is <i>Existenz</i>. It does not mean "the Being of a thing" (<i>Was-Sein</i>) (<i>essentia</i>), but the fact that a being is (<i>existentia</i>) - i.e., die pure fact of existing. This existence, stripped of all security and standing in relation to nothing other than itself, constitutes the essence of <i>Dasein</i> in Heideggerian philosophy; and <i>Dasein</i> itself is the foundation of all awareness of Being. Pure <i>Dasein</i>, the fundamental thesis of existential philosophy, presupposes that all traditional truths and contents of life have lost their substance. If one compares the modem conception of naked, resolute existence with the parallel notion in the Christian tradition, the revolutionary radicalism of Heidegger's central thesis emerges clearly. Medieval philosophy believed mat all created being was differentiated into essence and existence; whereas God alone exists essentially, insofar as perfection pertains to his essence and perfection requires existence. The creator of Being alone unites essence and existence. But Heidegger's fundamental ontology no longer acknowledges an eternal creator outside of time with respect to this unity of essence and existence (formerly, the ontological prerogative of God). Instead, one is left with a "temporal" <i>Dasein</i>, abandoned to itself, the essence of which derives solely from the fact "mat it is" and that it "must be."</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Certainly, Heidegger has not furnished an answer to the question of why this having-to-be is, and by not answering it, he avoids posing the question of suicide. In me Heideggerian analytic of <i>Dasein</i>., "freedom-for-death" merely signifies the possibility of consciously anticipating the temporal "end" and integrating the latter in "everyday <i>Dasein</i>." In this projection toward the imminence of death, the supreme freedom of <i>Dasein</i> as such is affirmed. But when one thinks of the thousands of actual suicides committed in Germany after 1933, first, by the adversaries and victims of the Third Reich, and later by its defeated representatives, one cannot deny that the attitude toward there-being and not-being (<i>Dasein</i> and <i>Nicht-Sein</i>) expressed in Heideggerian philosophy has an importance concerning practical consequences for life that cedes nothing to the belief in God and immortality. Without recourse to the idea of an eternal creator of Being, it would undoubtedly be very difficult to refute Heidegger's fundamental thesis concerning death as the "ultimate instance" of human <i>Dasein</i>, or to refute it from a moral standpoint. It is true that, from another perspective, the experience of the naked and insecure state of human <i>Dasein</i> constitutes a negative condition of the possibility of a religious vision of life. When one refuses to draw a religious conclusion from this fact, nothingness represents in effect the ultimate horizon before which the "meaning of Being" manifests itself. From this perspective, the nihilism of Heidegger's existential ontology possesses foundations that are much more solid and profound than his adversaries - who cling to the ideas of progress and culture - are willing to concede. The fact that Heidegger, by virtue of an irreverent radicalism that can often repel, constantly attracted new disciples, that he was offered a chair in 1930 (during Weimar, and not only during Nazi rule) at the most prestigious German university (Berlin), an offer which he refused, should give his adversaries cause for reflection. However, though Heidegger resisted the call to Berlin, he succumbed to the temptation of directing Freiburg University.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Heidegger's accession to the rectorship of Freiburg University was an event. It came at a decisive time during the "German Revolution," insofar as all the other universities at this critical juncture lacked a leader capable of filling his role — not merely by virtue of his Party membership, but by virtue of his intellectual stature. As a result, his decision took on a more than local significance. It was felt everywhere, for Heidegger was then at the zenith of his fame. The students in Berlin demanded that all the other universities follow the example of <i>Glekhschaltung</i> practiced in Freiburg. Heidegger's disciples were surprised by his decision. He had almost never expressed his opinion about political matters, and it did not seem that he had a firm opinion concerning such issues.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Heidegger, however, inaugurated his rectorship with a speech on "The Self-Affirmation of the German University." Compared to the numerous pamphlets and speeches published by professors who were the beneficiaries of <i>Gleichschaltung</i> after the fall of the Weimar government, Heidegger's speech is philosophically demanding, a minor stylistic masterpiece. From a strictly philosophical standpoint, the speech is strangely ambiguous from beginning to end. It succeeds in positing existential and ontological categories at a specific historical "moment," in a way that suggests that their philosophical intentions a priori go hand in hand with the political situation, and that academic freedom jibes with political coercion. "Labor service" and "military service" are on a par with "service in knowledge" such that at the end of the speech, the listener was in doubt as to whether he should start reading the pre-Socratics or enlist in the SA. This is why the speech should not be judged according to one point of view alone, be it purely political or purely philosophical. It would be equally weak considered as a political speech or a philosophical essay. It transposes Heideggerian historical existentialism to contemporary German reality; and thus for the first time the master's will to action finds suitable terrain and the formal outline of the existential categories receives decisive content.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The speech begins with a strange contradiction. In opposition to the subordination of university autonomy to the state, it advocates the "self-affirmation" (of die university), while denying academic freedom in its "liberal" form as well as [academic] &#8220;self-administration,&#8221; in order to integrate the universities seamlessly into the National Socialist schema of &#8220;leaders&#8221; and &#8220;followers.&#8221; The duty of the rector consists in the spiritual leadership of the professors and students. But he too - the leader - must in his turn be led, by the &#8220;spiritual mission of the <i>Volk</i>.&#8221; The content and direction of this historical mission remain indeterminate. The mission is in the last analysis decreed by &#8220;fate.&#8221; Corresponding to the indeterminacy of the mission is an emphasis on its in- exorability. The fate of the Volk is related to that of the university by un-arguable decree; the mission with which the universities are charged is &#8220;the same&#8221; as that of the Volk. German science and German fate affirm their power in a single &#8220;essential will to power&#8221; (<i>Wesenswillen zur Macht</i>). The will to essence is tacidy identified with die will to power, insofar as, from the National Socialist perspective, what is essential is the will as such. Prometheus, symbol of Western Will, is the &#8220;first philosopher&#8221; deserving of a following. As characterized by this promethean will European man is alleged &#8220;to have risen up against &#8216;beings&#8217;&#8221; to inquire concerning their Being and this revolutionary &#8220;uprising&#8221; characterizes <i>Geist</i> - the latter surrenders before the superiority of fate, but becomes creative by virtue of this very impotence. Spirit is neither &#8220;universal reason&#8221; nor (the faculty of) understanding, but rather &#8220;knowing Resolve&#8221; (<i>wissende Entschlossenheit</i>) toward the essence of Being. Thus the true world of spirit would be a &#8220;world of extreme outer and inner danger.&#8221; With military rigor, the student, animated by the will to knowledge, is commanded to &#8220;advance&#8221; to &#8220;the outpost of the most extreme danger,&#8221; to march, to engage himself and to expose himself, to persevere resolutely in the acceptance of German destiny &#8220;there&#8221; in the Führer. The relation to Führer and Volk, to honor and the fate of the <i>Volk</i>, is part and parcel of &#8220;service in knowledge.&#8221; In response to the Nietzschean question as to whether or not Europe wants to be itself, Heidegger says: &#8220;We want ourselves.&#8221; The youthful power of the German <i>Volk</i> has already decided in favor of the will to self-affirmation, not only in the university, but also with respect to German <i>Dasein</i> in its totality. In order to fully appreciate &#8220;the splendor and greatness of this awakening,&#8221; one must recall the wisdom of Plato&#8217;s saying which Heidegger translates (in a willful distortion) as <i>Alles Grosse steht im Sturm</i> - &#8220;Everything great stands in the storm.&#8221; So aggressively did Heidegger speak, that what young SS officer would not have felt moved or would have been able to see through the Greek nimbus of this highly German <i>Sturmen</i>. The community of teachers and students would also be a &#8220;community of struggle,&#8221; for only struggle (<i>Kampf</i>) furthers and preserves knowledge. In a lecture from the same period, Heidegger says: &#8220;essence&#8221; discloses itself to courage alone, not to contemplation, truth allows itself to be recognized only to the extent that one requires it of oneself. The German <i>Gemüt</i> (or temperament) itself is related to such courage (<i>Mut</i>), Even the enemy is not only <i>vorhanden</i>, but <i>Dasein</i> must create its enemy in order not to become deadened. In general, all that &#8220;is&#8221; is &#8220;governed by struggle,&#8221; and where there is neither struggle nor authority, decadence reigns. Essence &#8220;essences&#8221; in struggle.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Heidegger was leader for only a year. After much disillusionment and many vexations, he resigned his &#8220;commission&#8221; in order to oppose in his usual way the new &#8220;they,&#8221; risking bitter remarks in his lectures, which in no way contradicted his substantive attachment to National Socialism as a protestational movement of faith. For the &#8220;spirit&#8221; of National Socialism pertained less to its national or social dimension than to its Resolve (<i>Entschiossenheit</i>) and dynamics, which, trusting in itself alone - i.e., in its ownmost (German) <i>Seinkönnen</i> (Capacity-for-Being) - renounced all discussion and agreement. Expressions of violence and Resolve thoroughly determine both the vocabulary of National Socialist speeches and Heidegger&#8217;s speeches. The apodeictic character of Heidegger&#8217;s emotive formulations corresponds to the dictatorial style of the politics in question. It is the level of discourse, not the method, which defines the internal differences among a &#8220;community of followers;&#8221; and in the endit is &#8220;fate&#8221; which justifies all willing and confers its metaphysical (<i>seins-geschichtlichen</i>) mantle on the latter.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">One month after Heidegger&#8217;s speech, Karl Barth wrote his theological appeal against accommodation to the reigning powers, &#8220;Theological Existence Today.&#8221; To be capable of an analogous act, philosophy, instead of treating &#8220;Being and Time,&#8221; would have to treat &#8220;the Being of Eternity.&#8221; But the important point about Heideggerian philosophy consisted precisely in its &#8220;resolute temporal understanding of time;&#8221; as a philosopher, Heidegger remained a theologian on this point, insofar as eternity seemed identical with God, concerning whom the philosopher &#8220;could know nothing.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">From this historical-political background, the specifically German aspects of Heidegger&#8217;s conception of <i>Dasein</i> become clear: Existence and Resolve, Being and Capacity-for-Being, the explanation of this capacity as duty and destiny, the stubborn insistence that this Capacity-for-Being is &#8220;my particular&#8221; (German) Capacity. The terms recur ceaselessly: discipline and coercion (even to attain &#8220;intellectual clarity,&#8221; one must &#8220;coerce oneself), hard, inexorable and severe, taut and sharp (&#8221;existence must be maintained at its peak&#8221;), to persevere and stand on one&#8217;s own, to encounter and expose oneself to danger, revolution, awakening, and disruption. All these terms reflect the disastrous intellectual mind-set of the German generation following World War I. The minutiae of their thought was concerned with &#8220;origins&#8221; or &#8220;ultimates&#8221; or &#8220;boundary-situations.&#8221; At base, all these terms and concepts are expressions of the bitter and hard Resolve that affirms itself in face of nothingness, proud of its contempt of happiness, reason, and compassion.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">With the appearance of <i>Sein und Zeit</i>, it is likely that none of Heidegger&#8217;s students would have imagined that &#8220;my ownmost&#8221; death, radically individualized, and a central category of <i>Sein und. Zeit</i>, would be travestied six years later in a celebration of a National Socialist &#8220;hero.&#8221; But the leap in the existential analytic from death to Heidegger&#8217;s Schlageter speech (<i>Freiburger Studentemeitung</i>, June 1, 1933) is merely a passage from a particular and individual Dasein to one that is general, no less particular by virtue of its generality insofar as it is a question of German <i>Dasein</i>. In this memorial speech, composed in bombastic style, it is said that Schlageter died &#8220;the most difficult and greatest of all deaths,&#8221; shot in cold blood while his humiliated nation was on its knees. &#8220;Alone, drawing on his own inner strength, he had to place before his soul an image of the future awakening of the Volk to honor and greatness so that he could die believing in this future.&#8221; Heidegger inquires after the origin of this &#8220;hardness of will&#8221; and &#8220;clarity of heart.&#8221; He cites in response the mountains of the Black Forest (Schlageter&#8217;s home) and their autumnal limpidity. These earthy, natural forces are said to have been transposed into the heart of the young hero. In truth, Schlageter had been one of numerous young Germans left without recourse during the post-war years. Some became communists, some followed an opposite course. They are superbly described in E. von Salomon&#8217;s novel, <i>The City</i>. Disenfranchised by the war, they returned from military service unable to find a place in civilian life and joined one of the numerous <i>Freikorps</i> units, living their lives in anti-social aimlessness, adhering to whatever unruly cause presented itself. This is what the existential philosopher calls a &#8220;duty.&#8221; &#8220;He was compelled to go to the Baltic; he was compelled to go to Upper Silesia; he was compelled to go to the Ruhr;&#8221; he was compelled to fulfill the destiny chosen by himself. Here is the fatum of classical tragedy become German verbosity - that of a philosopher, no less!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">A few months after this speech Germany, with much fuss, left the League of Nations. The Führer decreed elections after the fact in order to demonstrate to world opinion that Germany and Hitler stood united. Heidegger made the Freiburg students march in formation to the local polling place so that they could give their assent to Hider&#8217;s decision en bloc. A &#8220;yes&#8221; to Hider&#8217;s decision seemed to him to signify an affirmation of &#8220;authentic existence.&#8221; The electoral appeal he published in his capacity as rector conforms entirely with the National Socialist idiom and at the same time represents a popularized version of Heidegger&#8217;s philosophy:</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">German men and women!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The German people has been summoned by the Führer to vote; the Führer, however, is asking nothing from the people. Rather, he is giving the people the possibility of making, directly, the highest free decision of all: whether it - the entire people - wants its own existence (<i>Dasein</i>) or whether it docs not want it.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">This election simply cannot be compared to all other previous elections. What is unique about this election is the simple greatness of the decision that is to be executed. The inexorability of what is simple and ultimate (<i>des Einfachen und Lettten</i>), however, tolerates no vacillation and no hesitation. This ultimate decision reaches to the outermost limit of our people&#8217;s existence. And what is this limit? It consists in the most basic demand of all Being (<i>Sein</i>), that it preserve and save its own essence. A barrier is thereby erected between what can be reasonably expected of a people and what cannot. It is by virtue of this basic law of honor that a people preserves the dignity and resoluteness of its essence.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">It is not ambition, not desire for glory, not blind obstinacy, and not hunger for power that demands from the Führer that Germany withdraw from the League of Nations. It is only the clear will to unconditional self-responsibility in enduring and mastering the fate of our people.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">That is not a turning away from the community of nations. On the contrary - with this step, our people is submitting to that essential law of human existence to which every people must first give allegiance if it is still to be a people. It is only out of the parallel observance by all peoples of this unconditional demand of self-responsibility that there emerges the possibility of taking one another seriously so that a community can be affirmed.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The will to a true community of nations (<i>Völkergemeinschaft</i>) is equally far removed both from an unrestrained, vague desire for world brotherhood and from blind tyranny. Existing beyond this opposition, this will allows peoples and states to stand by one another in an open and manly fashion as self-reliant entities (<i>das offene und mannhafte Aufsich- und Zueinanderstehen der Völker und Staaten</i>).</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The choice that the German people will now make is - simply as an event in itself, and independent of the outcome - the strongest evidence of the new German reality embodied in the National Socialist State.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Our will to national (<i>völkisch</i>) self-responsibility desires that each people find and preserve the greatness and truth of its destiny (<i>Bestimmung</i>). This will is the highest guarantee of security among peoples; for it binds itself to the basic law of manly respect and unconditional honor.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">On November 12, the German people as a whole will choose its future. This future is bound to the Führer. In choosing this future, the people cannot, on the basis of so-called foreign policy considerations, vote Yes without also including in this Yes the Führer and the political movement that has pledged itself unconditionally to him. There are not separate foreign and domestic policies. There is only the one will to the full existence (<i>Dasein</i>) of the State.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The Führer has awakened this will in the entire people and has welded it into a single resolve.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">No one can remain away from the polls on the day when this will is manifested. (<i>Freiburger Studentenzeitung</i>, November 10, 1933).</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">It was in his Freiburg inaugural address (&#8221;What is Metaphysics?&#8221;) that Heidegger spoke for the first time of &#8220;the ultimate greatness&#8221; of <i>Dasein</i>, which consisted in the latter&#8217;s &#8220;daring&#8221; willingness to expend itself without regard to consequences. Here he makes even greater use of the idea of heroic grandeur. The latter applies to Schlageter&#8217;s death no less than Hitler&#8217;s daring decision to undertake an audacious and surprise move that rendered meaningless all contractual relations and juridical principles. This act, moreover, was allegedly not an abandonment of the community of European nations, but it alone, &#8220;on the contrary,&#8221; established the possibility of a true community, where each nation exists on its own, discovering in this stance the true basis of mutuality!</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">One week before this electoral appeal, Heidegger published a speech intended for the student body composed in very general terms (<i>Freiburger Studentemeitung</i>, November 11, 1933) in which he stated that the National Socialist Revolution represents a &#8220;total transformation of German <i>Dasein</i>.&#8221; It is up to the students, in their will to knowledge, to remain faithful to what is essential, simple and great, to be disciplined and authentic in their demands, clear and sure in their refusals; to be engaged fighters and to fortify their courage in being ready to sacrifice to save what is essential and to enhance the strength of the <i>Volk</i>. Ideas ought not guide the existence of the students. Hider alone should be their only law: &#8220;The Führer alone is the German present and future reality and its law.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The philosophical definition of <i>Dasein</i> as an existing factum brutum which &#8220;is and must be&#8221; (<i>Sein und Zeit</i>, #29) - this sinister, active <i>Dasein</i>, stripped of all content, all beauty, all human kindness - is a mirror-image of the &#8220;heroic realism&#8221; of those Nazi-bred, German faces that stared out at us from every magazine. In his lectures, Heidegger &#8220;philosophized with a hammer,&#8221; as Nietzsche had done in <i>Twilight of the Idols</i>, yet without the latter&#8217;s brilliant psychological acumen. And while Nietzsche maintained an oppositional stance towards Bismarck&#8217;s Reich, the &#8220;highest free&#8221; decision of Heidegger&#8217;s <i>Rektoratsrede</i> philosophy gave the sublime name of &#8220;fate&#8221; to the factum brutum of contemporary German events.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The petty-bourgeois orthodoxy of the party was suspicious of Heidegger&#8217;s National Socialism insofar as Jewish and racial considerations played no role. <i>Sein und Zeit</i>was dedicated to the Jew, Husserl, his Kant-book to the half-Jew, Scheler, and in his courses at Freiburg, Bergson and Simmel were taught. His spiritual concerns did not seem to conform to those of the &#8220;Nordic race,&#8221; which cared little about Angst in the face of nothingness. Conversely, Professor H. Naumann did not hesitate to explain German mythology with the help of concepts from <i>Sein und Zeit</i>, discovering &#8220;care&#8221; in Odin and the &#8220;they&#8221; in Baldur. Yet neither the aforementioned disdain or approval of his National Socialist credentials counts for much in itself. Heidegger&#8217;s decision for Hitler went far beyond simple agreement with the ideologyand program of the Party. He was and remained a National Socialist, as did Ernst Jünger, who was certainly on the margins and isolated, but nevertheless far from being without influence. Heidegger&#8217;s influence came through the radicalism with which he based the freedom of one&#8217;s ownmost individual as well as German <i>Dasein</i> on the manifestness of the naught (<i>des Nichts</i>). Even today (1939), Hitler&#8217;s daring decision to risk a war for the sake of Danzig serves as a good illustration of Heidegger&#8217;s philosophical concept of &#8220;courage for Angst&#8221; before nothingness (<i>&#8220;Mut zyr Angst&#8221; vor dem Nichts</i>) - a paradox which captures the entire German situation in a nutshell.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Given the significant attachment of the philosopher to the climate and intellectual habitus of National Socialism, it would be inappropriate to criticize or exonerate his political decision in isolation from the very principles of Heideggerian philosophy itself. It is not Heidegger, who, in opting for Hitler, &#8220;misunderstood himself;&#8221; instead, those who cannot understand why he acted this way have failed to understand him. A Swiss professor regretted that Heidegger consented to compromise himself with the &#8220;everyday,&#8221; as if a philosophy that explains Being from the standpoint of time and the everyday would not stand in relation to the daily historical realities that govern its origins and effects. The possibility of a Heideggerian political philosophy was not born as a result of a regrettable &#8220;miscue,&#8221; but from the very conception of existence that simultaneously combats and absorbs the &#8220;spirit of the age.&#8221;</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The ultimate motivation of this will to rupture, revolution, and awakening, of this newly politicized Youth Movement from before World War I, is to be found in the awareness of ruin and decline, in European nihilism. It is significant that in Germany, Nietzsche had elevated this &#8220;European&#8221; nihilism to the rank of the principal philosophical theme, and that it was in Germany that it was able to take on a political form.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The German, first and foremost, bears witness to the universal historical mission of radicalism… No one else is so inexorable and ruthless, for he does not merely limit himself to turning upside down a world that is already upright in order to remain up- right himself, he turns himself upside down. Where the German demolishes, a god must fall and a world must perish. For the German, to destroy is to create, and the crushing of the temporal is his eternity. (Max Stimer)</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The Germans have no aptitude for the rational application of freedom within the bounds of human experience (<i>in den Grenzen des Menschlichen</i>). One cannot understand the influence which Heidegger&#8217;s philosophical corpus has exerted upon us apart from this will to destruction. Its internal justification is always based on the radical character of the historical situation, on the fact that &#8220;old Europe&#8221; is finished. Heidegger&#8217;s fundamental idea is in effect free of all concern for the alternative: &#8220;whetherfrom this destruction a new &#8216;culture&#8217; will emerge or an acceleration of decline&#8221; (letter of 1920). Similarly, the conclusion of the rectoral address of 1933 says that it is too late to transform the old institutions, let alone add new ones. One should instead return to the &#8220;original beginnings&#8221; of the Greeks in order to begin again in Europe. The danger according to him is that the spiritual power of the West will dry up, that the West will come apart at the seams before we can decide in favor of this renewal, and that as a result, &#8220;this exhausted pseudo-culture&#8221; will collapse, en- compassing all that is still living in the disorder. At this time, Heidegger still thought that our surviving the collapse or not depended entirely on ourselves, &#8220;whether we want ourselves, ourselves again and anew, or whether we do not want ourselves.&#8221; He believed that the question had been decided positively in the collective decision to follow the Führer. Three years later in 1936, in a lecture on Holderin, Heidegger concluded on much more resigned note. He shows us, with Hölderin,  &#8220;the era in which the gods have fled and (that) of the god to come.&#8221; The present, hemmed in by this double negative, the &#8220;being-no-longer of the gods who have fled&#8221; and the &#8220;not-yet&#8221; of the God to come, is essentially an impoverished and indigent era; it is no longer a question of the &#8220;glorious&#8221; beginning of 1933.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In such an era, the poet resists and perseveres in the nothingness of this night, an image that recalls the somber conclusion of Max Weber in &#8220;Science as a Vocation&#8221; (1919). &#8220;Of what use are poets in an impoverished era?&#8221; Heidegger, too, posed this question on many occasions. To find an answer would undoubtedly be more difficult for him than for the poet himself.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The fascination Heidegger has exerted since 1920 as a result of his Resolve devoid of content and his ruthless critique has endured. The influence of his teachings can be felt almost everywhere - in France no less than elsewhere. The extraordinary success of his teachings is independent of the various relations, good or bad, which Heidegger has maintained with the National Socialist Party over the course of the last twelve years. In reality, what is demonstrated by the somewhat naive apology of the author of &#8220;A Visit With M. Heidegger&#8221; (Jean Beaufret) (<i>Les Temps Modernes</i>, January 1946) is not that Heidegger was not a distinguished representative of the German Revolution, but that he was so in a manner more radical than (Ernst) Krieck or (Alfred) Rosenberg.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Whether he merely put up with Hitler&#8217;s rule or whether he regretted his involvement as an error, the very possibility of his support for the &#8220;revolution of nihilism&#8221; must be explained from his basic philosophical principle. This principle - existence reduced to itself and resting on itself alone in face of nothingness - is by no means a gratuitious invention. It corresponds, on the contrary, to the radical character of the real historical situation with which Heideggerian existentialism, understood temporally and historically, explicitly identified. This historical situation cannot be dated from the contemporary period, nor is it specifically German. For a century, it has already been felt and expressed by perspicuous Europeans of all countries as a relentlessly approaching catastrophe. &#8220;European nihilism&#8221; which &#8220;prefers to will nothingness than to will nothing at all,&#8221; as the later Nietzsche acknowledged and defined it, has had its nervous prophets from the beginnings of the 19th century, in Niebuhr and Goethe; at mid-century, it had them in Burckhardt and Bruno Bauer, in Danilevsky and Kirojevsky, in Marx and Kierkegaard, in Proudhon and Donoso Cortés, in Flaubert and Baudelaire; and at the end of the century, in Tolstoy and Dostoyevsky. And if the truth of <i>Dasein</i> is really temporal and historical, it must be admitted - at the possible risk of contradiction - that the truth of contemporary German existence must be found more than ever in the philosophy of Heidegger, in the theology of karl Barth, and in Spengler&#8217;s philosophy of history; and not with those who try to resurrect the tradition of German idealism for the benefit of German youth. The German situation, for which Heidegger was the principal philosophical spokesman, has not become less radical since 1945; it has become, on the contrary, all the more so, and it is difficult to say where this will lead.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">This essay was originally published (in French translation) in <i>Les temps modernes</i> 14, (1946-47). A revised version appears in Löwith&#8217; autobiographical essay <i>Mein Leben in Deutschland vor und nach 1933</i>, Stuttgart, 1986. Translated by Richard Wolin and Melissa J. Cox. </font></p>
<p align="justify"><font size="2" face="Verdana" color="000000"><b>My Last Meeting with Heidegger</b>, Rome 1936</font</p>
<p align="justify"><font size="2" face="Verdana" color="000000">In 1936, during my stay in Rome, Heidegger gave a lecture on Hölderlin at the German-Italian Culture Institute. Afterwords, he accompanied me to our apartment and was visibly taken aback by the poverty of our furnishings…</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The next day, my wife and I made an excursion to Frascati and Tusculum with Heidegger, his wife, and his two small sons, whom I had often cared for when they were little. It was a radiant afternoon, and I was happy about this final get together, despite undeniable reservations. Even on this occasion, Heidegger did not remove the Party insignia from his lapel. He wore it during his entire stay in Rome, and it had obviously not occurred to him that the swastika was out of place while spending the day with me.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">We talked about Italy, Freiburg, and Marburg, and also about philosophical topics. He was friendly and attentive, yet avoided every allusion to the situation in Germany and his views of it, as did his wife.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">On the way back, I wanted to spur him to an unguarded opinion about the situation in Germany. I turned the conversation to the controversy in the <i>New Zuricher Zeitung</i> and explained that I agreed neither with Earth&#8217;s political attack (on Heidegger) nor with Staiger&#8217;s defense, insofar as I was of the opinion that his partisanship for National Socialism lay in the essence of his philosophy. Heidegger agreed with me without reservation, and added that his concept of &#8220;historicity&#8221; was the basis of his political &#8220;engagement.&#8221; He also left no doubt about his belief in Hitler. He had underestimated only two things: the vitality of the Christian churches and the obstacles to the Anschluss with Austria. He was convinced now as before that National Socialism was the right course for Germany; one only had to &#8220;hold out&#8221; long enough. The only aspect that troubled him was the ceaseless &#8220;organization&#8221; at the expense of &#8220;vital forces.&#8221; He failed to notice the destructive radicalism of the whole movement and the petty bourgeois character of all its &#8220;Strength-through-joy&#8221; (<i>Kraft durch Freude</i>) institutions, because he himself was a radical petty bourgeois.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In response to my remark that there were many things I could understand about his attitude, except how he could sit at the same table (at the Academy of German Law) with someone like Julius Stretcher,1 he remained silent at first. Then, somewhat uncomfortably, the justification followed… things would have been &#8220;much worse&#8221; if at least a few intelligent persons (<i>Wissenden</i>) hadn&#8217;t become involved. And with bitter resentment against the intelligentsia, he concluded his explanation: &#8220;If these gentlemen hadn&#8217;t been too refined to get involved, then everything would be different; but, instead, I&#8217;m entirely alone now.&#8221; To my response that one didn&#8217;t have to be especially &#8220;refined&#8221; in order to renounce working with someone like Stretcher, he answered: one need not waste words over Stretcher, <i>Der Stürmer</i> was nothing more than pornography. He couldn&#8217;t understand why Hider didn&#8217;t get rid of this guy — whom Heidegger feared.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">These responses were typical, for nothing is easier for Germans than to be radical when it comes to ideas and indifferent in practical fact. They manage to ignore all individual <i>Fakta</i> in order to cling all the more decisively to their concept of the whole and to separate &#8220;matters of fact&#8221; from &#8220;persons.&#8221; In truth, the program of &#8220;pornography&#8221; (embodied in anti-Semitic publications such as <i>Der Stürmer</i>) was fulfilled and became a German reality in 1938;2 and no one can deny that Streicher and Hider were in agreement on this matter.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In 1938, Husserl died in Freiburg. Heidegger proved his &#8220;Admiration and Friendship&#8221; (the terms in which he dedicated his 1927 work (<i>Sein und Zeit</i>) to Husserl) by wasting no words of remembrance or sympathy, either public or private, spoken or written.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Translated by Richard Wolin. Excerpted from Karl Löwith, <i>Mein Leben in Deutschland vor und nach 1933</i> (Stuttgart: Metzler Verlag, 1986) 56-58.</font></p>
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		<title>The Dimensions of ArtOn Udi Aloni&#8217;s film Forgiveness  Alain Badiou </title>
		<link>http://www.lacan.com/symptom2/?p=56</link>
		<comments>http://www.lacan.com/symptom2/?p=56#comments</comments>
		<pubDate>Sat, 14 Jun 2008 01:50:39 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Alain Badiou]]></category>

		<category><![CDATA[Anti-Semitism]]></category>

		<category><![CDATA[Palestina]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=56</guid>
		<description><![CDATA[Author’s Bio
This film presents, as does every film, visible two-dimensional images and audible successions—voices, music, and sounds.  These are the evident materials of the film’s composition.
Now, I would like to examine a slightly different idea: an idea that proposes this film as a four-dimensional universe. As an object, insofar as you see it and [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana"><a href="http://www.lacan.com//bios.htm#badiou" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">This film presents, as does every film, visible two-dimensional images and audible successions—voices, music, and sounds.  These are the evident materials of the film’s composition.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Now, I would like to examine a slightly different idea: an idea that proposes this film as a four-dimensional universe. As an object, insofar as you see it and hear it, the film has three dimensions—two in the visible and one in the auditory. But insofar as the film constructs an artistic idea, insofar as it is capable of transforming its spectator, or its voyeur, of modifying our thought, yours or mine, the film in reality has four dimensions.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">I name these four dimensions: the historical dimension, the narrative dimension, the psychoanalytic dimension, and the cultural dimension. The objective of the film, as art work, is to unite these four dimensions, to make them hold together. The artistic dimension is thus like a fifth dimension, achieved by knotting together the four others.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">I will now examine the four dimensions one by one.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">The historical dimension is, evidently, a meditation on Israel and Palestine. Udi Aloni’s fundamental idea is that “Palestine” is the name that prevents Israel, as it exists, from becoming the incarnation of a Jewish universality in the eyes of the world.  But just the same, “Israel” is taken as a hateful word of separation, or object of blind violence, and “Israel” is what prevents Palestine from becoming the incarnation of Arab universality in the eyes of the world. Udi Aloni does not inscribe his film into a prefabricated or abstract vision of the division or conflict between Israelis and Palestinians. The question of war or of the sharing of territory is not his main problem. Because my friend Udi thinks that Palestine and the Palestinians are inscribed into the very essence of Israel.  The powerful image expressing this idea is that dead Palestinians, their personal effects, their debris, constitute the soil upon which a psychiatric hospital was constructed in a village destroyed during the 1947 war. That is to say that from its origin, what troubles and affects Israel as spirit, as thought, what cannot be torn from it, is precisely the subterranean - fundamental - presence of the absolute wrong done to the Palestinians.  It is thus impossible to think the becoming of Israel, just as it is impossible to think what could be left of the becoming of Palestine, under the rule of separation, entrenchment, and walls. On the contrary, the final scene, which depicts an attempt to cure the spiritual malady that Israel, as it exists, has introduced into what constitutes Jewish being, is a scene of descent into the subterranean, a scene of purification via avowal of origin, a scene from whence another history could begin, precisely because at last, nothing requires separation and war anymore. It was said, pronounced, that from its origins the earth itself could have been shared; that it had to be shared. And thus, the knot of daily life that might unite Palestinians and Israelis had no reasonable reason to be interminably divided.</font></p>
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<p align="justify"><font face="Verdana"><font color="#000000" size="2">I want to insist on the following point: what this film tells us, its Idea, is in no way a political thesis in the current sense of the term.  The truth is inscribed, here, in art. The truth is an effect of art.  The film shows in the same shot what is, what might have been, and what should be. What is: separation, war and violence. What might have been:  shared love of place as powerful universal value, combining heterogeneous elements in an unprecedented music (music and dance, in Udi Aloni’s film, speak from the interior of what is to attest for what might have been). And finally what should be: a new declaration that would allow to start again, and which the title of the film, “Forgiveness”, recapitulates.  Once spoken within the movement of what exists, the original sin loses its historical power. There is no longer a need to repeat the separation created by lies. In combining their action on an undivided territory the Jewish universality and the Arab universality would have a pacifying and creative effect on the world - what Mao Zedong called “a spiritual atomic bomb.”</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Let us move on to the narrative dimension. The film, after all, also tells a story. The story of a young Jew, son of a German Jew, living in the United States. In revolt against his father’s sterile silence, the son enlists in the Israeli army, in order to finally confront real enemies, instead of historical phantoms. He will kill the child of a woman he loves. He will go insane, become mute, virtually criminal, or suicidal, when the possible repetition of the murder he committed looms over the child of another woman he loves. The women in this film always come from elsewhere, from the other apparent world, from the Arab world. The film exposes this frightening logic of repetition of that which has not been spoken.. But the film also rejects this, by engaging in the process of purification by the return to the origin. The narration accepts ordinary materials in their ordinary order: revolt, violence and war, love, crime and madness, suicide attempts and ultimate salvation.  We have here all the elements for a melodrama. And in fact, we have it, this melodrama. Nevertheless, this second dimension, this melodrama, carries with it the first dimension, since each of its terms is also a stage for the inscription of the subject (the young hero) within the historical problem in which he is both situated and transformed. It is here that Udi Aloni takes up the old practice of the coming-of-age novel. And, as always in this kind of novel, individual decisions are also symbols for historical and political choices. Thus the two possible endings that the film virtuosically sets forth. Either the young man, symbolizing Israel, accepts this memory of having been a murderer, and peace and reconciliation become possible, or the young man encloses himself in silence, oblivion, and repetition, thus suiciding. This is to say that continuing in the mode of its contemporary political orientation is the real death threat against Israel - a historical suicide.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">The third dimension, the psychoanalytic, draws its connection to the two earlier dimensions by virtue of metaphor. Just as the historical underground of the Israelis’, and thus of the Jews’, spiritual malady is the hidden Palestine, the son’s insanity finds its secret origin in what is obscured and hidden in the father. One of the film’s major themes is that the contemporary problem resides, without a doubt, in the recognition of the fathers by the sons, but even more forcefully in the recognition of the sons by the fathers.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">In this regard, the essential scene is perhaps the confrontation between the two possible fathers of the hero, who are both, as their tattoos show, survivors of deportation and extermination. On one side, we have the real father, the German musician who wants to forget - in America - the historical destiny of the Jews. On the other side, we have the true father, the asylum’s craziest old man, guardian of the depths of the earth (“Well said, old mole!” says this prophesied Marxist), who knows that denying Palestinian deaths also forbids all active or peace-bringing memory of the camps and of extermination. The choice of obeying one or the other opens onto the son’s fundamental decision. A decision that also signifies the following: to continue on the path of separation, of war, of wrongs done to the Palestinians, means to give sinister assurance that the millions of dead Jews in fact and forever died for nothing, no matter how many monuments are dedicated to them. In truth, all that can be dedicated to the dead is the living monument of a reconciled Palestine.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Udi Aloni does not shy away from any allusive complexity. This is the difficult charm of his work.  Here, we have at once Oedipus, who must kill his father in order to accomplish his destiny, and Freud, with his famous dream of the son who burns under the impotent eyes of the father, who—the father— is incapable of really understanding what the son really means when he says to him, “Father, don’t you see I’m burning?”  And is it not true today, that everywhere in the world, our sons are burning under our very eyes, in general incomprehension?  But we also have Oedipus at Colonnus, for the dead Palestinian girl is a new Antigone, who both haunts the son as the incarnation of his crime and gently leads him toward purification.  But the film is also a very contemporary plea for the subjective operations of psychoanalysis against the objective and memory-less doctrine of chemical medication. To cure the young soldier the old Jewish doctor - played with astonishing naturalness by a great Palestinian actor - opposes as best he can his personal understanding and proximity  to the  official directives that prescribe a good syringe-full of oblivion serum.  He yields to prescribing psychiatric medication by weakness, by virtue of an intrigue with the State (this power struggle is symbolized by a scene of trivial sex with a functionary). We see, here, a connection to the first dimension: on this bloody earth, to forget the initial wrong, to use chemicals against thought, amounts to prepare  an infinite repetition of separating violence. What would force destiny toward the direction of salvation would be neither the father’s newfound tenderness for his son, nor the doctor’s too-easy sympathy for him, but rather the voice of the unconscious itself, individual and historical, that of the madman, or of the prophet, who knows that it is underneath the hospital, into the depths of the earth, that one must go to interrupt the fatal destiny of separation, to reinstate a chance for love.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">The fourth dimension, which I name “cultural” is, from the start, more polyphonic. It consists in saturating the narration with what we could call artistic and cultural implants, that come from at least four worlds, and in giving, as figure of the country and more generally of the world, to see and to hear that the road toward salvation passes by this multiplicity itself, and never by warmongering palaver about culture shocks. This is not some soft principle of tolerance or respect for difference.  It is about directly valorizing the fact that a contemporary universality can belong to no single heritage.  Rather, it is something like a braid of knots, some tight, some less so. And it is expressly because Israel or Palestine are the names of an exemplary knot, where distinct heritages can nevertheless play together, that it is here that a universal dwelling, wholly new, could and must begin.</font></p>
<p><center><br />
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</center></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">The four cultural worlds cited in Udi’s film are: old European artistic creation, the Arab world’s subtle and almost timeless savoir-vivre and love of life, American modernity, and the irreplaceable spirituality of the Jews. Extraordinary scenes show the interpenetration, the collision, the simultaneous giving-birth, of these worlds that are all implicated in the Israeli-Palestinian turmoil.  Let us cite the song of the Palestinian woman who interrupts and subjugates Israeli nightclub dancers, or the dance of the soldiers in the synagogue, as though they had been seized, they, the oppressive warriors, by  a loving drunkenness destined to the entire earth. Let us also cite the scene that touches me personally, in which the hero, accompanying himself on the piano, sings a Schumann lied about forgiveness in love, his face streaming with tears. Because in this respect the essential questions of the film&#8211; the father, Germany, the extermination of the Jews, Israel, Palestine, the universality of art and the difficulty of love-merge in a whole so complex that a solitary and disarmed subject cannot endure it without coming apart.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">You see to what degree Udi Aloni’s film is ramified, as each of the elements of its construction is grafted onto others, in such a way as to make narrative fiction also become artistic allegory, psychoanalytic interrogation, historical meditation, and spiritual proposition. And that, despite the fact that emotional elements circulate freely in the film, each spectator is called, not to separate - as I have done - the ingredients of the film’s composition, but to receive the impact of a situation figured by a film, by an absorbing melodrama, and thus undergoes an evidence as shared  as well as indivisible.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">I would like to conclude in saying also that the film is essentially optimistic. As repetitive and despairing as a situation can be, there exists with in it, within its very entanglement, the chance for a respite. It is this conviction that the film orders.  In this sense it belongs in what I have called affirmationism, in the hope of proposing thus a motto for the art to come. The doctrine according to which ideas generated by art do not so much carry a judgment upon the world as they indicate the point from which the world could be transfigured. Udi’s filmic figurations of Israel and Palestine are affirmationist in this sense. They indicate the point where separation could be overcome, they announce the power of Palestisrael, or of Israpalestine, to become the immanent transfiguration of the disaster itself.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Thank you, dear Udi.<br />
</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">translated from the French by Ariana Reines.</font></p>
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		<title>The Lacanian Real Television Slavoj Zizek</title>
		<link>http://www.lacan.com/symptom2/?p=38</link>
		<comments>http://www.lacan.com/symptom2/?p=38#comments</comments>
		<pubDate>Fri, 13 Jun 2008 04:06:51 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques Lacan]]></category>

		<category><![CDATA[slavoj zizek]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=38</guid>
		<description><![CDATA[Author’s Bio

Lacan: Television - let&#8217;s proceed like idiots; let&#8217;s take this title literally and ask ourselves a question, not the question, &#8220;what can we learn about TV from Lacan&#8217;s teaching?&#8221; which would get us on the wrong path of so-called applied psychoanalysis, but the inverse question, &#8220;what can we learn about Lacan&#8217;s teaching from the [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><span style="font-family: Verdana; color: #de0013; font-size: x-small;"><a href="http://www.lacan.com/biosB.htm#zizek" target="top"><strong>Author’s Bio</strong></a></span></p>
<div>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><em>Lacan: Television</em> - let&#8217;s proceed like idiots; let&#8217;s take this title literally and ask ourselves a question, not the question, &#8220;what can we learn about TV from Lacan&#8217;s teaching?&#8221; which would get us on the wrong path of so-called applied psychoanalysis, but the inverse question, &#8220;what can we learn about Lacan&#8217;s teaching from the TV phenomenon?&#8221; At first sight, this seems as absurd as the well-known Hegelian proposition defining phrenology, &#8220;the spirit is the bone&#8221;: the equalization of the most sublime, elusive theory with the vulgar mass-cultural phenomenon. But perhaps, as in the Hegelian proposition, there is a &#8220;speculative truth&#8221; beneath the obvious banality - perhaps certain peculiarities of the American TV program allow us to grasp the fundamental Lacanian proposition that psychoanalysis is not a psychology: the most intimate beliefs - even the most intimate emotions such as compassion, crying, sorrow, laughter - can be transferred, delegated to others without losing their sincerity.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The first TV-lesson: psychoanalysis is not psychology</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In his seminar on <em>The Ethics of Psychoanalysis</em>, Lacan is speaking of the role of the Chorus in antique tragedy: we, the spectators, came to the theatre worried, full of everyday problems, unable to accustom ourselves without reserve to the problems of the play, i.e. to feel the required fears and compassions. But no problem; there is the Chorus, which is feeling the sorrow and the compassion instead of us, or, more precisely, we are feeling the required emotions through the medium of the Chorus: &#8220;You are then relieved of all worries, even if you don&#8217;t feel anything; it is the Chorus who will do it in your place.&#8221; <a name="_ftnref1"></a> Even if we, the spectators, are just drowsily watching the show, objectively - to use this good old Stalinist expression - we are doing our duty of feeling compassion for the heroes. In so-called primitive societies, we find the same phenomenon in the form of &#8220;weepers,&#8221; women hired to cry instead of us. So, through the medium of the other, we accomplish our duty of mourning, while we can spend our time on more profitable exploits, disputing how to divide the inheritance of the deceased, for example.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">But to avoid the impression that this exteriorization, this transference of our most intimate feelings, is just a characteristic of the so called primitive stages of development, let&#8217;s remind ourselves of a phenomenon quite usual in popular TV shows or serials - canned-laughter. After some supposedly funny or witty remark, you can hear the laughter and the applause included in the soundtrack of the show itself. Here we have die exact counterpart of the Chorus in antique tragedy; it&#8217;s here that we have to look for &#8220;living Antiquity.&#8221; That is to say, why this laughter? The first possible answer - that it serves to remind us when to laugh - is interesting enough because it implies the paradox that laughter is a matter of duty and not of some spontaneous feeling. But this answer isn&#8217;t sufficient, because usually we don&#8217;t laugh. The only correct answer would then be that the other - embodied in the TV-set - is relieving us even of our duty to laugh, i.e., is laughing instead of us. So, even if, tired from the hard day&#8217;s stupid work, we did nothing all evening but gaze drowsily into the TV-screen, we can say afterwards that objectively, through me medium of the other, we had a really good time.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">All this is, of course, just to illustrate the alienation of the subject in the signifier as soon as he is caught in the radically exterior signifying network, he is mortified, dismembered, divided. To get an idea of what is meant by the Lacanian division of the subject, one has only to remember the well-known paradox of Lewis Carroll: &#8220;I&#8217;m so glad I don&#8217;t like asparagus,&#8221; said the small girl to a sympathetic friend. &#8220;Because, if I did, I should have to eat it - and I can&#8217;t bear it!&#8221; Here you have the whole Lacanian problem of the reflexivity of desire: desire is always a desire of a desire, i.e., the question is not immediately, &#8220;what should I desire?&#8221; but, &#8220;there are a lot of things that I desire; I have a lot of desires - which of them is worth being the object of my desire? Which desire should I desire?&#8221; This paradox is literally reproduced in the basic situation of the classic Stalinist political processes where the accused victim is at the same time supposed to confess his love for the asparagus (the bourgeoisie, the counter-revolution) and express an attitude of disgust towards his own activity which goes to the point of demanding the death penalty for himself. That&#8217;s why the Stalinist victim is the perfect example of the difference between the <em>sujet d&#8217;énoncé</em> (subject of the statement) and the <em>sujet d&#8217;énonciation</em> (subject of the enunciating). The demand that the Party addresses to him is: &#8220;At this moment, the Party needs the process to consolidate the revolutionary gains, so be a good communist, do a last service to the Party and confess.&#8221; Here we have the division of the subject in its purest form: the only way for the accused to confirm himself as a good communist at the level of the <em>sujet d&#8217;énonciation</em>, is to confess, i.e., to determine himself, at the level of the <em>sujet d&#8217;énoncé</em>, as a traitor. Ernesto Laclau was perhaps right when he once remarked that it isn&#8217;t only Stalinism which is a language-phenomenon; it is already language itself which is a Stalinist phenomenon.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Here, however, we must carefully distinguish between this Lacanian notion of the divided subject and the &#8220;post-structuralist&#8221; notion of the subject-positions. In &#8220;post-structuralism,&#8221; the subject is usually reduced to subjection. He is conceived as an effect of a fundamentally non-subjective process: the subject is always caught in, traversed by, the pre-subjective process (of &#8220;writing,&#8221; of &#8220;desire,&#8221; etc.), and the accent is put on die different modes of how individuals &#8220;experience,&#8221; &#8220;live,&#8221; their positions as &#8220;subjects,&#8221; &#8220;actors,&#8221; &#8220;agents&#8221; of the historical process. For example, it is only at a certain point in European history that the author of works of art, a painter or a writer, began to see himself as a creative individual who, in his work, is giving expression to his interior subjective richness. The great master of such analysis was, of course, Foucault: one might say that the main point of his late work was to articulate the different modes of how individuals assume their subject-positions.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">But with Lacan, we have quite another notion of the subject. To put it in a simple way: if we abstract, if we subtract all the richness of the different modes of subjectivization, all the fullness of experience present in the way individuals &#8220;live&#8221; their subject-positions, what remains is an empty place which was filled out with this richness; and this original void, this lack of the symbolic structure is the subject, the subject of the signifier. The subject is therefore to be strictly opposed to the effect of subjectivation: what the subjectivation masks is not a pre- or trans-subjective process of writing but a lack in the structure, a lack which is the subject.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Our predominant idea of the subject is, in Lacanian terms, that of the &#8220;subject of the signified,&#8221; the active agent, the bearer of some signification who is trying to express himself in the language. The starting point of Lacan is, of course, that the symbolic representation represents the subject always in a distorted way, that it is always a displacement, a failure, i.e., that the subject cannot find a signifier which would be &#8220;his own,&#8221; that he is always saying less or too much, in short: something other than what he wanted, intended to say. The usual conclusion from this would be that the subject is some kind of interior richness of meaning which always exceeds its symbolic articulation: &#8220;language cannot express fully what I&#8217;m trying to say…&#8221; The Lacanian thesis is its exact opposite: this surplus of signification masks a fundamental lack. The subject of the signifier is precisely this lack, this impossibility to find a signifier which would be &#8220;his own&#8221;: the failure of his representation is a positive condition. The subject tries to articulate himself in a signifying representation, and the representation fails; instead of a richness we have a lack, and this void opened by the failure is the subject of the signifier. To put it in a paradoxical way: the subject of the signifier is a retroactive effect of the failure of his own representation; that&#8217;s why the failure of representation is the only way to represent him adequately.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">To make this crucial point clearer, let&#8217;s take again the Hegelian proposition on phrenology: &#8220;the spirit (the subject) is a bone, a skull (<em>der Geist ist ein Knochen</em>).&#8221; If we read this proposition literally, it is vulgar-materialistic nonsense, reducing the subject to his immediate material reality. But where lies, in Hegel&#8217;s words, the speculative truth of this proposition? The effect of the phrase, &#8220;the spirit is a bone.&#8221; On the listener is the feeling of its utter inadequacy, of its absolute contradiction: it is total nonsense - how can we reduce the spirit, its dialectical movement, to an inert presence of a dead object, of a skull? The Hegelian answer me subject is precisely this absolute contradiction, this absolute negativity that we feel when we experience the uttermost inadequacy of the proposition, &#8220;the spirit is the bone.&#8221; We have here a kind of dialogic economy: we articulate a proposition defining the subject, and our attempt fails; we experience the absolute contradiction, the extreme negative relationship between the subject and the predicate - and it&#8217;s precisely this absolute discordance which is the subject as absolute negativity. It is the same as with a well-known joke from the Soviet Union about Rabinovitch, a Jew who wants to emigrate. The bureaucrat at the emigration office asks him why; Rabinovitch answers: &#8220;There are two reasons why. The first is that I&#8217;m afraid that in the Soviet Union, the communists will lose power, there will be a counter-revolution, and the new power will put all the blame for the communist crimes on us Jews - and there will be again the anti-Jewish pogroms…&#8221; &#8220;But,&#8221; interrupts the bureaucrat, &#8220;this is pure nonsense; nothing can change in the Soviet Union - the Soviet power will last eternally!&#8221; &#8220;Well,&#8221; responds Rabinovitch calmly, &#8220;that&#8217;s my second reason.&#8221; The logic is here the same as with the Hegelian proposition, &#8220;the spirit is a bone&#8221;: the failure itself of a first reading gives us the true meaning.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The second TV-lesson: you only die twice</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Hereby, we have touched the other, usually neglected side of the Lacanian teaching: the side of the object in its inertia, the remnants, the left-over of the signifying process. This object - the Lacanian objet petit a - is filling out the void of the symbolic structure which is the subject: $ ◊ a, &#8220;the spirit is a bone.&#8221; In Lacanian theory, it is not the word which replaces the absent object; it is on the contrary the object itself which is filling out a lack of the signifier, a central void in the great Other of the symbolic structure. And here again, the cartoons - another characteristic feature of TV - are useful in more than one way to illustrate some fundamental Lacanian categories.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Let&#8217;s take the notion of &#8220;knowledge in the real&#8221;: the idea that nature knows its laws and behaves accordingly. We all know the classical, archetypal scene from the cartoons: a cat is approaching the edge of the precipice, but she doesn&#8217;t stop: she proceeds calmly, and although she is already hanging in the air, without ground under her feet, she doesn&#8217;t fall. When does she fall? The moment she looks down and becomes aware of the fact that she is hanging in the air. The point of this nonsense-accident is that, when the cat is walking slowly in the air, it is as if the real has for a moment forgotten its knowledge: when the cat finally looks down. She remembers that she must follow the laws of nature and falls down. It&#8217;s basically the same logic as in the well-known dream reported in Freud&#8217;s <em>Interpretation of Dreams</em> of a father who doesn&#8217;t know that he is dead: the point is again that because he doesn&#8217;t know that he is dead, he continues to live. He must be reminded of his death, or, to give this situation a comical twist, he is still living because he has forgotten to die. That&#8217;s how the phrase <em>memento mori</em> should be read: don&#8217;t forget to die!<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">This introduces us to a distinction between the two deaths: because of the lack of knowledge, the father of Freud&#8217;s dream is still living although he is already dead. From this perspective, we can also approach the problem of repetition: in a way, everybody must die twice. That&#8217;s the Hegelian theory of repetition in history. When Napoleon lost for the first time and was consigned to Elba, he didn&#8217;t know that he was already dead, that his historical role was finished, and he had to be reminded of it through his second defeat at Waterloo. At this point, when he died for the second time, he was really dead. <a name="_ftnref2"></a><br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">And, to put it briefly, the place of the Stalinist communist is exactly between the two deaths. The somewhat poetical definitions of the figure of a communist that we find in Stalin&#8217;s work are to be taken literally. When, for example, in his speech at the funeral of Lenin, Stalin proclaims, &#8220;We, the communists, are people of a special mould. We are made of a special stuff,&#8221; it is quite easy to recognize the Lacanian name for this special stuff: <em>objet petit a</em>, the sublime object placed in the interspace between the two deaths. In the Stalinist vision, communists are &#8220;men of iron will,&#8221; somehow excluded from the everyday cycle of ordinary human passions and weaknesses. It is as if they are in a way &#8220;the living dead,&#8221; still alive but already excluded from the ordinary cycle of natural forces. It is as if they possessed another body, the sublime body beyond their ordinary physical body. (Is the fact that in Lubitch&#8217;s <em>Ninotchka</em>, the role of the high party <em>apparatchik</em> is played by Bela Lugosi, identified with the figure of Dracula, another &#8220;living dead,&#8221; expressing the presentiment of the described state of things, or is it just a happy coincidence?) The fantasy which serves as a support for the figure of the Stalinist communist is then exactly the same as the fantasy which is at work in the cartoons of Tom and Jerry: behind the figure of the indestructibility and invincibility of the communist who can endure even the most terrible ordeal and survive it intact, reinforced with new strength, there is the same fantasy-logic as that of a cat whose head is blown up by dynamite and who, in the next scene, proceeds intact in its pursuit of its class enemy, the mouse.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The problem is that we find this notion of a sublime body located between the two deaths already with the classical, pre-bourgeois Master: the King, for example - it is as if he possessed, beyond his ordinary body, a sublime, ethereal, mystical body personifying the State. <a name="_ftnref3"></a> Where then lies the difference between the classical Master and the totalitarian Leader? The trans-substantiated body of the classical Master is an effect of the performative mechanism already described by la Boétie, Pascal, and Marx: we, the subjects, think that we treat the King as a King because he is in himself the King, but in reality a King is a King because we are treating him like one. And this fact that the charismatic power of a King is an effect of the symbolic ritual performed by his subjects, must remain hidden: as subjects, we are necessarily victims of the illusion that the King is already in himself a King. That&#8217;s why the classical Master must legitimize his rule with a reference to some non-social, external authority (God, Nature, some mythical past event&#8230;). As soon as the performative mechanism which gives him his charismatic authority is unmasked, the Master loses his power.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">But the problem with the totalitarian leader is that he doesn&#8217;t need this external point of reference anymore to legitimize his rule. He isn&#8217;t saying to his subjects, &#8220;You must follow me because I&#8217;m your Leader.&#8221; Quite the opposite: &#8220;In myself, I&#8217;m nothing. I am what I am only as an expression, an embodiment, an executor of your will; my strength is your strength…&#8221; To put it briefly, it is as if the totalitarian Leader is addressing his subjects and legitimizing his power precisely by refer- ring to the above-mentioned Pascalian-Marxian argumentation, i.e., revealing to them the secret of the classical Master. Basically, he is saying to them: &#8220;I&#8217;m your master because you are treating me as your master; it is you, with your activity, who are making me your master!&#8221;<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">How, then, can we subvert the position of the totalitarian Leader, if the classical Pascalian-Marxian argumentation doesn&#8217;t work here any more? Here, the basic deception consists in the fact that the Leader&#8217;s point of reference, the instance to which he is referring to legitimize his rule (the People, the Class, the Nation) doesn&#8217;t exist, or, more precisely, exists only through and in its fetishistic representative, the Party and its Leader. The misrecognition of the performative dimension runs here in the opposite direction: the classical Master is the Master only insofar as his subjects are treating him as a Master, but here, the People are the &#8220;real People&#8221; only insofar as they are embodied in its representative, the Party and its Leader. The formula of the totalitarian misrecognition of the performative dimension would then be the following: the Party thinks that it is the Party because it represents the People&#8217;s real interests, because it is rooted in the People, expressing their will, but in reality, the People are the People because - or, more precisely, insofar as - they are embodied in the Party. And by saying that the People as a support of the Party don&#8217;t exist, we don&#8217;t mean the obvious fact that the majority of the people really don&#8217;t support the Party rule; the mechanism is a little bit more complicated. The paradoxical functioning of the &#8220;People&#8221; in the totalitarian universe can be most easily detected through the analysis of phrases like &#8220;the whole people supports the Party.&#8221; This proposition cannot be falsified because, behind the form of a statement of a fact, we have a circular definition of the People: in the Stalinist universe, &#8220;supporting the rule of the Party&#8221; is in the last analysis the only feature which - to use Kripkean terms - in all possible worlds defines the People. That&#8217;s why the real member of the People is only he who supports the rule of the Party: those who are working against the rule of the Party are automatically excluded from the People; they became the &#8220;enemies of the People.&#8221; What we have here is a somewhat crueller version of a well-known joke: &#8220;my fiancée never misses an appointment with me<br />
because the moment she misses one, she isn&#8217;t anymore my fiancée.&#8221; The People always support the Party because any member of the People who opposes the Party-rule automatically excludes himself from the People.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The Lacanian definition of democracy would then be: a socio-political order where the People don&#8217;t exist - they don&#8217;t exist as a unity, embodied in their unique representative. That&#8217;s why the basic feature of the democratic order is that the place of Power is, by the necessity of its structure, an empty place. <a name="_ftnref4"></a> In a democratic order, sovereignty lies in the People - but what are the People if not, precisely, the collection of the subjects of the power? Here, we have the same paradox as that of a natural language which is at the same time the last, the highest metalanguage. Because the People cannot immediately govern themselves, the place of Power must always remain an empty place; each person occupying it can only do it temporarily, as a kind of surrogate, substitute for the real-impossible sovereign, - &#8220;nobody can rule innocently,&#8221; as Saint-Just puts it. And in totalitarianism, the Party again became precisely the subject who, being the immediate embodiment of the People, can rule innocently. It is not by accident that the real socialist countries call themselves &#8220;people&#8217;s democracies.&#8221; Here, finally, &#8220;the People&#8221; exist again.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The death drive</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">It is at the level of this difference between the two deaths, of this empty place in the very heart of the Other, that we must locate the problematic of the death drive. The connection between the death drive and the symbolic order is a constant with Lacan, but we can differentiate the various stages of his teaching precisely by reference to the different modes of articulation of the death drive and the signifier.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the first period (the first seminar, &#8220;The Function and the Field of Speech and Language&#8230;&#8221;), it is the Hegelian phenomenological idea that the word is a death, a murder of a thing: as soon as the reality is symbolized, caught in a symbolic network, the thing itself is more present in a word, in its concept, than in its immediate physical reality. More precisely, we cannot return to the immediate reality: even if we turn from the word to the thing, from the word &#8220;table&#8221; to the table in its physical reality, for example, the appearance of the table itself is already marked with a certain lack. To know what a table really is, what it means, we must have recourse to the word, which implies an absence of the thing.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the second period (the Lacanian reading of Poe&#8217;s <em>Purloined Letter</em>), the accent is shifted from the word, from speech, to language as a synchronic structure, a senseless autonomous mechanism which produces meaning as its effect If, in the first period, the Lacanian concept of language is still basically the phenomenological one (Lacan is repeating all the time that the field of psychoanalysis is the field of meaning, <em>la signification</em>), here we have a &#8220;structuralist&#8221; conception of language as a differential system of elements. The death drive is now identified with the symbolic order itself: in Lacan&#8217;s own words, it is &#8220;nothing but a mask of the symbolic order.&#8221; The main thing here is the opposition between the imaginary level of the experience of meaning and the meaningless signifier/signifying mechanism which produces it. The imaginary level is governed by the pleasure principle; it strives for a homeostatic balance. The symbolic order in its blind automatism is always troubling this homeostasis: it is &#8220;beyond the pleasure principle.&#8221; When the human being is caught in the signifier&#8217;s network, this network has a mortifying effect on him; he becomes part of a strange automatic order disturbing his natural homeostatic balance (through compulsive repetition, for example).<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the third period, where the main accent of Lacan&#8217;s teaching is put on the real as impossible, the death drive again radically changes its signification. This change can be most easily detected through the relationship between the pleasure principle and the symbolic order. Till the end of the fifties, the pleasure principle was identified with the imaginary level: the symbolic order was conceived as the real &#8220;beyond the pleasure principle.&#8221; But starting from the late fifties (the seminar on <em>The Ethics of Psychoanalysis</em>) it is on the contrary the symbolic order itself which is identified with the pleasure principle: the unconscious &#8220;structured like a language,&#8221; its &#8220;primary process&#8221; of metonymic-metaphoric displacements, is governed by the pleasure principle; what lies beyond is not the symbolic order but a real kernel, a traumatic core. To designate it, Lacan uses a Freudian term <em>das Ding</em>, the Thing as an incarnation of the impossible <em>jouissance</em> (the term Thing is to be taken here with all the connotations it possesses in the domain of horror science-fiction: the &#8220;alien&#8221; from the movie of the same name is a pre-symbolic, maternal Thing par excellence).<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The symbolic order strives for a homeostatic balance, but there is in its kernel, in its very centre, some strange, traumatic element which cannot be symbolized, integrated into the symbolic order: the Thing. Lacan coined a neologism for it: <em>l&#8217;extimité</em> - external intimacy, which served as a title for one of the seminars of Jacques-Alain Miller. And what is, at this level, the death drive? Exactly the opposite of the symbolic order: the possibility of what was named by de Sade &#8220;the second death,&#8221; the radical annihilation of the symbolic texture through which so-called reality is constituted. The very existence of the symbolic order implies a possibility of its radical effacement, of the &#8220;symbolic death&#8221; - not the death of the so-called &#8220;real object&#8221; in its symbol but the obliteration of the signifying network itself.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">This distinction between the different stages of Lacan&#8217;s teaching is not of merely theoretical interest; it has very definite consequences for me determination of me final moment of me psychoanalytic cure. In the first period, where the accent is laid on the word as a medium of the intersubjective recognition of desire, symptoms are conceived as white spots, non-symbolized imaginary elements of the history of the subject, and the process of analysis is that of their symbolization, i.e., of their integration into the symbolic universe of the subject: the analysis gives meaning, retroactively, to what was in the beginning a meaningless trace. So the final moment of analysis is here reached when the subject is able to narrate to the other his own history in its continuity, when his desire is integrated, recognized in a &#8220;full speech&#8221; (<em>parole pleine</em>).<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the second period, where the symbolic order is conceived as having a mortifying effect on a subject, i.e., as imposing on him a traumatic loss - and the name of this loss, of this lack, is of course the symbolic castration - the final moment of analysis is reached when the subject is made ready to accept this fundamental loss, to consent to symbolic castration as a price to pay for access to his desire.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the third period, we have the great Other, the symbolic order, with a traumatic element in its very heart; and in Lacanian theory, fantasy is conceived as a construction allowing the subject to come to terms with this traumatic kernel. At this level, the final moment of analysis is defined as &#8220;going through a fantasy&#8221; (<em>la traversée du fantasme</em>): not its symbolic interpretation but the experience of the fact that the fantasy-object, by its fascinating presence, just fills out a lack, a void in the Other. There is nothing &#8220;behind&#8221; the fantasy; the fantasy is precisely a construction the function of which is to hide this void, this &#8220;nothing,&#8221; i.e., the lack in the Other. The crucial element of this third period of Lacan&#8217;s teaching is then the shift of the accent from the symbolic to the real. <a name="_ftnref5"></a> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The prohibition of the impossible</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The usual idea of the Lacanian &#8220;real&#8221; is that of a hard kernel resisting symbolization, dialectization, persisting in its place, always returning to it. There is a well-known science-fiction story (&#8221;Experiment&#8221; by Fredric Brown) perfectly illustrating this point. Professor Johnson has developed a small-scale experimental model of a time machine. Small articles placed on it can be sent into the past or the future. He first demonstrates to his two colleagues a five-minute time travel into the future, by setting the future-dial and placing a small brass cube on the machine&#8217;s platform. It instantly vanishes and reappears five minutes later. The next experiment, five minutes into the past, is a little trickier. Johnson explains that having set the past-dial at five minutes, he will place the cube on the platform at exactly 3 o&#8217;clock. But since time is now running backward, it should vanish from his hand and appear on the platform at five minutes before 3; that is, five minutes before he places it there. One of his colleagues asks the obvious question: &#8220;How can you place it there, then?&#8221; Johnson explains that at 3 o&#8217;clock the cube will vanish from the platform and appear in his hand, to be placed on the machine. This is exactly what happens. The second colleague wants to know what would happen if, after the cube has appeared on the platform (five minutes before being placed there), Johnson were to change his mind and not put it there at 3 o&#8217;clock. Would this not create a paradox?<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">&#8220;An interesting idea,&#8221; Professor Johnson said. &#8220;I had not thought of it and it will be interesting to try. Very well, I shall not&#8230;&#8221;<br />
There was no paradox at all. The cube remained.<br />
But the entire rest of the Universe, professors and all, vanished.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">So, even if all symbolic reality dissolves itself, disappears into nothing, the real - the small cube - will return to its place. This is what Lacan means when he says that the ethical imperative is the mode of the presence of the real in the symbolic: <em>Fiat justitia, pereat mundus</em>! The cube must return to its place even if all the world, all symbolic reality perishes.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">But this is just one side of the Lacanian real; it&#8217;s the side which predominates in the fifties, when we have the real - the brute, pre- symbolic reality which always returns to its place, then the Symbolic order, which structures our perception of reality, and finally the Imaginary, the level of illusory entities whose consistency is the effect of a kind of mirror-play, i.e., which have no real existence but are just a structural effect. With the development of the Lacanian teaching in the sixties and seventies, what he calls &#8220;the real&#8221; more and more approaches what he called, in the fifties, the imaginary. Let&#8217;s take the case of traumatism: in the fifties, in his first seminar, the traumatic event is defined as an imaginary entity which wasn&#8217;t yet fully symbolized, given a place in the symbolic universe of the subject In the seventies, the traumatism is real; it is a hard core resisting symbolization. But the point is that it doesn&#8217;t matter if it took place, if it &#8220;really occurred&#8221; in so-called reality; the point is just that it produces a series of structural effects (displacements, repetitions, etc.). The real is an entity which should be constructed afterwards so that we can account for the distortions of the symbolic structure. The most famous Freudian example of such a real entity is of course the primal parricide: it would be senseless to search for its traces in prehistoric reality, but it must nonetheless be presupposed if we want to account for the present state of things. It&#8217;s the same as with the primal fight to death between the (future) master and servant in Hegel&#8217;s <em>Phenomenology of Mind</em>: it is senseless trying to determine when this event could have taken place; the point is just that it must be presupposed, that it constitutes a fantasy- scenario implied by the very fact that people are working - it is the intersubjective condition of the so-called &#8220;instrumental relation to the world of objects.&#8221;<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The paradox of the Lacanian real is then that it is an entity which, although it doesn&#8217;t exist (in the sense of &#8220;really existing,&#8221; taking place in reality), has a series of properties. It exercises a certain structural causality; it can produce a series of effects in the symbolic reality of subjects. That&#8217;s why it can be illustrated by a multitude of well-known jokes based on the same matrix: &#8220;Is this the place where the Duke of Wellington spoke his famous words?&#8221; &#8220;Yes, this is the place, but he never spoke those words.&#8221; These never-spoken words are a Lacanian real. One can quote the examples ad infinitum - &#8220;Smith not only doesn&#8217;t believe in ghosts, he isn&#8217;t afraid of them!&#8221; etc. - up to the God himself who, according to Lacan, belongs to the real: &#8220;God has all perfections except one - he doesn&#8217;t exist!&#8221; In this sense, the Lacanian <em>sujet-supposé-savoir</em> (the subject supposed to know) is also such a real entity: it doesn&#8217;t exist, but it produces a decisive shift in the development of the psychoanalytic cure. And, to mention the last example: the famous MacGuffin, me Hitchcockian object, the pure pretext the sole role of which is to set in motion the story, but which is in itself &#8220;nothing at all.&#8221; The only signification of the MacGuffin lies in the fact that it has some signification for the characters, i.e., that it must seem to be of vital importance to them. The original anecdote is well known: two men are sitting in a train. One of them asks, &#8220;What&#8217;s that package up there in the baggage rack?&#8221; &#8220;Oh, that&#8217;s a MacGuffin.&#8221; &#8220;What&#8217;s a MacGuffin?&#8221; &#8220;Well, it&#8217;s an apparatus for trapping lions in the Scottish Highlands.&#8221; &#8220;But there are no lions in the Scottish Highlands.&#8221; &#8220;Well, then, that&#8217;s not a MacGuffin.&#8221; There is another version which is much more to the point: it runs the same as the other with the exception of the last answer: &#8220;Well, you see how efficient it is!&#8221; That&#8217;s a MacGuffin, a pure nothing which is nonetheless efficient. It is needless to add that the MacGuffin is the purest case of what Lacan calls <em>objet petit a</em>: a pure void which functions as the object-cause of desire.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">That would be, then, the precise definition of the real object: a cause which in itself doesn&#8217;t exist, i.e., which is present only in a series of its effects, but always in a distorted, displaced way. If the real is impossible, it is precisely this impossibility to be grasped through its effects. Laclau and Mouffe <a name="_ftnref6"></a> were the first to develop this logic of the real in its relevance for the social-ideological field in their concept of antagonism: antagonism is precisely such an impossible kernel, a certain limit which is in itself nothing, and which is only to be constructed retroactively, from a series of its effects, as the traumatic point which escapes them and prevents a closure of the social field. We might reread this way even the classical notion of the &#8220;class struggle&#8221;: it is not the last signifier giving the meaning to all social phenomena (&#8221;all social processes are in the last instance expressions of the class struggle&#8221;), but quite the contrary a certain limit, a pure negativity, a traumatic limit which prevents the final totalization of the socio-ideological field. The &#8220;class struggle&#8221; is present only in its effects, in the fact that every attempt to totalize the social field, to assign to social phenomena a definite place in the social structure, is always doomed to failure.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">If we define the real as such a paradoxical, chimerical entity which, although it doesn&#8217;t exist, has a series of properties and can produce a series of effects, it becomes clear that the real par excellence is <em>jouissance</em>: <em>jouissance</em> doesn&#8217;t exist; it is impossible, but it produces a lot of traumatic effects. And this paradoxical nature of <em>jouissance</em> offers us also a clue to explain the fundamental paradox which unfailingly attests the presence of the real: the fact of the prohibition of something which is already in itself impossible. The elementary model of it is, of course, the prohibition of incest; but there are many other examples. Let&#8217;s just mention the usual conservative attitude towards child sexuality: it doesn&#8217;t exist, children are innocent beings, that&#8217;s why we must strictly control them and fight child sexuality. Not to mention me obvious fact that the most famous phrase of all analytical philosophy - the last proposition of Wittgenstein&#8217;s <em>Tractatus</em> - implies the same paradox: &#8220;Whereof one cannot speak, thereof one must be silent.&#8221; Immediately, the stupid question arises: if it is already stated that it&#8217;s impossible to say anything about the unspeakable, why add that we must not speak about it? We find the same paradox in Kant: when treating the question of the origins of legitimate state power, he says directly that we cannot penetrate the obscure origins of power because we shouldn&#8217;t do it (i.e. because by doing it, we put ourselves outside its domain and so automatically subvert its legitimacy). A curious variation on his basic ethical imperative <em>Du kannst, denn du sollst</em>! - you can because you must.</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The solution to this paradox - why forbid something which is already in itself impossible? - lies in the fact that the impossibility regards the level of existence (it&#8217;s impossible, i.e., it doesn&#8217;t exist), while the prohibition regards the properties, its predicates (<em>jouissance</em> is forbidden because of its properties).<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>Freedom as real</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In this sense, we may say that the status of freedom itself is real. The usual &#8220;(post)structuralist&#8221; approach would be to denounce &#8220;freedom&#8221; as an imaginary experience resting on misrecognition, on blindness to the structural causality which determines the activity of subjects. But, on the basis of Lacan&#8217;s teaching of the seventies, we can approach freedom from another perspective: freedom, &#8220;free choice&#8221; as a point of the real-impossible.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">A few months ago, a Yugoslav student was called to regular military service. In Yugoslavia, at the beginning of military service, there is a certain ritual: every new soldier must solemnly swear that he is willing to serve his country and to defend it even if it means losing his life, etc. - the usual patriotic stuff. After the public ceremony, everybody must sign the solemn document. The young soldier simply refused to sign, saying that an oath depends upon a free choice, that it is a matter of free decision, and he, from his free choice, didn&#8217;t want to give his signature to the oath. But, he was quick to add, if one of the officers present was prepared to give him a formal order to sign the oath, he was of course prepared to do it. The perplexed officers explained to him that because the oath depended upon his free decision (an oath obtained by force is valueless), they could not give him such an order, but that, on the other  hand, if he still refused to give his signature, he would be prosecuted for refusing to do his duty and condemned to prison. Needless to say, it was exactly this that happened; but before going to prison, the student did succeed in obtaining from the military court of law the paradoxical decision, a formal document ordering him to sign a free oath.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the relation of the subject to the community to which he belongs, there is always such a paradoxical point of <em>choix forcé</em>. At this point, the community is saying to the subject: you have a freedom to choose, but on the condition that you choose the right thing; you have, for example, the freedom to choose to sign the oath or not, on the condition that you choose rightly, that you choose to sign it If you make the wrong choice, you lose the freedom of choice itself. And it is by no means accidental that this paradox arises at the level of the relation of the subject to the community to which he belongs: the situation of the forced choice consists in the fact that the subject must freely choose the community to which he already belongs independently of his choice: he must choose what is already given to him. The point, then, is that he is never actually in a position to choose: he is always treated as if he had already chosen. And, contrary to the first impression that such a forced choice is a trap by means of which the totalitarian Power catches its subjects, we must stress that there is nothing &#8220;totalitarian&#8221; about it. The subject who thinks he can avoid this paradox and really have a free choice is precisely a psychotic subject, the one who keeps a kind of distance to the symbolic order, i.e., who isn&#8217;t really caught in the signifying network. The &#8220;totalitarian&#8221; subject is closer to this psychotic position: the proof would be the status of the &#8220;enemy&#8221; in totalitarian discourse (the Jew in fascism, the traitor in Stalinism) - precisely the subject supposed to make a free choice and to choose freely the wrong side. </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">This is also the basic paradox of love, not only of one&#8217;s country, but also of a woman or a man. If I&#8217;m directly ordered to love a woman, it is clear that it doesn&#8217;t work: in a way. love must be free. But, on the other hand, if I&#8217;m proceeding as if I really have a free choice, if I start to look around and say to myself, &#8220;Let&#8217;s choose which of these women I will fall in love with,&#8221; it&#8217;s clear that this also doesn&#8217;t work, that it isn&#8217;t &#8220;real love.&#8221; The paradox of love is that it is a free choice, but a choice which never happens in the present, i.e., which is always already done - at a certain moment, I can only state retroactively that I&#8217;ve already chosen./font&gt;</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><span style="font-family: Verdana; color: #000000; font-size: x-small;">In the philosophical tradition, we find the clearest formulation of this paradoxical choice in Schelling&#8217;s <em>Treatise on Human Freedom</em> (1809). Schelling&#8217;s initial problem is the so-called sentiment of irrational, unfounded guilt: sometimes we feel guilty even for things for which rationally, on the level of our conscious decisions and aims, we are not responsible. His answer is a radical distinction between freedom and consciousness: the basic character of each human being - good or evil - is the result of an original, eternal, eternally past, a priori, transcendental choice, i.e., of a choice which was always already made although it never took place in temporary, ordinary, everyday reality. Such a free unconscious choice must be presupposed to account for the above-mentioned sentiment that we are guilty even for things which don&#8217;t depend upon our conscious decision.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong><em>Coincidentia oppositorum</em></strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The real is then at the same time the hard, impenetrable kernel resisting symbolization and a purely chimerical entity which has in itself no ontological consistency. To use Kripkean terminology, the real is the rock upon which every attempt at symbolization stumbles, the hard core which remains the same in all possible worlds (i.e., symbolic universes); but at the same time its status is thoroughly precarious: it&#8217;s something that persists only as failed, missed, in a shadow, and dissolves itself as soon as we try to grasp it in its positivity. As we have already seen, this is precisely what defines the notion of a traumatic event: a point of failure of symbolization, but at the same time never given in its positivity. It can only be constructed backwards, from its structural effects. All its efficacy lies in these effects, in the distortions it produces in the symbolic universe of the subject The traumatic event is ultimately just a fantasy-construct filling out a certain void in a symbolic structure and as such the retroactive effect of this structure.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">There is a series of other oppositions which define the Lacanian concept of the real. First, we have the real as the starting point, the basis, the foundation of the process of symbolization (that&#8217;s why Lacan speaks of the &#8220;symbolization of the real&#8221;), i.e., the real which in a sense precedes the symbolic order and is subsequently structured by it when it gets caught in its network. This is the great Lacanian motif of symbolization as a process which mortifies, drains off, empties, carves the fulness of the real of the living body. But the real is at the same time the product, remainder, left-over, scraps of this process of symbolization, the remnants, the excess which escapes symbolization and which is as such produced by symbolization itself. In Hegelian terms, the real is at the same time presupposed and posed by the symbolic. Insofar as the kernel of the real is <em>jouissance</em>, this duality takes the form of a difference between <em>jouissance</em>, and <em>plus-de-jouir</em>: <em>jouissance</em> is the basis upon which symbolization works, the basis emptied, disembodied, structured by symbolization. But this process produces at the same time a remainder, a left-over which is the surplus-<em>jouissance</em>.</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> Second, me real is the fullness of the inert presence, positivity; nothing is lacking in me real, i.e., the lack is introduced only by the symbolization; it is a signifier which introduces a void, an absence into the real. But at me same time, the real is in itself a hole, a gap, an opening in the middle of me symbolic order. It is the lack around which the symbolic order is structured. The real as a starting point, as a basis, is a positive fullness without lack; as a product, a left-over of symbolization, it is on the contrary me void, the emptiness created, encircled by the symbolic structure. We might approach the same couple of opposites also from a perspective of negativity: me real is something that cannot be negated, a positive inert datum which is insensitive to negation, which cannot be caught in the dialectics of negativity. But we must add at once, that it is so because the real itself, in its positivity, is nothing but an embodiment, a positivation of a certain void, lack, radical negativity. It cannot be negated because it is already in itself, in its positivity, nothing but an embodiment of a pure negativity, emptiness. That&#8217;s why the real object is a sublime object in a strict Lacanian sense, i.e., an object which is just a positivation of the lack in the Other, in the symbolic order. The sublime object is an object which cannot be approached too closely: if we get too near it, it loses its sublime features and becomes an ordinary vulgar object It can persist only in an interspace, in an intermediate state, viewed from a certain perspective, half-seen. If we want to see it in the light of day, it changes into an everyday object, it dissipates itself, precisely because in itself, it is nothing at all. Let&#8217;s take a well-known scene from Fellini&#8217;s <em>Roma</em>. The workers digging tunnels for a subway find the remnants of some old Roman buildings; they call the archeologists, and when together they enter the buildings, a beautiful view is awaiting them, walls full of frescoes of immobile, melancholy figures. But the paintings are too fragile; they cannot sustain the open air and immediately begin to dissolve, leaving the spectators alone with the blank walls.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Third, as has been pointed out by Jacques-Alain Miller, the status of the real is at the same time that of pure contingency and that of logical consistency. In a first approach, the real is the shock of a contingent encounter which derails the automatic circulation of the symbolic mechanism, a grain of sand preventing its smooth function: a traumatic encounter which ruins the balance of the symbolic universe of the subject. But, as we have seen with regard to the trauma, precisely as an irruption of a total contingency, the traumatic event isn&#8217;t anywhere given in its positivity; it can only be logically constructed afterwards as a point which escapes symbolization.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Fourth, if we try to seize the real from the perspective of the distinction between <em>quid</em> and <em>quod</em>, between the properties of a symbolic- universal nature attributed to an object and this object itself in its givenness, a surplus of an X escaping, in its positivity, the network of universal-symbolic determinations - i.e., if we try to approach the real through the field opened by the Kripkean criticism of the theory of descriptions - we should say, first, that the real is the surplus of <em>quod</em> over <em>quid</em>, a pure positivity beyond the series of properties, beyond a set of descriptions; but at the same time, the example of the trauma proves that me real is also the exact opposite: an entity which doesn&#8217;t exist but nevertheless has a series of properties.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Last, if we try to define the real in its relation to me function of writing (<em>écrit</em>, not the post-structuralist <em>écriture</em>), we must, of course, in a first approach state that the real cannot be inscribed, that it escapes the inscription (the real of the sexual relation, for example). But at the same time, the real is writing itself as opposed to the signifier. As has been pointed out by Jacques-Alain Miller, the Lacanian <em>écrit</em> has the status of an object and not of a signifier.<br />
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<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">This immediate coincidence of opposite or even contradictory determinations is what defines the Lacanian real. We can thus differentiate between the imaginary, the symbolic, and the real status of couples of opposites. In the imaginary relation, the two poles of the opposition are complementary; together, they build a harmonious totality, each of them gives to the other what the other lacks, i.e., each fills out the lack of the other (the fantasy of the fully realized sexual relationship, for example, where Man and Woman are forming a harmonious whole). The symbolic relation is on the contrary differential. The identity of each of the moments consists in its difference from the opposite moment. A given element doesn&#8217;t fill in the lack of the other. It isn&#8217;t complementary to the other, but on the contrary takes the place of the lack of the other, embodies what is lacking to the other. Its positive presence is nothing but the positivation of a lack of its opposite element. The opposites, the poles of the symbolic relation, thus in a way return each to the other its own lack. They are united on the basis of their common lack. That would also be the definition of symbolic communication: what circulates between the subjects is above all a certain void; the subjects pass to each other a common lack. From this perspective, a woman is not complementary to a man but rather embodies his lack (that&#8217;s why Lacan can say that a beautiful woman is a perfect incarnation of the man&#8217;s castration). The real is defined as a point of the immediate coincidence of the opposite poles: each of the poles passes immediately into its opposite; each is already in itself its own opposite. The only philosophical counterpart here is Hegelian dialectics. Already at the very beginning of his <em>Logic</em>, Being and Nothingness are not complementary to each other. Nor is Hegel&#8217;s point that each of them obtains its identity through its difference from the other. The point is that Being in itself, when we try to grasp it &#8220;as it is,&#8221; in its pure abstraction and indeterminateness, without further specification, reveals itself to be Nothingness. Another example, perhaps closer to the Lacanian real. would be Hegel&#8217;s criticism of Kant&#8217;s Thing- in-itself (<em>das Ding-an-sich</em>). Hegel is trying to show how this famous Thing-in-itself, this pure surplus of objectivity which cannot be reached by thought, this transcending entity, is effectively a pure &#8220;Thing-of- the-Thought&#8221; (<em>Gedankending</em>), a pure form of thought: the transcendence of the Thing-in-itself coincides immediately with the pure immanence of a Thought. That is to say, how do we reach, how do we build the idea of a Thing-in-itself? By making an abstraction, by subtracting all the particular, concrete determinations of the objectivity which are supposed to depend upon our subjectivity. And what remains after this abstraction of all particular, determinate contents is precisely a pure, empty form of Though!<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The clue to this paradoxical coincidence of opposites is given by Lacan in <em>Encore</em> when he points out that &#8220;the real can be inscribed (<em>peut s&#8217;inscrire</em>) only through a deadlock of formalisation.&#8221; <a name="_ftnref7"></a> The real is of course in a first approach that which cannot be inscribed, which &#8220;doesn&#8217;t cease not to inscribe itself&#8221; (<em>ne cesse pas de ne pas s&#8217;écrire</em>) - the rock upon which every formalization stumbles. But it is precisely through this failure that we can in a way encircle, locate the empty place of the real In other words, the real cannot be inscribed, but we can inscribe this impossibility itself. We can locate its place: a traumatic place which causes a series of failures. And the whole point of Lacan is that the real is nothing but this impossibility of its inscribing the real is not a transcendent positive entity, persisting somewhere beyond the symbolic order like a hard kernel inaccessible to it, some kind of Kantian &#8220;Thing-in-itself.&#8221; m itself, it is nothing at all, just a void, an emptiness in a symbolic structure, marking some central impossibility. It is in this sense that the enigmatic Lacanian phrase defining the subject as an &#8220;answer of the real&#8221; is to be understood: we can inscribe, encircle the void place of the subject through the failure of its symbolization, because the subject is nothing but the point of failure of the process of its symbolic representation.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>a, Φ, S(A)</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">From a Lacanian perspective, the object as real is then, in the last resort, just a certain limit: we can overtake it, leave it behind us, but we cannot reach it. That&#8217;s the Lacanian reading of the classic paradox of Achilles and the tortoise: Achilles can of course overtake it, but he cannot reach it, catch up with it. It&#8217;s as with the old Brechtian paradox of happiness from <em>The Beggar&#8217;s Opera</em>: you must not run to desperately after happiness, because it might happen that you will overtake it, and then happiness will remain behind you. That&#8217;s the Lacanian real: a certain limit which is always missed - we always came too early or too late. And, as was pointed out by the late Michel Silvestre, the same thing goes also for so-called &#8220;free association&#8221; in psychoanalysis. <a name="_ftnref8"></a> On the one hand, it is impossible to reach it. We cannot really spontaneously give ourselves to it. We always manipulate, have a certain intention, etc. But on the other hand, we cannot escape it: whatever we say during analysis already has the status of free association. For example, I cannot, in the middle of the analysis, turn to the analyst and say: &#8220;Now wait a minute, I want now to speak to you really seriously, person to person. &#8230;&#8221; Even if we do this, its performative force is already suspended, i.e., it already has a status of &#8220;free association,&#8221; of something that is to be interpreted, that is not to be taken at its face value.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">But there are objects and objects. In Lacan&#8217;s teaching, we have to distinguish at least three types of objects. To articulate these distinctions, let&#8217;s return to the MacGuffin. We must not forget that in Hitchcock&#8217;s films, too, the MacGuffin is just one of the three types of objects.</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">First, then, the MacGuffin itself, &#8220;nothing at all,&#8221; an empty place, pure pretext for setting in motion the action: the formula of the aircraft-engines in <em>The 39 Steps</em>, the secret clause of the Naval treaty in <em>Foreign Correspondent</em>, the coded melody in <em>The Lady Vanishes</em>, the uranium-bottles in <em>Notorious</em>, etc. It&#8217;s a pure semblance. In itself, it is totally indifferent and, by structural necessity, absent Its signification is purely autoreflexive; it consists in the fact that it has some signification for the others, for the principal characters of the story.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">But in a series of Hitchcock&#8217;s films, we find another type of object which is decidedly not indifferent, not pure absence. What matters here is precisely its presence, the material presence of a fragment of reality. It&#8217;s a left-over, a remnant which cannot be reduced to a network of formal relations proper to the symbolic structure, but which is, paradoxically, at the same time the positive condition for the effectuation of the formal structure. This object can be defined as an object of exchange circulating between subjects, serving as a kind of guarantee, a pawn in their symbolic relationship. It is the role of the key in <em>Notorious</em> and in <em>Dial M for Murder</em>, the role of the wedding ring in <em>Shadow of a Doubt</em> and in <em>Rear Window</em>, the role of the lighter in <em>Strangers on a Train</em>, and even the role of the child circulating between the two couples in <em>The Man Who Knew Too Much</em>. It is unique (<em>unaire</em>), non-specularized. It hasn&#8217;t a double; it escapes the dual mirror-relation. That&#8217;s why it plays a crucial role precisely in the films which are built on a whole series of dual relations, each element having its mirror-counter-part (<em>Strangers on a Train</em>; <em>Shadow of a Doubt</em>, where already the name of the central character is doubled - uncle Charlie, niece Charlie). It is the one which hasn&#8217;t got its counterpart, and that&#8217;s why it must circulate between the opposite elements. The paradox of its role is that, although it is a left-over of the real, an &#8220;excrement,&#8221; it functions as a positive condition of the restoring of a symbolic structure: the structure of symbolic exchanges between the subjects can exist only insofar as it is embodied in this pure material element which acts as its guarantee. For example, in <em>Strangers on a Train</em>, the murderous pact between Bruno and Guy holds only insofar as the object (the cigarette-lighter) is circulating between them.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">That&#8217;s the basic situation of a whole series of Hitchcock&#8217;s films. At the beginning, we have a non-structured, pre-symbolic, imaginary homeostatic state of things, an indifferent balance where the relations between subjects are not yet structured in a strict sense, i.e., through the lack circulating between them. And the paradox is that this symbolic pact, this structural network of relations can only establish itself insofar as it is embodied in a totally contingent material element, a little-bit-of-real which, by its sudden irruption, disrupts the homeostatic indifference of the relations between subjects. In other words, the imaginary balance changes into a symbolically-structured network through a shock of the real. <a name="_ftnref9"></a> That&#8217;s why Hitchcock (and with him Lacan) is no longer a &#8220;structuralist&#8221;: the basic gesture of &#8220;structuralism&#8221; is to reduce the imaginary richness to a formal network of symbolic relations. What escapes the structuralist perspective is that this formal structure itself is tied with an umbilical cord to some radically contingent material element which, in its pure particularity, &#8220;is&#8221; a structure, embodies it. Why? Because the great Other, the symbolic order, is always <em>barré</em>, blocked, failed, crossed, mutilated, and the contingent material element embodies this internal blockade, or limit, of the symbolic structure. The symbolic structure must include an element which embodies its &#8220;stain,&#8221; its own point of impossibility around which it is articulated: it is in a way the structuring of its own impossibility. The only philosophical counter-point to this logic is again the Hegelian dialectics: the greatest speculative mystery of the dialectical movement is not how a richness and diversity of reality can be reduced to a dialectical conceptual mediation, but the fact that this dialectical structuring itself, to take place, must be embodied in some totally contingent element. For example, that&#8217;s the point of the Hegelian deduction of the role of the King: the State as the rational totality exists effectively only insofar as it is embodied in the stupid presence of the King&#8217;s body. The King, in his non-rational, biologically determined presence, &#8220;is&#8221; the State, it is in his body that the State achieves its effectiveness. Here, we can use the distinction, developed by Laclau and Mouffe, between the accidental and the contingent: an ordinary element of a formal structure is accidental, indifferent, i.e. it can be interchanged. But there is always an element which, paradoxically, embodies this formal structure as such. It isn&#8217;t necessary, but it is, in its contingency itself, the positive condition of the restoring of the structural necessity; this necessity depends upon it, hangs on it.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Finally, we have a third kind of object: the birds in <em>The Birds</em>, for example (we could also add, in <em>Marnie</em>, the body of the giant ship at the end of the street where Mamie&#8217;s mother lives). This object has a massive, oppressive material presence. It is not an indifferent void like the MacGuffin, but at the same time it doesn&#8217;t circulate between the subjects; it&#8217;s not an object of exchange, it&#8217;s just a mute embodiment of an impossible <em>jouissance</em>.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">How to explain the logic, the consistency of these three objects? In <em>Encore</em> Lacan proposes a schema  proposes a schema for it: <a name="_ftnref10"></a></span></p>
<p> <br />
<img src="http://www.lacan.com/zoe311.jpg" border="0" alt="" width="234" height="205" align="center" /><br />
 </p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Here, we have to follow Jacques-Alain Miller and interpret the vector not as indicating a relation of determination (&#8221;the imaginary determines the symbolic,&#8221; etc.), but more in the sense of the &#8220;symbolization of the imaginary,&#8221; etc. So:<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">- the MacGuffin is clearly the <em>objet petit a</em>, a lack, the left-over of the real, setting in motion the symbolic order, a pure semblance of the &#8220;mystery&#8221; to be explained, interpreted.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">- The birds are Φ, the impassive, imaginary making present of the real, an image which embodies <em>jouissance</em>. </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">- And, finally, the circulating object of exchange is S(A), the symbolic object which cannot be reduced to imaginary mirror-play and which at the same time embodies the lack in the Other, the impossibility around which the symbolic order is structured. It is the radically contingent element through which the symbolic necessity arises. That&#8217;s the greatest mystery of the symbolic order: how its necessity arises from the shock of a totally contingent encounter with the real. It is like the well-known accident in the <em>Arabian Nights</em>: the hero, lost in the desert, enters a cave quite by chance; there, he finds three old wise men awakened by his entry who say to him, &#8220;Finally, you have arrived! We have been waiting for you for the last three hundred years.&#8221;<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The subject assumed to&#8230;</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">This mystery is in the last resort the mystery of the transference itself: to produce new meaning, it is necessary to presuppose its existence in the other. That&#8217;s me logic of the &#8220;subject assumed to know&#8221; which was isolated by Lacan as the central axis, or stronghold, of the phenomenon of transference. The analyst is in advance assumed to know - what? The meaning of the analysand&#8217;s symptoms. This knowledge is of course an illusion, but it is a necessary one: it is only through this supposition of knowledge that, at the end, some real knowledge can be produced. In the schema above, we have three versions of the object around the central nauseous protuberance of <em>Jouissance</em>, the Thing in its inaccessibility; one is tempted to construct, on the same matrix, three other concepts around the subject assumed to know.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Let us start with the subject assumed to believe. <a name="_ftnref11"></a> Coming from Yugoslavia, i.e., from a real-socialist country, I&#8217;ll take an example typical of real socialism where, as you all know, there is always something lacking in the stores. Our hypothetical starting-point is that there is an abundance of toilet-paper on the market. But, suddenly and unexpectedly, a rumor starts going around that there is a shortage of toilet-paper. Because of this rumor, people frantically begin to buy it and, of course, the result is mat there is a real shortage of toilet-paper. At first sight, this seems to be the simple mechanism of what is called a self-fulfilling prophecy, but the effective way of how it functions is a little more complicated. The reasoning of each of the participants is the following: &#8220;I&#8217;m not naive and stupid. I know very well mat there is more than enough toilet-paper in the stores; but there are probably some naive and stupid people who believe these rumors, who are taking them seriously and who will act accordingly. They will frantically start to buy toilet-paper, and so in the end there will be a real shortage of it. So even if I know very well that there is enough of it, it would be a good idea to go and buy a lot of it!&#8221; The crucial point is that this other who is assumed to believe naively doesn&#8217;t have to exist in actuality. To produce his effects in the reality, it is enough that he is supposed by the others to exist. In a definite, closed multitude of subject, everybody can play this role for all the others. The effect will be exactly the same, i.e., the real shortage of toilet-paper. The one who will at the end remain without it will be precisely the one who will persist in the truth: the one who will say to himself, &#8220;I know that this is only a rumor and that there is enough toilet-paper,&#8221; and act upon it.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">This concept of the subject supposed to believe has also its clinical use: it serves to mark the difference between the real Freudian analysis and the revisionist cure. While in the Freudian analysis the analyst plays the role of the subject assumed to know, in the revisionist tradition, his role is closest to that of the subject assumed to believe; that is to say, in this case, the reasoning of the patient goes as follows: &#8220;I have some psychic problem. I&#8217;m neurotic, so I need an analyst to cure me. The problem is that I don&#8217;t believe in the maternal phallus, symbolic castration, and all this shit. This is to me plain nonsense. But happily for me, here is the analyst who believes in it and, why not, perhaps he can cure me with his belief!&#8221; No wonder that various neo-Freudian schools are trying to incorporate some elements of shamanism!<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The second concept in this series would be the subject supposed to <em>jouir</em>. <a name="_ftnref12"></a> His role is fundamental in obsessive neurosis. For the obsessive neurotic, the traumatic point is the supposed existence, in the other, of an insupportable, limitless, horrifying jouissance. What is at stake of all his frantic activity is to protect, to save the other from his <em>jouissance</em>, even at the price of destroying him or her (saving the woman from her corruption, for example). And, again, this subject doesn&#8217;t have to exist in actuality to produce his effects, it is enough that he is supposed by the others to exist This supposed <em>jouissance</em> is one of the key components of racism: the other (Jew, Arab, Black) is always supposed to have an access to some specific <em>jouissance</em>, and mat is what really bothers us.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The last concept would be, of course, that of the subject assumed to desire. If the subject assumed to enjoy plays a central role in obsessive neurosis, the subject assumed to desire plays such a role in hysteria. One only has to remind oneself of Freud&#8217;s analysis of Dora. It is quite dear that Madame K. is playing for Dora the role not of her object of desire, as was mistakenly supposed by Freud, but of the subject supposed to desire, supposed to know how to organize her desire, how to avoid its deadlock. That&#8217;s why, when we are confronted with a hysteric, the question to ask is not, &#8220;What is her object of desire?&#8221; but, &#8220;Where does she desire from? Who is the other person through whom she is organizing his desire?&#8221; The problem with hysterical subject is that she always needs to have recourse to another subject to organize her desire. That&#8217;s the meaning of the Lacanian formula that hysterical desire is the desire of the other.</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Needless to say, this conceptual quartet is useful in an analysis of ideological mechanisms. In oriental despotism, the whole system turns around the central point, the figure of the despot supposed to jouir. In classical Stalinism, the leadership is supposed to know, etc. But the thing not to forget is that the four subjects supposed to&#8230; are not on the same level: the subject assumed to know is their basis, their matrix, and the function of the remaining three is precisely to disguise its troubling paradox. </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>Two doors of the Law</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Why is this supposed knowledge impossible/real? The Lacanian answer is that there is an object hidden in it, embodying obscene jouissance. To exemplify it, let&#8217;s take as a starting point the famous apologue concerning the door of the Law in <em>The Trial</em> <a name="_ftnref13"></a> the little story told to K. by the priest to explain to him his situation vis-a-vis the Law. The patent failure of all the major interpretations of this apologue seems only to confirm the priest&#8217;s thesis that &#8220;the comments often enough merely express the commentator&#8217;s bewilderment&#8221;(p.240). But there is another way to penetrate the mystery of this apologue: Instead of seeking its meaning directly, it might be preferable to treat it the way Claude Lévi-Strauss treats a given myth: to establish its relations to a series of other myths and to elaborate the rule of their transformation. Where can we find, then, in <em>The Trial</em> another &#8220;myth&#8221; which functions as a variation, as an inversion, of the apologue concerning the door of the Law?<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">We don&#8217;t have to look far already at the beginning of the second chapter (&#8221;First interrogation&#8221;), Josef K. finds himself in front of another door of the Law (the entrance to the interrogation chamber). Here also, the door-keeper lets him know that this door is intended only for him. The washer-woman says to him: &#8220;I must shut this door after you; nobody else must come in.&#8221; This is clearly a variation of the last words of the door-keeper to the man from the country in the priest&#8217;s apologue: &#8220;No one but you could gain admittance through this door, since this door was intended only for you. I am now going to shut it.&#8221; At the same time, the apologue concerning the door of the Law (let&#8217;s call it, in the style of Lévi-Strauss, m1) and the first interrogation m2) can be opposed through a whole series of distinctive features: in m1, we are in front of the entrance to a magnificent court of justice, in m2, we are in a block of worker&#8217;s flats, full of filth and obscene crawling; in ml, the door-keeper is an employee of the court, in m2, it is an ordinary woman washing children&#8217;s clothes; in m 1 it&#8217;s a man, in m2 a woman; in m1, the door-keeper prevents the man from the country from passing through the door and entering the court, in m2, the washer-woman pushes him into the interrogation chamber half against his will. That is, the frontier separating everyday life from the sacred place of the Law cannot be transgressed in m1, but in m2, it is easy to transgress.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The crucial feature ofm2 is indicated already with its localization: the Court is located in the middle of the vital promiscuity of workers&#8217; lodgings. Reiner Stach is quite justified in recognizing in this detail a distinctive trait of Kafka&#8217;s universe, &#8220;the trespass of the frontier which separates the vital domain from the judicial domain.&#8221; <a name="_ftnref14"></a> The structure here is of course that of the band of Moebius: if we progress far enough in our descent to the social underground, we find ourselves suddenly on the other side, i.e., in the middle of the sublime and noble Law. The place of transition from one domain to the other is a door guarded by an ordinary washer-woman of provocative sensuality. In ml, the door-keeper doesn&#8217;t know anything, whereas here, the woman possesses a kind of advance knowledge: she simply ignores the naive cunning of K., his excuse that he is looking for a joiner called Lanz, and gives him to understand that they have been waiting for him for a long time, although K. chose to enter her room quite by chance, as a last desperate attempt after long and useless rambling:<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The first thing he saw in the little room was a great pendulum clock which already pointed to ten. &#8220;Does a joiner called Lanz live here?&#8221; he asked. &#8220;Please go through,&#8221; said a young woman with sparkling black eyes, who was washing children&#8217;s clothes in a tub, and she pointed her damp hand to the open door of the next room&#8230; &#8220;I asked for a joiner, a man called Lanz.&#8221; &#8220;I know,&#8221; said the woman, &#8220;just go right in.&#8221; K. might not have obeyed if she had not come up to him, grasped the handle of the door, and said &#8220;I must shut this door after you; nobody else must come in.&#8221; (pp.45-6)<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The situation here is exactly the same as in the above-mentioned accident from the <em>Arabian Nights</em>: one enters a place quite by chance and one learns that one&#8217;s arrival has been long expected. The para-doxical advance knowledge of the washer-woman has nothing whatsoever to do with a so-called &#8220;feminine intuition.&#8221; It is based on a simple fact that she is connected with the Law. Her position regarding the Law is far more crucial than that of a small functionary; K. finds it out by experience soon afterwards when his passionate argumentation before the tribunal is interrupted by an obscene intrusion:<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Here K. was interrupted by a shriek from the end of the hall; he peered from beneath his hand to see what was happening, for the reek of the room and the dim light together made a whitish dazzle of fog. It was the washer-woman, whom K. had recognized as a potential cause of disturbance from the moment of her entrance. Whether she was at fault now or not, one could not tell. All K could see was that a man had drawn her into a comer by the door and was clasping her in his arms. Yet it was not she who had uttered the shriek but the man; his mouth was wide open and he was gazing up at the ceiling, (p. 55)<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">What then is the relation between the woman and the Court of Law? In Kafka&#8217;s work, the woman as a &#8220;psychological type&#8221; is wholly consistent with the antifeminist ideology of an Otto Weininger; the woman is a being without a proper Self, incapable of assuming an ethical attitude (even when she appears to act on ethical grounds, there is a hidden calculation of <em>jouissance</em> behind it), a being who hasn&#8217;t got access to the dimension of Truth (even when what she is saying is literally true, she is lying with her subjective position), a being about whom it is not sufficient to say that she is feigning feelings to seduce a man - the problem is that there is nothing behind this mask of simulation, nothing but a certain glutinous, filthy <em>jouissance</em> which is her only substance. Confronted with such an image of woman, Kafka doesn&#8217;t succumb to the usual critical-feminist temptation (of demonstrating how this figure is the ideological product of certain social conditions; of opposing to it the outlines of another type of femininity, etc.). His gesture is much more subversive: he wholly accepts this Weiningerian portrait of woman as a &#8220;psychological type,&#8221; but he makes it occupy an unheard of, unprecedented place, the place of the Law. This is perhaps, as was already pointed out by Stach, the elementary operation of Kafka: this short-circuit between the feminine &#8220;substance&#8221; (&#8221;psychological type&#8221;) and the place of the Law. Smeared over by an obscene vitality, the Law itself - in traditional perspective a pure, neutral universality - assumes the features of a heterogeneous, inconsistent <em>bricolage</em> penetrated with <em>jouissance</em>.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The obscene Law</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">In Kafka&#8217;s universe, the Court is above all lawless in a formal sense: as if the chain of &#8220;normal&#8221; connections between causes and effects is suspended, put in parentheses. Every attempt to establish the mode of functioning of the Court by means of logical reasoning is in advance doomed to fail: all the oppositions noted by K. (between me anger of the judges and the laughter of the public on the benches; between the merry right side and the severe left side of the public) prove themselves false as soon as he tries to base his tactics on them; after an ordinary answer by K., the public bursts into laughter:<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">&#8220;Well, then,&#8221; said the Examining Magistrate, turning over the leaves and addressing K. with an air of authority, &#8220;you are a house-painter?&#8221; &#8220;No,&#8221; said K., &#8220;I&#8217;m the junior manager of a large Bank.&#8221; This answer evoked such a hearty outburst of laughter from the Right party that K. had to laugh too. People doubled up with their hands on their knees and shook as if in spasms of coughing.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The other, positive side of this inconsistency is of course jouissance: it erupts openly when the argument of K. is disturbed by a public act of sexual intercourse. This act, difficult to perceive because of its over-exposure itself (K. has to &#8220;peer beneath his hands to see what was happening&#8221;), marks the moment of the eruption of the traumatic real, and the error of K. consists in overlooking the solidarity between this obscene disturbance and the Court. He thinks that everybody would be anxious to have order restored and the offending couple at least ejected from the meeting, but when he tries to rush across the room, the crowd obstructs him, and someone seizes him from behind by the collar. At this point, the game is over: puzzled and confused, K. loses the thread of his argument; filled with impotent rage, he soon leaves the room.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The fatal error of K. was to address the Court, the Other of the Law, as a homogeneous entity, attainable by means of consistent argument, whereas the Court could only return him an obscene smile mixed with signs of perplexity. In short, K. awaits from the Court acts (legal deeds, decisions), but what he gets is an act (a public copulation). Kafka&#8217;s sensitiveness as to this &#8220;trespass of the frontier which separates the vital domain from the judicial domain&#8221; depends upon his Judaism: the Jewish religion marks the moment of their most radical separation. In all previous religions, we always run into a place, a domain of sacred jouissance (in the form of ritual orgies, for example), whereas Judaism evacuates from the sacred domain all traces of vitality and subordinates the living substance to the dead letter of the Father&#8217;s Law. With Kafka, on the contrary, the judicial domain is again flooded with jouissance. We have a short-circuit between the Other of the Law and the Thing, the substance of <em>jouissance</em>.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">That&#8217;s why his universe is eminently that of superego: the Other as the Other of the symbolic Law is not only dead, it doesn&#8217;t even know that it is dead (like the terrible figure from Freud&#8217;s dream). It couldn&#8217;t know it insofar as it is totally insensible to the living substance of <em>jouissance</em>. The superego on the contrary makes me present paradox of a Law which &#8220;proceeds from the time when the Other wasn&#8217;t yet dead. The superego is a surviving remainder&#8221; (Jacques-Alain Miller). The superego-imperative &#8220;Enjoy!&#8221;, the turning round of the dead Law into the obscene figure of superego, implies a disquieting experience: suddenly, we become aware of the fact that what a minute ago appeared to us a dead letter is really alive, breathing, palpitating. Let&#8217;s remind ourselves of a small scene from the movie <em>Alien II</em>. The group of heroes is advancing in a long tunnel whose stone walls are twisted like interlaced plaits of hair, suddenly, the plaits start to move and to secrete a glutinous mucus, and the petrified corpse comes to life again.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">We should then reverse the usual metaphors of &#8220;alienation&#8221; where the dead, formal letter sucks out, like a kind of parasite or vampire, the living present force, i.e., where the living subjects are prisoners of a dead cobweb. This dead, formal character of the Law is a<em> sine qua non</em> of our freedom: the real totalitarian danger arises when the Law doesn&#8217;t want to stay dead anymore.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"><strong>The two lacks</strong> </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">The result of ml is then that there isn&#8217;t any Truth about Truth. Every Warrant of the Law has the status of a semblance. The Law doesn&#8217;t have any support in the Truth: it is necessary without being true. &#8220;It is not necessary to accept everything as true; one must only accept it as necessary,&#8221; to quote the words of the priest&#8217;s commentary on ml. The meeting of K. with the washer-woman adds to this the reverse side usually passed by in silence: insofar as the Law isn&#8217;t grounded in Truth, it is impregnated with <em>jouissance</em>.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Ml and m2 are thus complementary, representing the two modes of the lack: the lack of incompleteness, and the lack of inconsistency (I&#8217;m referring here to a distinction elaborated by J.-A. Miller). In m1, the Other of the Law appears as incomplete: in its very heart, there is a certain gap. We cannot ever penetrate to the last door of the Law. And it is the reference to m1 which supports the interpretation of Kafka as a &#8220;writer of absence,&#8221; i.e., the negative-theological reading of his universe as a crazy bureaucratic machine turning blindly around a central void of the absent God. In m2, the Other of the Law appears on me contrary as inconsistent: nothing is wanting in it, there is no lack. But for all that, it still isn&#8217;t &#8220;whole/all&#8221;; it remains an inconsistent bricolage, a collection following a kind of aleatory logic of <em>jouissance</em>. This gives us a figure of Kafka as a &#8220;writer of presence.&#8221; The presence of what? Of a blind machinery where nothing is lacking insofar as it is soaked in the manure of its own <em>jouissance</em>.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">That&#8217;s why Kafka occupies the opposite pole in relation to the &#8220;unreadable&#8221; character of modem literature as exemplified by Joyce&#8217;s <em>Finnegan&#8217;s Wake</em>. In an immediate approach, <em>Finnegan&#8217;s Wake</em> is of course an &#8220;unreadable&#8221; book; we cannot read it the way we read an ordinary &#8220;realistic&#8221; novel. To follow the thread of the text, we need a kind of &#8220;reader&#8217;s guide,&#8221; a commentary enabling us to see our way in the inexhaustible network of the ciphered allusions. But, on the other hand, this &#8220;unreadability&#8221; functions precisely as an invitation to an unending process of reading. It drives us to an incessant work of interpretation (one knows Joyce&#8217;s joke that with <em>Finnegan&#8217;s Wake</em>, he hopes to keep the literary scientists occupied at least for Ac next four hundred years). With Kafka, the situation is rather reversed: on the level of an immediate approach. <em>The Trial</em> is quite &#8220;readable&#8221;: the main outlines of the story are clear enough, and Kafka&#8217;s style is concise and of a proverbial pureness. But it is this &#8220;readability&#8221; itself which, because of its over-exposed character, entails a radical opacity and blocks every attempt at interpretation. It is as if Kafka&#8217;s text were a coagulated, stigmatized S1 which we are trying in vain to articulate in a chain with an S2 and thus provide retroactively for its signification. The Kafkian S1 repels this articulation because it is too much impregnated with <em>jouissance</em>: it is the inert presence of a which prevents its articulation with S2 - instead of the usual S1 → S2, we have a S1-a.</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Colloquium &#8220;Jacques Lacan: Television,&#8221; New York, April 10, 1987 </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn1"></a> Jacques Lacan, <em>L&#8217;éthique de la psychanalyse</em> (Paris: Seuil, 1986), p.295.</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn2"></a> For this distinction between the two deaths,  J. Lacan, <em>L&#8217;éthique de la psychanalyse</em>, chapter XXI (&#8221;Antigone dans l&#8217;entre-deux-morts&#8221;), and also my analysis of Hitchcock&#8217;s &#8220;The Trouble with Harry&#8221; in <em>October</em> 38 (Fall 1986), 99-102.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn3"></a> The classic text by Ernst Kantorowicz, <em>The King&#8217;s Two Bodies</em>. In &#8220;Das Dinghafte der Geldware&#8221; (<em>Wo es war</em> 1, Ljubljana. 1986), Rado Riha has applied this notion of the sublime body to the Marxian theory of commodity-fetishism.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn4"></a> Claude Lefort, <em>L&#8217;invention démocratique</em> (Paris: Fayard 1981).<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn5"></a> This whole periodization of Lacan&#8217;s teaching is indebted to Jacques-Alain Miller&#8217;s seminar.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn6"></a> Ernesto Laclau/Chantal Mouffe, <em>Hegemony and Socialist Strategy</em> (London: Verso, 1986).<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn7"></a> Jacques Lacan, <em>Encore </em>(Paris: Seuil, 1975), p.85. </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn8"></a> Michel Silvestre, <em>Demain la psychanalyse</em> (Paris: Navarin, 1986).<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn9"></a> Mladen Dolar. &#8220;Hitchcocks Objekt,&#8221; in <em>Wo es war</em> 2, Ljubljana. 1986.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn10"></a> Jacques Lacan, <em>Encore</em>, p. 83.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn11"></a> Tastko Mocnik, &#8220;Ueber die Bedeutung der Chimären für die condido humana,&#8221; in <em>Wo es war</em> 1, Ljubljana, 1986.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn12"></a> Miaden Dolar, &#8220;Die Einführung in das Serail,&#8221; <em>Wo es war</em> 3-4. Ljubljana, 1987.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn13"></a> I am quoting <em>The Trial</em> from the Penguin Modern Classics edition, translated by Wills and Edwin Muir.<br />
</span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;"> <a name="_ftn14"></a> Reiner Stach, <em>Kafkas erotischer Mythos</em> (Frankfurt: Fischer, 1987), p. 38. </span></p>
<p><span style="font-family: Verdana; color: #000000; font-size: x-small;">Art: Gillian Wearing, <em>Self Portrait as my Mother Jean Gregory</em>, <em>Self Portrait as my Father Brian Wearing</em>, 2003.</span></p>
<p> </p></div>
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		<title>Towards a Theory of the Tenured Class  Richard Kostelanetz </title>
		<link>http://www.lacan.com/symptom2/?p=29</link>
		<comments>http://www.lacan.com/symptom2/?p=29#comments</comments>
		<pubDate>Thu, 12 Jun 2008 13:36:23 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

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		<description><![CDATA[Author’s Bio
We don&#8217;t know who discovered water but are pretty sure it wasn&#8217;t a fish.
            Marshall McLuhan 
The great insight of that academic discipline called sociology is that much of a person&#8217;s sensibility and activity is determined by his and her social situation, no [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#de0013" size="2" face="Verdana"><a href="http://www.lacan.com/biosB.htm#kostelanetz" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font color="#000000" face="Verdana" size="2">We don&#8217;t know who discovered water but are pretty sure it wasn&#8217;t a fish.</i><br />
            Marshall McLuhan </p>
<p align="justify"><font color="#000000" face="Verdana" size="2">The great insight of that academic discipline called sociology is that much of a person&#8217;s sensibility and activity is determined by his and her social situation, no matter how much they might imagine otherwise. Rich people look at the world differently from poor people, those with power differently from those lacking it (even if they have wealth or prestige), city dwellers differently from, say, farmers. However, even though most sociologists are academics and then most prominent sociologists are tenured, few are able to examine their immediate world. Tenure I should note is the procedure by which permanent (for-life) employment is bestowed upon an employee, theoretically to grant him or her &#8220;free speech&#8221; in the classroom, which is intellectually desirable to be sure. Socially, however, tenure creates two things less desirable-not only a privileged class within academic institutions but teachers lacking privilege. The political analogue is the British House of Lords, where appointments are made for life, in contrast to the House of Commons, its name signifying lesser class, whose members must be (re)elected.</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">One reason why tenured academics are reluctant to move from one university to another is that tenure might need to be awarded again&#8211;reconfirmation is not automatic. Indeed, it could be said that for the past few decades American university teachers are divided into two classes-those that have tenure and can&#8217;t move, and those who don&#8217;t have tenure and thus can only move from one employer to another until they leave academia entirely. I&#8217;ve always wondered why academic Marxists haven&#8217;t envisioned how the dialectic between these classes with radically disparate privileges will be resolved.</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">Writers before me have written about the deleterious costs of tenuring upon those who are denied tenure; but I&#8217;m not aware of any critique of the its effect upon those who benefit, the na&#238;ve assumption being that, like most good fortune, it is an unmixed blessing, enabling them to produce scholarship that would not otherwise happen. As an independent Manhattan writer keeping some social distance from academia, I find myself less able to write a definitive essay on the effects of tenure than miscellaneous observations. I couldn&#8217;t find any previous expos&#233;s on this subject; nor did colleagues reading drafts of this text recommend any to me. Some of these remarks are more applicable to some tenured academics than to others, though I doubt if any of these generalizations are completely askew.</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">Whereas untenured academics tend to be cautious to a fault, out of a fear of offending anyone who might be involved in awarding them tenure, the tenured have no fear-none at all. Indeed, they are fundamentally unaccountable. Unless the process of getting tenure destroys them intellectually, leaving them hopelessly dulled, the survivors of university tenuring believe they can say and write anything they want, no matter how fantastic, nonsensical, or simply stupid. What missing from their heads and mouths is the self-filter that Ernest Hemingway called a &#8220;shit-detector,&#8221; because they won&#8217;t be penalized with anything more dismissive than negative words or, at worse, an editorial rejection slip. One of the great tragedies of tenured cultural life is that fools are rarely fired for being fashionably stupid?</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">To tenured ideologues is thus granted a platform for disseminating all kinds of preposterous agendas at no financial cost to themselves-Ward Churchill, Sammy al-Arian, Leonard Jeffries, Angela Davis, Holocaust deniers, gender fanatics, religious millennialists, professors convicting the Duke lacrosse team on insufficient evidence, what have you. To professors with a taste not just for jargon incomprehensible to common people but also for otherwise unacceptable contradictions, tenure offers authoritarian leverage in mind-fucking. (I&#8217;d name more names were not their notoriety mostly local until someone else publicizes them, as happened with Churchill and al-Arian. David Horowitz identifies a few of these among his &#8220;101 Most Dangerous Academics in America,&#8221; most of whom are tenured, in his recent book <i>The Professors</i> (Regnery, 2006).)</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">Predisposed to pontificate, if not to bluster and bluff, they develop a resistance to doing first-hand research as beneath them, something strictly for the lower academic classes, much as those who become bosses become incapable of doing menial work. Indeed, especially if trained in philosophy, literature, and sociology, rather than history or economics, tenured profs are in my observation prone to making stuff up, often outrageously. When George Orwell once quipped that only intellectuals with a taste for peculiar ideas could be so stupid it was obvious that he didn&#8217;t know tenured profs, some of whom can be yet stupider at no cost to themselves, who are, in effect, a licensed jerks. The inspiration for this critique was a sociologist who seems to take particular glee in demonstrating how sociologically dumb an academic sociologist can be. A Victim of Tenure I rank him to be. Outrageous Stupidity becomes for the tenured the analogue of Conspicuous Consumption-an inexpensive privilege that Thorstein Veblen attributed to the &#8220;leisure class.&#8221;</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">Because of limitations on their university income, academics compete not for money but power within an institutional hierarchy. Power includes the disbursement of supplementary funds, say for professional travel or personal publishing and a greater role in hiring (and sometimes firing of the untenured), as well as awarding tenure. Those with greater academic power become a more privileged class within a larger group who often blame the former for depriving them not of basic income, which is secure, but from supplementary rewards they think due them. Not unlike others upon whom wealth and security is bestowed, they sometimes have difficulty accepting success that is earned mostly through individual effort, devoid of institutional security and support. The small-entrepreneur mentality lies beyond their imaginations. Academic society resembles Communist countries where people competed not for money but for privileges, perhaps incidentally accounting for why academics around the world found Communism less objectionable than, say, entrepreneurs.</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">As members of a privileged class, tenured academics prefer the company of those comparably privileged, by contrast condescending toward everyone less privileged, beginning with non-tenured academics, but also including others. Indeed, even common socializing with the non-tenured can be problematic for them. As a single gent with a taste for women with advanced degrees, I can testify that I have never dated for long a tenured professor (and that I didn&#8217;t recognize this fact until drafting this essay). Since I&#8217;ve known intimately women in a several professions, not to mention graduate students and junior professors who weren&#8217;t yet tenured, shouldn&#8217;t I assume that tenured royalty wouldn&#8217;t accept untenured me, elite literary recognitions notwithstanding? They sleep only with their kind, I&#8217;m told. Does this restrictive preference reflect a certain insecurity about their status not unusual in privileged people who recognize that others similarly competent could do as well were they not unfortunate because of disadvantages (of timing, gender, integrity, a lack of sponsors) and closed doors?</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">Few classes of people are more gratuitously mischievous, creating unnecessary problems for those around them. Yet even more dangerous are retired tenured profs, mostly because nothing else is as self-enhancing to them as gratuitous mischief. Whenever I&#8217;ve asked tenured profs whether job security had any negative effects upon themselves, as I have, none of them could think of a single thing, though some complained, often vehemently, about negative effects it had on certain other professors. Not even academic Marxists could deal seriously with the question of how differences in material conditions might affect consciousness. Likewise rare is the rich person who understands the negative effects, sometimes visible to outsiders, of having too much money. Indeed, when a Marxist told me that without university tenure he could not have written his books, I thought him implicitly self-deflating, measuring himself as inferior to those who write books without his secure advantages. (Many do it, including myself.) A Libertarian told that he doubted if academic colleagues of his political persuasion would survive without tenure, while another editor told me that, &#8220;there are no antiwar conservatives employed outside of academia, as the think tanks are pretty much run by neocons.&#8221; Thus does a similar anxiety in defense of certain privileges make uncomfortable bedfellows.</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">Another suggested that I wouldn&#8217;t have written this critique if I had tenure, implicitly criticizing politically inastute powerhouses for failing to buy me off. I advised him that, if he were serious, to tell them, not me, that they were fools. Academic operators don&#8217;t enjoy being told they are politically inastute, even if they know they might have been; but no one can&#8217;t beat people who are self-consciously stupid. Indeed, it is reasonable to ask whether Orwell, John Cage, or other independents (including myself) would have had their distinguished careers had they spent most of their lives as tenured professors? Indeed, though I&#8217;ve posed this question about my own career to a tenured academic more than once, never have I gotten an answer. Next question should be: And if not, why not?</p>
<p align="justify"><font color="#000000" face="Verdana" size="2">In my observation, tenured profs indulge in self-defeating moves unavailable to those who are self-employed, precisely because stupidity costs them little-indeed, those similarly tenured regard such self-defeating moves by others as a privilege available exclusively to their aristocratic kind. Rare is the insulated human being who can be so smugly stupid. As tenure is granted for life, these people aren&#8217;t politicians with a justified fear of being voted out. What do you think of the House of Lords, I would ask defenders of tenure? Of monarchism? If it is objectionable to you, what else might also be? The more I think about the tenured class, the more dangerous I regard any process that institutionalizes elitism for life.</font></p>
<p><font color="#000000" size="2" face="Verdana">Art: Zhang Xiaogang, <i>Bloodline: Big Family No. 3</i>, 1995.	 </font></p>
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		<title>The Performativefrom Ordinary Conventions to the Real   Raoul Moati </title>
		<link>http://www.lacan.com/symptom2/?p=59</link>
		<comments>http://www.lacan.com/symptom2/?p=59#comments</comments>
		<pubDate>Wed, 11 Jun 2008 20:21:19 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

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		<title>Text as Morphological Excess Irigaray&#8217;s Psychoanalytical Works  Adrian Switzer </title>
		<link>http://www.lacan.com/symptom2/?p=45</link>
		<comments>http://www.lacan.com/symptom2/?p=45#comments</comments>
		<pubDate>Wed, 11 Jun 2008 04:53:18 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Luce Irigaray]]></category>

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		<description><![CDATA[In the &#8220;Questions&#8221; chapter of This Sex Which is Not One (Ce sexe qui n&#8217;en est pas un (1977), hereafter This Sex, Irigaray is asked whether she, &#8220;work(s) within the phallocratic psychoanalytic framework-Freudian or Lacanian, it doesn&#8217;t matter which-with the intention of producing a different analysis.&#8221; Irigaray answers in dismissive fashion: &#8220;I could answer that [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana">In the &#8220;Questions&#8221; chapter of <em>This Sex Which is Not One</em> (<em>Ce sexe qui n&#8217;en est pas un</em> (1977), hereafter <em>This Sex</em>, Irigaray is asked whether she, &#8220;work(s) within the phallocratic psychoanalytic framework-Freudian or Lacanian, it doesn&#8217;t matter which-with the intention of producing a different analysis.&#8221; Irigaray answers in dismissive fashion: &#8220;I could answer that the question of whether I situate myself &#8216;inside&#8217; or &#8216;outside&#8217; with respect to the institution (of psychoanalysis) does not concern me&#8221; (<em>Je pourrais répondre que la question de savoir si, par rapport à l&#8217;institution je me situe &#8216;dedans&#8217; ou &#8216;dehors&#8217; ne me concerne pas</em>) (Irigaray 1985b, 146). Here, the intent is to take Irigaray at her word. The question of her relationship to psychoanalysis demands an alternate topology; it is properly addressed without recourse to such traditional, positional ideas as &#8220;inside&#8221; (<em>dedans</em>) and &#8220;outside&#8221; (<em>dehors</em>); without recourse to positionality in general. In an effort to make sense of Irigaray&#8217;s &#8220;displacing&#8221; reply, the present work focuses on her early, psychoanalytic works. Specifically, a differently drawn topography is here sketched in an effort to &#8220;situate&#8221; Irigaray relative to Freudian and Lacanian psychoanalytic theory. However, to arrive at such an alternate topology, the course to be charted runs through the seemingly disparate lands of the western philosophical tradition.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In <em>This Sex</em>, in reply to a question concerning her &#8220;interpretive rereading&#8221; (<em>relecture interprétante</em>) of the texts that comprise the history of philosophy, a &#8220;rereading&#8221; carried out in her dissertation &#8220;Speculum of the Other Woman&#8221; (<em>Speculum de l&#8217;autre femme</em>, 1974) (hereafter &#8220;Speculum&#8221;), Irigaray explains, &#8220;it is indeed precisely philosophical discourse that we have to challenge, and disrupt, inasmuch as this discourse sets forth the law for all others&#8221; (<em>c&#8217;est bien le discours philosophique qu&#8217;il faut questionner, et déranger, en tant qu&#8217;il fait la loi à tout autre</em>). Continuing, Irigaray explains her efforts in terms of the necessary &#8220;derangement&#8221; of the texts of the tradition insofar as they codify the law passed down by philosophy as the &#8220;discourse on discourse&#8221; (<em>le discours des discours</em>, Irigaray 1985b, 74). The passage draws attention to the texts of the western philosophical tradition; indirectly, the passage directs us to attend to the texts of Irigaray: an interpretive re-reading that challenges and disrupts the texts of the tradition must itself be approached through the textuality of such disruption and derangement.	Speculum considered at this level, considered, that is, in terms of its texuality, is divided between three unequal parts. The first, &#8220;The Blind Spot of an Old Dream of Symmetry&#8221; (<em>La tâche aveugle d&#8217;un vieux rêve de symétrie</em>), is overtly an engagement of the &#8220;Femininity&#8221; section of Freud&#8217;s New Introductory Lectures on Psychoanalysis; indirectly, the first section of the text serves to announce the asymmetrical character of the work that follows. Since the first section of &#8220;Speculum&#8221; is the longest of the three, the asymmetry alluded to in its title might be read as a meta-textual reference to the structure of the dissertation itself. Furthermore, because the asymmetrically long first section of the work focuses on the Freudian theory of female sexuality, the implication is that a certain asymmetry characterizes Freud&#8217;s position relative to the western philosophical tradition. Accordingly, Freud&#8217;s theory of feminine sexuality is the &#8220;blind spot&#8221; (<em>tâche aveugle</em>) of the tradition; given its asymmetrical, obscure position, such a blind spot may be more or less distended. <a title="" name="_ftnref1" href="#_ftn1">[1]</a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The second part of &#8220;Speculum&#8221;, entitled simply &#8220;Speculum&#8221; encompasses Irigaray&#8217;s &#8220;interpretive rereading&#8221; of the discourse of the philosophical tradition. The section spans the tradition from Plato to Hegel, passing, as it proceeds, through Descartes and Kant. At the center of this central section of the text, and thus in the heart of the heart of the work, is the chapter &#8220;La Mystérique,&#8221; an extended-and uncited-mimetic engagement of Plotinus&#8217; <em>Enneads</em>. At the moment of passing over into this mimetic performance, Irigaray pauses briefly to reflect on her bearings: &#8220;What is expected is neither a this nor a that, not a here any more than a there. No being, no time, no places are designated&#8221; (<em>Ce qui est attendu n&#8217;est ni un ceci, ni un cela, pa même un ici, non plus qu&#8217;un là. Sans être, ni temps, ni lieux désignables</em>). Finding herself utterly dislocated, neither here nor there, Irigaray concludes, &#8220;the best plan is to abstain from all discourse&#8230; (w)hile all the while keeping an attentive ear open for any hint or tremor coming back&#8221; (<em>Mieux vaut donc se refuser à tout discours&#8230; Tendant aussi l&#8217;oreille vers tout frémissement anonçant un retour</em>) (Irigaray 1985a, 193).	What Irigaray signals the reader to &#8220;attend to by ear&#8221; (<em>tendant aussi l&#8217;oreille</em>) in reading the Plotinian text that follows is the faint echo of her own mimicry. Given the present concern with topological matters as they bear on reading Irigaray, such mimicry is of note in that Irgaray here pairs a mimetic methodology with the distinctly topological matter of being dislocated. The connection Irigaray here draws between a mimetic engagement of the philosophical tradition and being displaced, without a &#8220;here&#8221; (<em>ici</em>), or &#8220;there&#8221; (<em>là</em>), without the designation of &#8220;places&#8221; (<em>lieux</em>), suggests that a mimetic methodology is tied to questions of topological placement.	Read in retrospect, the opening section of &#8220;Speculum&#8221; resonates as an instance of Irigaray&#8217;s mimetic methodology; mimetically, Freud comes back to the reader in distortion, twisted in the contours of the carnival-funhouse mirror. Operating within the general Freudian milieu of the castration complex and penis envy, Irigaray notes a peculiarity: &#8220;Now the little girl, the woman, supposedly has nothing you can see. She exposes, exhibits the possibility of a nothing to see&#8221; (<em>Or la fillete, la femme, n&#8217;aurait rien à donner à voir. Elle exposerait, exhiberait, la possibilityé d&#8217;un rien à voir</em>) (47). This &#8220;nothing&#8221; (<em>rien</em>) might have acted for Freud as an &#8220;inducement to perform castration upon an age-old oculocentrism&#8221; (<em>l&#8217;invite à une opération de castration sur un oculocentrisme séculaire</em>) (48). After all, such a &#8220;castration&#8221; is already performed, to an extent, in the arrangement of the analytic scene: the analyst is situated behind the back, and so out of the line of sight, of the analysand. Resistant to such a theoretical exigency, &#8220;contract[ing]&#8221; and &#8220;collud[ing]&#8221; according to the Leibnizian law that identifies singularity and being, Freud instead provides for the &#8220;visual dominance&#8221; of the male organ (48): this despite the fact that it is the woman&#8217;s body that occasions the male anxiety of castration. Irigaray reproduces the passage from the <em>New Introductory Lectures</em> where Freud frames this insight: &#8220;In (boys) the castration complex arises after they have learned from the sight of the female genitals that the organ which they value so highly need not necessarily accompany the body&#8221; (49).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The theoretical bias in Freud toward visible anatomy, which makes of a lack of a penis an anxiety or envy rather than a desire (57), is thus founded on a more fundamental invisibility: the &#8220;nothing&#8221; (<em>rien</em>) of female genitalia is the very condition for recognition of the &#8220;one&#8221; (<em>un</em>) sexual organ of the man. Indirectly, Irigaray&#8217;s point is that Freud&#8217;s scientific pretensions of explicating human psychosexual development, and making clear the impasses, delusional states, and paranoia into which it can dead end, is underwritten by its concealment of the very condition for such explication, namely the non-visible, the nothing of what cannot be brought to light. Taking this one exchange with Freud to instance the general manner in which Irigaray conducts her forays into the space of psychoanalysis, at least in &#8220;Speculum&#8221;, taking, moreover, her direct reproductions of Freudian texts as an instance of her mimeticization, what follows is the image of a methodology with clear affinities to deconstruction, generally construed. For both methodologies, a source text is directly engaged in its own terms, so as to allow the internal tensions of the original source material to emerge.	Mimesis thus conceived threatens, however, to reinstate the very paradigm of knowledge as visibility Irigaray finds central to the homology of thought in discursive representation. Read as an instance of a deconstructive mimesis, the opening section of Speculum would, in the very act of mimetically rehearsing Freud&#8217;s inconsistent biasing of the visible, succumb to the same bias in undertaking to &#8220;clarify&#8221; or &#8220;expose&#8221; what is otherwise &#8220;concealed&#8221; in a text. Furthering, as it then would, the presumed association between knowledge and visibility, such a methodology would also treat a text according to the phallo-logocentrism Irigaray elsewhere challenges on grounds of its reductive tendencies. In the phallo-logocentrism of the western philosophical tradition, and in its attendant analogizing of knowledge as visibility, the possibility of real difference, of real alterity, is foreclosed. Thus, to avoid inscribing too hastily a mimetic methodology within the very problematic it challenges, affinities between deconstruction and Irigaray&#8217;s mimetics should be bracketed; in fact, any attempt to explain Irigaraian thought analogically must be avoided for the same reason.	The task Irigaray poses to psychoanalysis, which is roughly the task she poses a reader in general and an interpreter of her own works in particular, is one of overcoming the bias toward making visible the meaning contained &#8220;in&#8221; texts. Irigaray insists on a new conception of textuality; a conception free of the metaphorics of knowledge as vision and reading as disclosure. The hermeneutic strategy at question in Irigaray is one that models interpretation on seeing and meaning on the visible. Against such traditional hermeneutics, Irigaray anticipates an alternate form of reading and writing: &#8220;What other mode of reading or writing, of interpretation and affirmation&#8221; (<em>quel mode autre de lecture, d&#8217;écriture, d&#8217;interprétation, d&#8217;affirmation</em>), Irigaray asks at one point in <em>This Sex</em>, &#8220;may be mine inasmuch as I am a woman&#8221; (<em>peut être le mien en tant que femme</em>) (Irigaray 1985b, 159). Such an alternate hermeneutics is one that is free of the &#8220;analogical&#8221; tendencies of traditional hermeneutic practices. For example, comparing or analogizing Irigaray&#8217;s mimetic methodology to Derridean deconstruction simply reinstates, in indirect fashion, the traditional hermeneutic bias toward visibility. <a title="" name="_ftnref2" href="#_ftn2">[2]</a> Irigaray, in fact, explores the traditional, analogical figure of speech implicit in an hermeneutics of visibility; she does so by way of the Platonic allegory of the cave at the end of Speculum. Here too, in reference to the Platonic dependence on an analogical mode of thought and analogy as the philosophically privileged form of speech, Irigaray discerns the same problem of displacement and dislocation that haunts the discursive tradition in its efforts to address woman in her desire.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Falling-as Plato would say, no doubt-into the trap of mimicking them (<em>dans le piège de les mimer</em>), of claiming to find <em>jouissance</em> as &#8217;she&#8217; does. To the point when he can no longer find himself as &#8217;subject&#8217; anymore, and goes where he has no wish to follow: to his loss in that a-typical, a-topical mysteria (<em>à sa perte dans cette atypique, atopique, mystérie</em>). (Irigaray 1985a, 191-192)</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The sentence that prefaces this passage situates the &#8220;atopique&#8221; nature of discursive, philosophical representation of woman and her desire relative to the &#8220;pains&#8221; such representation takes to sustain a metaphorical figuration (<em>le statut de figures</em>) (191). What this suggests is that the figure of speech employed by Plato, the allegorical relationship constructed between knowledge and visibility, is precisely the &#8220;locus&#8221; of dislocation. Thus, the philosophical, discursive tradition dislocates itself in its appeal to and dependence upon an analogical mode of thought. To put the same point in more distinctly Irigaraian terms: it is precisely in analogizing women and her pleasure through the metaphorics of knowledge as visibility that the master discourse of philosophy deranges itself; drives itself mad.	In the third and final section of &#8220;Speculum&#8221;, &#8220;Plato&#8217;s Hystera&#8221; (<em>L&#8217;ustera de Platon</em>), Irigaray returns from the depths of the &#8220;atopique,&#8221; Plotinian space of (represented) female subjectivity and pleasure-an &#8220;atopic&#8221; space of madness in that is nowhere-to the Platonic allegory of the cave. <a title="" name="_ftnref3" href="#_ftn3">[3]</a> Continuing an overtly &#8220;textual&#8221; approach to Irigaray&#8217;s work, Plato&#8217;s allegorical form of philosophical representation must be re-situated at the very heart of Irigaray&#8217;s traversal of the history of philosophy. Irigaray&#8217;s traversal, after all, runs historically in one direction from Plato to Hegel, and again in reverse from Plotinus back to Plato. Further, the central positioning of Plotinus, who retrieves Platonic dialectic for the Neo-Platonic tradition, signals the central place of Plato and the dialectic in the western philosophical tradition. Thus, despite the asymmetrical placement of the chapter on Plato&#8217;s allegory of the cave to the end of &#8220;Speculum&#8221;, textually, Plato and the allegory of the cave occupy the central position in the dissertation. The significance of such textual re-arrangement is that it centralizes the allegorical form of speech, and thereby evacuates the form of its signifying force. The figure of the analogy or metaphor, when employed within a philosophical model of representation, is enervated in this way because when turned back on itself the referring syntax of a metaphor is disrupted. The very relation of difference on which the metaphor depends, e.g., an unknown or unfamiliar object (or concept) occupies one pole of the metaphor and is compared to another, familiar object (or concept) occupying the other position in the analogy; such a form of comparison of the familiar to unfamiliar is lost to philosophical discursivity. The philosophical, discursive form of representation, after all, treats all things in homologous fashion: according to the logos or, more specifically, according to the idea of making visible, and thus of comprehending, what is otherwise concealed. Consequently, the very difference on which a metaphor operates is lost in the homology of philosophical discursivity. What this means, in turn, is that in its continued employment of the analogical form of thought, philosophy as a discursive practice, simply re-presents itself back to itself: the homology of logical thought quickly becomes the tautology of self-representation. Irigaray puts this same point, obliquely, in consideration of the Platonic <em>koré</em>: &#8220;Does this imply that man would see himself in (the concavity of the metaphorical <em>koré</em>) as he sees anyone else, not as an other reflected self. Is the identification &#8216;as&#8217; like or same theoretically impossible?&#8221; (<em>L&#8217;homme s&#8217;y verrait donc comme il voit tout un chacun non comme un autre soi-même réfléchi? L&#8217;identification &#8216;comme&#8217; même serait impossible</em>) (149).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">To pursue, and in so doing &#8220;clarify,&#8221; Irigaray&#8217;s point concerning the metaphorical or analogical mode in which philosophy has been traditionally conducted, it is necessary to conclude with the premiere example of philosophical discursivity: Hegelian dialectic.1  Such prominence of place is granted from a marginal reference to Hegel at the midpoint of the Freud section of Speculum. Textually, Irigaray&#8217;s strategy is to announce a point of central, theoretical significance in what would otherwise seem merely &#8220;marginal&#8221; (<em>marginale</em>&#8220;, or textually peripheral (Cf. Irigaray 1985b, 127).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In the text that adjoins the footnote, Irigaray is entertaining the Freudian &#8220;super-ego&#8221; (<em>Über-Ich</em>) in relation to the hysterical woman, suggesting that the hysteric&#8217;s &#8220;fragile&#8221; and &#8220;fragmented&#8221; ego is particularly susceptible to the &#8220;mortifying sadism&#8221; (<em>le sadisme mortifère</em>) of a super-ego constituted in her by the law-making father, and by discursivity, language, and law in general (Irigaray 1985a, 89). Freud himself occasions such &#8220;extrinsic&#8221; super-egoism in the woman by noting that without possession of the penis, there is nothing of her own under threat by castration. Consequently, the woman&#8217;s super-ego is instituted wholly from without; impressed in the psyche with full sadistic force. But, from whence does the acuteness of such sadism arise?  Irigaray offers, in reply, the &#8220;anxiety, horror, disdain of woman&#8217;s castration&#8221; (<em>angoisse, horreur, mépris de leur châtrage</em>), which, if right, demands a reopening, a reinterpretation, of the whole psychosexual history that Freud normalizes (89-90). At just this juncture, Irigaray steps in to interrupt herself; following suit, we take notice of the Hegelian interruption of Irigaray&#8217;s mimesis of Freud. In allowing for such interruption, however, it must be noted that it occurs at precisely the moment Irigaray transitions from the hysterical woman to a &#8220;redistribution&#8221; of partial instincts situated in the body of the phallic mother (90-91). Such instincts, or drives, are crucial to Irigaray&#8217;s positive appropriation of Freudian psychoanalysis. In conclusion, there will be occasion to return to this matter to suggest a connection between matriarchal partial drives and Irigaray&#8217;s &#8220;atopical&#8221; reading lessons in female sexual morphology.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The Freudian &#8220;Oedipal triangle&#8221; (<em>la triangulation oedipienne</em>), Irigaray notes in her footnote to Hegel, is &#8220;like the Hegelian dialectic&#8221; (<em>que la dialectique hégélienne</em>) in consisting of four rather than three terms: the third term in both is doubled through what Irigaray terms a &#8220;relative negation&#8221; (<em>négation relative</em>). The relative negation Irigaray finds described in the Freudian oedipal scenario is the bisexual other of the boy as he passes through oedipalization. Such negation is relative because it negates the feminine other of the masculine self within a scene that excludes absolutely the female other in the form of the little girl. As wholly excluded from the boy&#8217;s oedipalization, the little girl is the negative absolute; her simulacra expunged from the bisexual origins of the little boy is thus a relative negation. Concluding, in Deleuzian fashion, Irigaray then depicts the male subject as &#8220;schizated&#8221; (<em>schizé</em>), that is, as constituted in reference to an other &#8220;that he too once was&#8221; (<em>de ce quatrième qu&#8217;il était aussi</em>).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The relative negation in Hegel to which Irigaray would compare the fourfold Freudian triangle consists in restoring, through negation, the universality that is temporarily suspended in the particularity of the dialectical differentiation of the idea into its immediate and mediate moments. Drawing as she does from a textual passage late in Hegel&#8217;s <em>Wissenschaft der Logik</em>, Irigaray implicitly equates such universality with the absolute idea, which through negation of the whole of the pairings of the dialectical moments of the logic is &#8220;restored&#8221; to the universality of its &#8220;first immediacy,&#8221; i.e., the point from which its dialectical unfolding began. Enumerated in one way, the Hegelian absolute idea is then a third to the other two of (all of) the moments it passes through in coming to full realization; enumerated in another it is the fourth in being third to these moments plus the one of itself as the &#8220;first&#8221; universal immediacy that it &#8220;too once was&#8221; (90n).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Significantly, there is a remainder to Irigaray&#8217;s equation between the arithmetics of Freud and Hegel; there is a slight difference in Hegel&#8217;s calculation that three is indistinguishable from four. Consider in this regard the section of Hegel&#8217;s <em>Logik</em> from which Irigaray draws her unequal figures:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This negativity is the restoration of the first immediacy, of simple universality; for the other of the other, the negative of the negative, is immediately the positive, the identical, the universal. If one insists on counting, this second immediate is, in the course of the methods as a whole, the third term to the first immediate and the mediated&#8230; The third or fourth is in general the unity of the first and second moments, of the immediate and the mediated (<em>Le troisième ou le quatrième est en général l&#8217;unité du premier et du deuxième moment, de l&#8217;immédiat et du médiatisé</em>) (90n.)</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"> The passage attests to Hegel&#8217;s arithmetical indifference: &#8220;the third or fourth&#8221; (<em>le troisième ou le quatrième</em>) is the unity of the immediate and mediated. In such indifference, more generally, Irigaray detects a remainder left over beyond the strict homology of analogical, discursive representation. <a title="" name="_ftnref4" href="#_ftn4">[4]</a> If in Freudian parlance the Hegelian third is the absolute otherness of the little girl excluded from the oedipal scene and the fourth is the relative negation of the bisexually female other of the boy passing through oedipalization, Hegel&#8217;s willingness to countenance third or fourth as perhaps the same in being the unity of immediate and mediated suggests that the absolutely and relatively other are indistinguishable one from another. The analytic gesture of excluding the real, female other from the oedipal scene - analytically expedient in allowing Freud to deal now with the boy&#8217;s psychosexual organization, later with the same for the girl - is impossible within the Hegelian dialectic given its indifference to three and four, absolute and relative, male and female.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">If the relative and absolute come to be indistinguishable in the negativity of Hegelian dialectic, the remainder of this strange arithmetic is a distinct negation or distinct negativity. The distinctness of such negativity follows from the philosophical, discursive representation of dialectic: a distinguishable negativity made real or material, on Irigaray&#8217;s reading of the tradition, is nothing more than the basic, material textuality of philosophical representation.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Irigaray anticipates the real, textual remainder to philosophical representation in a passage early in Speculum. Here, Irigaray expressly links the real nothing of discursive representation to auto-affection as a form of &#8220;self-representation&#8221; or self-writing: &#8220;(Auto-affection) has been permitted, authorized, encouraged insofar as it has been deferred, exhibited in sublated ways. All this is endangered (caught in the act, one might say) by a nothing-that is, a nothing the same, identical, identifiable&#8221; (<em>Et qu&#8217;un rien-de même, d&#8217;identique, d&#8217;identifiable&#8230;</em>) &#8220;A nothing that might cause the ultimate destruction, the splintering, the break in the systems of &#8216;presence,&#8217; of &#8216;re-presentation,&#8217; and &#8216;representation&#8217;&#8221; (<em>Rien qui risque de faire s&#8217;écrouler, se déliter, dériver indéfiniment, la cohérence de leur systématique de la &#8216;présence,&#8217; de la &#8216;re-présentation,&#8217; et &#8216;représentation&#8217;</em>) (50).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The absolute nothing of the woman excluded from the figurings of psychosexual organization is folded into the oedipal scene through the dialectical indecision between relative and absolute. Further, such nothing, such negativity, is made real in the textual fact of philosophical, discursive self-representation. Woman as the nothing remainder left over from philosophical, discursive representation here becomes the real nothing of the basic materiality of the text: woman as text is then the real, material supplement to the machinations of phallo-logocentricism as a discursive, representational form.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Beyond signaling the distinct negativity that is in excess to discursive, philosophical representation, Hegel is privileged in Speculum for related, methodological reasons. Irigaray&#8217;s performance of speculative dialectic in and through the figure of the concave, specular mirror-a performance that might, accordingly, be termed a &#8220;specular dialectic&#8221; - shows Hegel&#8217;s methods to arise from and arrives at the same point. What Irigaray&#8217;s &#8220;specular&#8221; rehearsal of Hegelian dialectic shows, further, is the real remainder of the mirror in which the homologous image of the dialectic is cast. Irigaray makes this point textually in the above passage by separating off, so as to accentuate, the prefix &#8220;re-&#8221; in &#8220;re-presentation&#8221; (<em>re-présentation</em>).  Caught in the gaze of its own privileged image of knowledge as visibility, philosophy finds only itself staring back at itself, blind to the remainder of the glass in which it reflects itself. <a title="" name="_ftnref5" href="#_ftn5">[5]</a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In the term &#8220;speculum,&#8221; a reader of Irigaray&#8217;s early works is thus pressed to detect a reference not only to the device that enables the gynecological (visual) inspection of the vagina, but also reference to the Lacanian notion of the specular/mirror stage as locus of the constitution of sexed subjectivity. The Lacanian implications of Irigaray&#8217;s specular imagery are addressed in greater detail below. Within the context of Irigaray&#8217;s Hegelian footnote, the term &#8220;speculum&#8221; is made to support a third level of resonance: the Hegelian/Platonic idea of a speculative dialectic as specularly (or mimetically) rehearsed.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Read not as the &#8220;actual&#8221; practice of dialectic, but rather as the specular performance or rehearsal of dialectic, what Hegelian speculative dialectic is shown to present is nothing other than philosophical representation itself: dialectic as the premiere instance of philosophical representation in rote repetition of itself as mode of representation. Irigaray&#8217;s choice of Hegel as the end and culmination of the modern philosophical tradition, and her choice to juxtapose Hegel with Plotinus, who undertakes to revive Platonic dialectic in the Enneads-within the very section that Irigaray mimetically enacts-suggests, however indirectly, precisely the reconstruction of the text here offered.	Attending to the text of Speculum, to the texts of the history of philosophy it reproduces and in so doing disrupts and deranges, Irigaray&#8217;s mimetic rehearsal of the dialectic folding together of Hegel, Plotinus, and Plato suggests a comparable derangement of the Platonic allegory of the cave with which Irigaray ends the dissertation. Read through its &#8220;other&#8221; text of the Enneads, which in broad outline offers a holistic monism according to which ontological difference arises through &#8220;emanation&#8221; from a fundamental metaphysical unity referred to, variously, as intelligence, the good, or the one, the allegorical form of Plato&#8217;s cave unhinges, and becomes &#8220;hysterical.&#8221;  Once deranged through the text of the Enneads, the allegory of the cave in its disjointed madness is unable to keep separate the coming into sight of the Platonic sun and coming to be one with the sun. Such ontological identity is, after all, the culmination of Plotnius&#8217; dialectic; a oneness of the soul with the intelligence from which it emanates. Further, and this point should be insisted upon, such derangement of the Platonic allegorical form is necessitated by the very logic of philosophical representation practiced in the service of dialectics.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Philosophical representation practiced in the service of, or according to the logic of, speculative dialectic, reduces ontology to homology. Plato&#8217;s allegorical expression of the human ascent to knowledge is discursively indistinguishable from Plotinus&#8217; dialectical convergence of thought and being. Accordingly, the cosmological or mystical &#8220;reinterpretation&#8221; of Plato is simply Plato read back onto himself according to the dialectical logic of his own commitments to philosophical representation. Again, what this means within the context of the Republic is that the condition reached by those who ascend from the Platonic cave is refigured by the very dialectic by which they proceed. Forced to turn from the shadowy images cast on the wall of the cave and &#8220;compelled to look at the light itself,&#8221; the cavedwellers ascend into the light of the sun by which they would &#8220;contemplate the appearances&#8221; of things (Plato 1991, 515e2-516a8): &#8220;And so, finally, I suppose, [they] would be able to look upon the sun itself and see its true nature, not by reflections in water or phantasms of it in an alien setting, but in and by itself in its own place&#8221; (516b2-4).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Reading the end-point of Plotinian anabasis into this passage, the condition of the Platonic soul is not simply the noetic grasp of the good, where such noetic grasp is likened through analogy with the sun to &#8220;seeing&#8221; phenomena in their true light, but rather a coincidence in being with the good. Irigaray makes just this point to inaugurate her &#8220;interpretive rereading&#8221; of the texts of the history of philosophy: &#8220;To specularize and to speculate. Exiling himself ever further (toward) where the greatest power lies, he thus becomes the &#8217;sun&#8217; if it is around him that things turn, a pole of attraction stronger than the &#8216;earth&#8217;&#8221; (<em>Spéculariser, spéculer. S&#8217;exilant toujours plus loin (vers) là où serait le plus grand pouvoir, ainsi devient-il &#8217;soleil&#8217; si c&#8217;est autour de lui que les choses tournent, pôle d&#8217;attraction plus fort que la &#8216;terre&#8217;</em>) (Irigaray 1985a, 134). Analogized as it is with the sun through the figure of the allegory, the good is thus not, as Plato would have it, the condition of all further knowledge. Instead, the analogical sun becomes the blinding foreclosure of the dominant metaphorics of knowledge as visibility. To become one with the good/sun, which for Plotinus culminates the soul&#8217;s ascent back to its point of origin, is to reveal the dialectic as capable of revealing anything other than itself: a self-revelation that Irigaray reads as a disruption of all possible claims to knowledge as modes of seeing. As Irigaray puts the point later in &#8220;Speculum&#8221;, the cavedwellers finally ascend into (full view of) the sun and in so doing &#8220;sinks into a &#8216;dark night&#8217; that is also fire and flame&#8221; (<em>cette &#8216;nuit obscure&#8217; mais encore ces feux et flames</em>) (191). &#8220;Burned&#8221; (<em>Brûler</em>), blinded by the sun precisely in being the condition of knowledge metaphorized as sight, the philosophical tradition after Plato is unable to present anything different than itself because it represents all things as the same: representation becomes, in the metaphorics of knowledge as visibility, the condition of the impossibility of presenting or knowing anything other than itself.	Irigaray&#8217;s specularly dialectic reading of Plotinus and Plato by way of Hegelian speculative dialectic shows discursive, philosophical representation to be reflectively attentive to itself and thus, and here is the point of Irigaray&#8217;s rehearsal of such dialectics, positioned precisely in the space of the nothing of self-representation. This &#8220;no&#8221; place that philosophical self-representation occupies, this &#8220;nothing&#8221; position, moreover, that philosophy inaugurates through its preferred figure of the analogy or metaphor, is the residual nothing of the text that codifies its self-representation. What cannot be folded into philosophical representation is the text as tympan, screen, or mirror onto which the dialectical self-representation of discursive thought projects itself. What evades philosophical representation as representation is the genuinely different. Yet, such un-representable difference is precisely what the philosophical text becomes at the dialectic hands of Plato, Plotinus, Hegel: the un-representable &#8220;excess&#8221; to philosophical representation.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It is for this reason, finally, that Irigaray engages the history of philosophy in the way she does, namely through mimesis of its textuality. It is for this reason that Irigray&#8217;s &#8220;interpretive rereading&#8221; of the history of philosophy is the rereading of the texts of that tradition. For, it is in repeating the tradition in its textuality that Irigaray gives expression to, without exposing to the metaphorics of knowledge as visibility, text as what exceeds philosophical, discursive representation. The more general conclusion Irigaray anticipates, and toward which the present work moves in close, is that without access-in excess-to the textuality of its own self-representation, philosophy as master discourse is foreclosed from the possibility of countenancing the particular fact of human, sexed subjectivity. In pursuing the more embracing implications of Irigaray&#8217;s engagement of the western, philosophical tradition, we are guided in a reading of Speculum back toward the psychoanalytic theory of sexed subjectivity with which the text begins.	At the limnal edge of Speculum, passing from the blind spot of Freudian psychoanalysis into the self-blindness of speculative dialectics, Irigaray announces: &#8220;All theories of the &#8217;subject&#8217; have always been appropriated to the &#8216;masculine&#8217;&#8221; (<em>Toute théorie du &#8217;sujet&#8217; aura toujours été appropriée au &#8216;masculin&#8217;</em>) (Irigaray 1985a, 136). Despite such a pronouncement, Irigaray&#8217;s mimetic engagement of the philosophical tradition in the middle sections of Speculum, her paired performance of speculative dialectics and the metaphorics of knowledge as visibility, in short, the actual text of the dissertation, all of this suggests a displacement of such subjective theorization from the center of &#8220;Speculum&#8221;. Toril Moi, for one, misreads the middle of &#8220;Speculum&#8221;, and in so doing collapses Irigaray&#8217;s two concerns into one. The project of mimicking the speculative dialectics of the philosophical tradition becomes synonymous with articulating an alternate theory of sexed, female subjectivity. Consequently, Moi puzzles over the possibility of an alternate subjectivity constituted from within a discursivity subject to the &#8220;inexorable logic of the Same&#8221;; a discursivity that characterizes the whole of the western philosophical tradition, mysticism included. If the logic of sameness is, in fact, inexorable, then &#8220;how can Luce Irigaray&#8217;s doctoral thesis escape its pernicious influence?&#8221; (Moi 1989, 138).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">To read &#8220;Speculum&#8221; in this way, to expect textual strands to follow one from another, or to expect claims to appear situated within a systematic argumentative progression, is to read Speculum as a phallo-logocentric text (or in a distinctly phallo-logocentric manner). To read in such a phallo-logocentric manner is, in one sense, to assume of texts a discreteness, unity, identifiability; it assumes that a clear demarcation might be drawn between what is text and what is non-text. Further, to read phallo-logocentrically is to treat texts as linearly coherent. On the basis of this assumption, the role that a particular textual strand is to play seems to be determinable by its location within the text. Irigaray frames Speculum against such phallo-logocentric assumptions of texts and textuality. She explains in her opening reply of &#8220;The Power of Discourse and the Subordination of the Feminine&#8221; (<em>Pouvoir du discours/subordination du féminine</em>) chapter of <em>This Sex</em>: &#8220;Strictly speaking, &#8220;Speculum&#8221; has no beginning or end. The architectonics of the text, or texts, confounds the linearity of an outline, the teleology of discourse&#8221; (<em>A strictement parler, il n&#8217;y a pas, dans &#8220;Speculum&#8221;, un début et une fin. L&#8217;architectonique du texte, des textes, déconcerte cette linéarité d&#8217;un projet, cette téléologie du discours</em>) (Irigaray 1985b, 68). Continuing, Irigaray provides a first indication of what reading otherwise might comprise.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">(W)e need to proceed in such a way that linear reading is no longer possible: that is, the retroactive impact of the end of each word, utterance or sentence upon its beginning must be taken into consideration in order to undo the power of its teleological effect, including its deferred action (<em>il convient de faire en sorte aussi que la lecture linéaire ne soit plus possible: c&#8217;est-à-dire que la rétroaction de la fin du mot, de l&#8217;énoncé, de la phrase, sur son début soit prise en compte pour désamorcer la puissance de son effet téléologique, y compris dans son après-coup</em>). (80)</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Rather than pressing the textual focal point of &#8220;Speculum&#8221; into service both to unfold the excess of traditional phallo-logocentric discursivity as well as to articulate a subjectivity that is genuinely other-even if Irigaray herself seems to recommend such a reading in announcing the problem of sexed subjectivity in the Plotinus section of the Speculum-the better tack to take is to re-contextualize Irigaray&#8217;s reference to subjectivity. Employing the model of a disruptive and reconfiguring textual hermeneutics Irigaray suggests, where linguistic occurrences serve &#8220;retroactive(ly)&#8221; to defer the &#8220;teleological effect&#8221; (<em>effet téléologique</em>) of the act of reading, a non-phallo-logocentric reading of &#8220;Speculum&#8221; drifts backward from its center to its beginning. Accordingly, the reader is enabled with the conditions for reading its opening Freud section only once she has arrived at its center.	Reading Speculum free of the presumptions of phallo-logocentric textuality, free, that is, of the coordinates of traditional hermeneutics and teleological inertia, the opening chapter on Freud appears as a mimetic, reflective engagement of Freud&#8217;s theory of female subjectivity. Such reflective mimicry, however, is deranging and deforming; Freud&#8217; theory is cast into the fragmented, disjointed mirror of textuality. Already noted, above, is the image of Freud that results from such distortion: the visible is privileged to the exclusion of the invisible female genitalia; the visible is privileged as well as to the exclusion of the &#8220;blind&#8221; analytic setting. Yet, it is just such invisibility that makes possible Freud&#8217;s privileging of the male genitalia, and it is just such analytic &#8220;blindness&#8221; that underlies Freud&#8217;s theoretical presumptions of scientific objectivity.	Having traversed, briefly, Irigaray&#8217;s central engagement of the master discourse of the western, philosophical tradition, we are able to characterize the &#8220;mirror&#8221; in which Freud is projected to such effect. Interestingly, it is the textuality of Lacanian psychoanalysis; such is the &#8220;mirror phase [le stade du miroir]&#8221; of Lacanian theory read back onto itself according to its own dialectical logic. The &#8220;asymptotic&#8221; approach Lacan identifies in the pre-discursively constituted ego&#8217;s movement toward &#8220;social determination&#8221; here becomes truly, &#8220;fictional&#8221; (<em>fiction</em>), and as such, &#8220;remain[s] irreducible for the individual alone&#8221; (<em>irréductible pour le seul individu</em>) (Lacan 2002, 4). The egoic development Lacan characterizes as a &#8220;temporal dialectic,&#8221; pushing a primitive subjectivity &#8220;precipitously from insufficiency to anticipation&#8221; (6), fails to encompass the &#8220;dialectic&#8221; constitution of the mirror in this crucial, early psychosexual stage of development. The always fantastical projection of subjectivity into a form other than it presently embodies must reflect not only the fantasy of the projector but the character of the screen onto which the film is run. Irigaray offers just this insight in mimicry of Lacan: &#8220;(We must) look into the status of the &#8216;exteriority&#8217; of this form that is &#8216;constituent (more than constituted)&#8217; for the subject, into the way it serves as screen to another outside (a body other than this &#8216;total form&#8217;)&#8221; (<em>Il convient donc de s&#8217;interroger sur le statut de l&#8221;extériorité&#8217; de cette forme &#8216;constituante&#8217; - plus que &#8216;constituée&#8217; - pour le sujet, sur ce en quoi elle fait écran à un autre dehors, un corps autre que cette &#8216;forme totale&#8217;</em>) (Irigaray 1985b, 117). The uninterrogated &#8220;exteriority&#8221; of the mirror stage, the &#8220;body&#8221; that is other to the subject&#8217;s projected total form, is the &#8220;screen&#8221; (<em>écran</em>) as text of philosophical, phallo-logocentric representation; this, again, according to the dialectic logic Irigaray finds insisted upon in such representation. If the fantastic, or fictional, projection of the Lacanian subject results from the fragmented screen constituted in the early mirror stage, and constituted in such a way that desire reflects back to the analyst as disjointed through fantasies and fictions, the meta-theoretical point Irigaray makes is, simply, that the same can be claimed for the relationship between the Lacanian text and the Freudian theory it disursively engages and interprets. Freudian psychoanalytic theory, particularly with respect to its theorization of feminine sexuality, is thus fictionalized, fragmented, and disjointed by the Lacanian text as the preeminent instance of its representation. <a title="" name="_ftnref6" href="#_ftn6">[6]</a> Consistent with a mimetic methodology, Irigaray&#8217;s retrieval of resources from Freudian psychoanalysis sufficient for, or at least suggestive of, a sexed subjectivity irreducible to discursive representation is thus nothing more than a retrieval of Freud through the disrupting text(s) of Lacan. Further, and in accordance with the reading here proposed of Irigaray&#8217;s specular rehearsal of discursive, speculative dialectics, Freudian psychoanalysis retrieved through Lacan&#8217;s text(s) is an essentially dislocated, non-situated theory. This follows naturally from the fact that text has been found to be the positionless excess to discursive representation. Accordingly, a theory distilled through the basic textuality of another&#8217;s work is itself in equal standing to that text, i.e., situated in the non-space of the text. In short, insofar as it is inherited in(to) the texts of Lacan, Freudian psychoanalytic theory is situated beyond the possibility of being situated.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Irigaray can thus answer inquiries into her relationship with psychoanalysis by replying that such questions are malformed: there is no inside or outside of such a theory; no positional standing is possible relative to what is itself non-situated. Positively, what this implies is that Freudian psychoanalytic theory refracted through the Lacanian text becomes for Irigaray the non-localizable site of the possibility of articulating sexed (female) subjectivity: &#8220;It is thus a matter of examining the texts of psychoanalytic discourse in order to read what they express - and how? - of female sexuality, and even more of sexual difference&#8221; (<em>Il s&#8217;agit donc d&#8217;interroger les textes du discours psychanalytique pour lire ce qu&#8217;ils énoncent - et comment? - de la sexualité féminine, et plus encore de la différence sexuelle</em>) (168). Note Irigaray&#8217;s focus in this programmatic remark: it is &#8220;the texts of psychoanalytic discourse&#8221; (<em>les textes du discours psychanalytique</em>) that must be attended to in order to &#8220;read&#8221; (<em>lire</em>) female sexuality and sexual difference. The emphasis Irigaray puts on textuality, accounts too for the distorted mimicry in the opening section of Speculum. If mimesis serves Irigaray in reflecting the contours of a theory, any distortions in the original insofar as it is textually inherited will simply be expressed in her mimeticization: the long, disfigured image Freud casts through the filter of the Lacanian text is mottled, and fragmented; Irigaraian mimicry does little more, as a mode of textuality, than reflect the distortion of one discursive representation in another. The promise Lacan&#8217;s textual inheritance of Freud carries for the Freudian theorization of sexed subjectivity is not, however, realizable within the non-space of &#8220;Speculum&#8221;. After all, in operating within the topological pull of philosophical discursivity and psychoanalytic theory, the text occupies a position too close to this problematic to realize another; this despite the fact that the problem of a differentiated, female sexed subjectivity is conditioned by the very success of navigating these discursive spaces. Irigaray attests, in the <em>This Sex</em>, to the insufficiencies of &#8220;Speculum&#8221;, making explicit the topological concerns pressed in the present essay: &#8220;But it is a reversal (&#8221;Speculum&#8221;&#8217;s reversal of the philosophical tradition) &#8216;within&#8217; which the question of the woman still cannot be articulated, so this reversal does not suffice&#8221; (<em>Renversement &#8216;à l&#8217;intérieur&#8217; duquel la question de la femme ne peut encore s&#8217;articuler, auquel on ne peut donc simplement se tenir</em>) (Irigaray 1985b, 68). Trained as the reader and interpreter of Speculum is to approach a text turned inside out, from its center backward, so a reader and interpreter is prepared to read different texts into one another; the opening section of one text aptly serves as the preface to another. And so, This Sex, inaugurated under the lesson learned that if a differently sexed subjectivity is articulable, or at least sketched in outline, it must be articulated &#8220;within&#8221; the non-positional space of the text. In the &#8220;Pouvoir du discours&#8221; chapter of <em>This Sex</em>, Irigaray voices this lesson in terms of &#8220;systematicity&#8221; (<em>systématicité</em>) and the need for her to avoid its lure. Here she explains that the &#8220;interpretive rereading&#8221; of the western philosophical tradition undertaken in &#8220;Speculum&#8221; is an &#8220;interrogat[ion of] the conditions under which systematicity itself is possible&#8221; (<em>interrogeant les conditions de possibilité de la systématicité elle-même</em>) (74). Because, as Irigaray argues, the systematicity manifest in the philosophical phallo-logocentric tradition depends upon reduction of &#8220;all others to the economy of the Same&#8221; (<em>réduire tout autre dans l&#8217;économie du même</em>) (74), a systematic account of differenced subjectivity would risk reducing that difference to the sameness inherent in traditional philosophical discourse.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Framing <em>This Sex</em> against the Lacanian inheritance of Freudian sexed subjectivity-announced in the reference of this sex &#8220;which is not one&#8221; (<em>qui n&#8217;en est pas un</em>) to the phrase &#8220;there is such a thing as one&#8221; (<em>il y a de l&#8217;un</em>) from Lacan&#8217;s Seminar XIX <em>Encore</em> - such textual framing allows Irigaray to essentially displace or decontextualize the work. Framing This Sex against the text of Lacan, after all, is a relative positioning of her work against what itself is without positionality; this follows from the reading lessons, and the attention to textuality, offered in &#8220;Speculum&#8221;.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Freudian psychoanalysis as a resource for articulating a positive conception of the materiality of sexed subjectivity makes sense only on condition of its Lacanian textual inheritance. Irigaray as theorist is finally able to realize this possibility only once she is freed from the homologous, discursive practices of traditional representation. What is carried forward, positively, out of the non-space of the philosophical tradition, and carried forward out of the atopique place of Freudian and Lacanian psychoanalysis, is the materiality of text. In close, it will suffice to note, briefly, the inheritance of this insight into Irigaray&#8217;s early psycho-linguistic attempts at articulating a female, sexed subjectivity. Against generalized, encompassing theories of subjectivity and sexuality, Irigaray insists on the distinctly particular; a theoretical &#8220;specificity&#8221; (<em>spécificité</em>), to employ the language Irigaray invokes in <em>This Sex</em> (69). Irigaray succeeds in such specificity, and in accord with her specular insight into the excessive materiality of the text, by introducing the idea of morphology, a term borrowed from formal structural linguistics to reference the basic materiality of terms. It is in the figure of the morpheme, and in its peculiar operations within language, that Irigaray finds a textual artifact capable of directing a specific theorization of sexed subjectivity. Moreover, in the linguistic figure of the morpheme Irigaray is able to tie such theory to the materiality of text she recovers from the phallo-logocentric tendencies of discursive thought and representation.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Morphology as treated in structural linguistics subsumes those characteristics of a language, symbolic system, or discursive practice generally, that resist formalization. Such resistance stems from the insignificance of these figures apart from their particular instantiations. As a morpheme, the suffix &#8220;-ate,&#8221; for example, is semantically diverse; in Freudian terms, we might say that the semantics of the morpheme is marked by meaning and its &#8220;vicissitudes (Schicksale).&#8221;  Thus, the appearance of &#8220;-ate&#8221; in suffix to &#8220;associate&#8221; and &#8220;situate&#8221; allows a language user to pair the terms by their basic materiality, leaving considerations of meaning aside. The reappearance of the &#8220;same&#8221; suffix now in the context of &#8220;concatenate&#8221; and &#8220;duplicate&#8221; functions in the same way to allow a language user to pair the terms solely along the lines of their material composition. Nested as morphemes are within the general language field, semantically and syntactically defined, while also resistant to full incorporation into such a field in being irreducibly material, the expectation is that Irigaray&#8217;s appeal to morphology will resonate through both the Lacanian symbolic register as well as with the Lacanian real as symptomatic of the basic material fact of sexed subjectivity. There is an indication of this first resonance in the 1977 essay &#8220;Women&#8217;s exile.&#8221;  Here, Irigaray writes of a &#8220;feminine language&#8221; that would &#8220;undo the unique meaning, the proper meaning of words, of nouns: which still regulates all discourse&#8221; (Irigaray 1977, 65). <a title="" name="_ftnref7" href="#_ftn7">[7]</a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">A &#8220;feminine language&#8221; resists the paradigm of univocal language to which phallo-logocentric discourse is committed. As such, a &#8220;feminine language&#8221; is pluravocal; it leaves open the meaning of terms and sentences and makes no claims to universalism or essentialism. After all, Irigaray asks rhetorically, &#8220;(a) language which presents itself as universal, and which is in fact produced by men only, is this not what maintains the alienation and exploitation of women in and by society?&#8221; (67). If Irigaray&#8217;s &#8220;feminine language&#8221; were to be discursively univocal and universal, it would perpetuate the &#8220;alienation and exploitation of women.&#8221;  The pluravocity of a &#8220;female language&#8221; (<em>la langue du femme</em>), with the French &#8220;language&#8221; (<em>langue</em>) allowed its play on both &#8220;language&#8221; and &#8220;tongue,&#8221; is an echo of the basic, material morphemes that circulate within it; slipping in significance, as they do, from particular instance to particular instance.	Hegelian negative dialectics as marginally retrieved in the text of Speculum is here instructive. Recall from above that in Hegel the relative negation of the absolute idea is only probably separated from the absolute negation that it itself is in its inaugural universality. Above, the little arithmetics of three equaling four were identified with the irreducible remainder of the text of philosophical representation. Now, in the figure of the morpheme, such textual remainder is given a more specific character. Further, the implications of a real, negative textuality can be traced in the morpheme through the material parts of words, sentences, and phrases.	A morpheme, in being semantically particular, is always open to alternate meanings: any one suffix might have been prefixed otherwise, leading thus to a different word and different meaning. In generating a representational body that cannot itself be represented, namely the text, but in insisting on its completeness in being able to fold everything into its representational scheme, the philosophical tradition of speculative dialectics leads the reader always on from the propositional content of its expression to the textual form in which that expression is recorded. Hegelian dialectic, in short, drives the reader from the phenomenology of spirit to the textuality of the <em>Phänomenologie des Geistes</em>. The morpheme as basic, irreducibly material unit of textuality, reduplicates this dialectical progression from expression to form, but with this difference: the morpheme in its particular materiality resists formalization; it exemplifies intra-textually what the text exemplifies relative to its discursive, representational content. In signaling the empty spaces, or the nothing, between terms - and, moreover, the nothing within terms - texts read morphologically show themselves to be productive, or generative. The materiality of texts, now construed morphologically, are capable of producing what is genuinely other in being irreducible to the homology of philosophical representation. Irigaray summarizes this whole argumentative trajectory, the whole topological study here conducted, in the following passage from &#8220;Speculum&#8221;:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Overthrow syntax by suspending its eternally teleological order, by snipping the wires, cutting the current, breaking the circuits, switching the connections, by modifying continuity, alternation, frequency, intensity. Make it impossible for a while to predict whence, whither, when, how, why&#8230; something goes by or goes on (<em>Bouleverser la syntaxe, en suspendant son ordre toujours téléologique, par des rupture de fils, des coupures de courant, des pannes de conjoncteurs ou disjoncteurs, des inversions de couplages, des modifications de continuityé, d&#8217;alternance, de fréquence, d&#8217;intensité. Que, pour longtemps, on ne puisse plus prévoir d&#8217;où, vers où, quand, comment, pourquoi&#8230; ça passe ou ça se passé</em>). (Irigaray 1985a, 142)</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"> If only &#8220;for a while&#8221; (<em>pour longtemps</em>), for the space, to be exact, of the morpheme, syntax is broken, economies of exchange short-circuited, and texts are deranged. Further, for a morphological moment, texts become productive; partial terms intimate other fragments that could possibly adjoin them and in so doing resist complete signification through their present form. In this regard, one is reminded in the moment of another reading lesson, the one Joyce offers in the person of Molly Bloom at the end of <em>Ulysses</em>. The unpunctuated, unspaced, and unsparing, torrent of text, as in Irigaray&#8217;s central specular mimesis of Plotinus, is a space within which terms slip one into the other, resist, and succumb to one another, a space in which words allow for recombination, and recreation: &#8220;I wouldnt mind feeling it neither would he Id say by the bullneck in his horsecollar I wonder did he know me in the box I could see his face he couldnt see mine&#8230;&#8221; (Joyce 1986, 610).	The touch of a &#8220;nice fat hand the palm moist,&#8221; Molly imagines on &#8220;the leg behind high up was it yes rather high up and was it where you sit down yes O Lord&#8221;: out with it, on her &#8220;bottom,&#8221; her ass (610); text as morphological compendium, allowing for the full expression of the basic materiality of language, the basic fact of the body, its sexuality. As Irigaray announces in the &#8220;Women&#8217;s exile&#8221; essay, &#8220;[w]e must go back to the question not of the anatomy but of the morphology of the female sex&#8221; (64). Here Irigaray echoes the Freudian insight offered in &#8220;Instincts and their Vicissitudes&#8221;: &#8220;If we now apply ourselves to considering mental life from a biological point of view, an &#8216;instinct&#8217; appears to us as a concept on the frontier between the mental and the somatic&#8221; (Freud 1957b, 121-122).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Freud is right to situate the &#8220;drives&#8221; (<em>Treiben</em>) at the threshold between the mental and somatic, he is right, that is, to dislocate drives from easy positioning within either of the two, dominant topographies. He is wrong, though, to suggest that the limnally situated drives are thereby addressed only from a biological vantage. Irigaray&#8217;s insistence on the discursive yet also material significance of morphemes acts as corrective to Freud&#8217;s reductive gesture, succumbing as it does to the homogenizing logic of phallo-logocentric discursivity and its blindness to the positionless effect of its own mode of representation.	We need, though, to keep live the double resonance Irigaray intends through the appeal to morphology. A morpheme acts for Irigaray in much the same way as does a Lacanian matheme; the latter occupying a dislocated position between the materiality of the real and the general discursive practices of the symbolic. Accordingly, a morpheme must direct us both to the basic materiality of words, their component, fragmentary segments and particles, as well as to the particularities of sexed subjectivity. Further, Irigaray must treat morphemes in just this double sense so that her theorization of sexed subjectivity and discursivity can be approached, sidelong, through the single linguistic structure of the morpheme. Without collapsing sexed subjectivity into the discursive practices through which it is constituted-or in terms of which it is theorized-while yet leaving open passage between the two registers, Irigaray turns in the &#8220;Women&#8217;s exile&#8221; essay to the relation of isomorphism.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">All Western discourse presents a certain isomorphism with the masculine sex; the privilege of unity, form of the self, of the visible, of the specularisable, of the erection (which is the becoming in a form). Now this morpho-logic does not correspond to the female sex: there is no &#8216;a&#8217; sex. The &#8216;no sex&#8217; that has been assigned to the woman can mean that she does not have &#8216;a&#8217; sex and that her sex is not visible nor identifiable or representable in a definite form. (Irigaray 1977, 64)</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The isomorphism referenced in the passage is that between masculine morphology and phallo-logocentric philosophical discourse. And yet, by characterizing the relationship as &#8220;isomorphic,&#8221; Irigaray disrupts its seeming confluence: morphology reduces to discourse only once its isomorphism with the latter is obscured through its discursive, i.e., philosophical, representation. &#8220;Self-representation&#8221; is for Irigaray a signal phrase for exposing, and thus insisting upon, the relationship between morphology and discourse, a relationship not of identity as discursive representation would have it but of isomorphism. Somewhat obscurely, Irigaray frames this matter wholly within the context of a sexed morphology in an effort, seemingly, to avoid the reduction of that context to mere anatomy. Reading Irigaray somewhat against herself at this point, it seems viable to hear in her concern with the traditional grounding of morphology in naturalist anatomy an implicit concern with the naturalist tendency in linguistics to presume that the significance of a term is given by the object to which the term refers. Understood as an anti-naturalist argumentative strategy against the discursive reduction of morphology (to, for example, anatomy), self-representation becomes for Irigaray a wedge between the discursive representation of subjectivity and the basic morphological fact of sexuality. While there are implications for the one component in the other-and here it is only possible to suggest that Irigaray&#8217;s terminological pairing of  the logos of morphos with the iso-morphism between sexed subjectivity and discourse situates her efforts relative to the Lacanian real insofar as it is diversified through the figure of the morpheme-what must be insisted upon is that Irigaray&#8217;s critical engagement of western philosophy&#8217;s phallo-logocentric model of knowledge is a matter of distinct concern apart from her constructive efforts to articulate a female morphology. If this is the case, and here is the main hermeneutic point of the present essay said at a slightly higher level of theorization, then the above question of Irigaray&#8217;s engagement of psychoanalytic theory can be answered only within the context of the latter, morphological, problematic rather than in the former, discursive one. To put the point slightly differently: what Irigaray realizes at this early juncture in her theorization of female, sexed subjectiviy, is that the very possibility of answering questions about theoretical positioning forecloses the further possibility of theorizing sexed subjectivity. It does not suffice to simply eschew the topological question of one&#8217;s theoretical position: the question must be rendered incoherent through a morphologically disfigured language. From here on, the task that remains to a reader and interpreter of Irigaray is to learn to hear and read differently; the reading lessons of &#8220;Speculum&#8221; and <em>This Sex</em> will carry us only so far into such a refiguring of text-/sex-uality.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>Notes:</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn1" href="#_ftnref1">[1]</a> The French phrase <em>tâche aveugle</em> contains a pun that eludes the English translation &#8220;blindspot&#8221;: <em>tâche</em> connotes a spot in the sense of a stain or blot as in the expression <em>tâche de sang</em>, a &#8220;spot (or) stain&#8221; of blood. Granting the play on words their full significance, Freud&#8217;s theory on feminine sexuality is thus the blind spot of the western philosophical tradition in theorizing the corporeal, fluid fact of embodied female sexuality, which comes to visualization in the stain of menstrual blood: Freud&#8217;s theory of feminine sexuality is, or at least contains, the unseen mark of what the tradition excludes.  A particular passage from the Hegel chapter of &#8220;Speculum&#8221; suggests a connection, at precisely this point, between Freud and Hegel: a connection it is the task of the present essay to pursue. Irigaray writes of the Hegelian dialectic, &#8220;[a]t the heart of the dialectic is hypochondria, melancholy.  It can be linked to a clot of blood, cruor&#8221; (Irigaray 1985a, 222).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn2" href="#_ftnref2">[2]</a> Toral Moi argues that Irigaray&#8217;s mimeticization in &#8220;Speculum&#8221; is, in fact, a multiple gesture involving a &#8220;theatrical staging of the mime,&#8221; in other words, &#8220;miming the miming imposed on woman&#8221; by patriarchal phallo/logocentric discourse (Moi 1989, 140).  This kind of double mimesis, Moi argues, effects an overdetermination of the dominant discourse through which its univocity (or logocentrism) is vitiated.  This reading of Irigaray&#8217;s mimeticization thus moves the strategy of &#8220;Speculum&#8221; close to Derrida&#8217;s deconstructive undermining of the tradition&#8217;s belief in the possibility of distinguishing univocity from equivocity.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn3" href="#_ftnref3">[3]</a> In the Greek &#8220;hysteria&#8221; under which Irigaray inscribes this section of &#8220;Speculum&#8221; we should here implicit recourse to, at once, the womb and its associations with the <em>koré</em> Irigaray treats earlier in the text as well as to Freud&#8217;s theory of hysteria as a distinctly womb-oriented, and thus female, psychosis.  The English translator of &#8220;Speculum&#8221; shares the related insight that throughout the section Irigaray puns, homonymously, on the French &#8220;antre&#8221; (cave, den), <em>ventre</em> (womb), and <em>entre</em> (Irigaray 1985a, 243n.).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn4" href="#_ftnref4">[4]</a> The present insistence on the importance of Hegel to the argument of &#8220;Speculum&#8221; is supported by Irigaray&#8217;s discussion of Antigone in the second section of the work. Insofar as Hegel&#8217;s reading of the <em>Antigone</em> tragedy in the <em>Phenomenology</em> is perhaps the best known (and most contentious) appropriation of the Euripidean text, Irigaray&#8217;s appeal to Antigone, as an exemplar of embodied female subjectivity, in the context of the philosophical tradition, should be taken as an indication of the significance of Hegel in this early work. &#8220;Speculum&#8221; is, in this respect, consonant with Irigaray&#8217;s later explicit turn to Hegelian thought (Cf. Irigaray 1993).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn5" href="#_ftnref5">[5]</a> Reading Irigaray through, or against, Hegel is increasingly common in the secondary literature (Cf. Elaine P. Miller, &#8220;Freedom and the Ethics of the Couple: Irigaray, Hegel and Schelling&#8221; <em>Philosophy Today</em> 2004 48(2), 128-147; Judith Butler, <em>Antigone&#8217;s Claim: Kinship Between Life and Death</em>, Columbia University Press, 2002; Stephanie Jenkins, &#8220;Listening to Antigone: Rewriting Sexual Difference in Hegel&#8221; <em>Dialogue</em> 2002 45(1), 1-10; Alison Stone, &#8220;Sexing the State: Familial and Political Form in Irigaray and Hegel,&#8221; <em>Radical Philosophy</em> 2002 113, 24-36; Tina Chanter, &#8220;Looking at Hegel&#8217;s Antigone through Irigaray&#8217;s &#8216;Speculum&#8217;,&#8221; <em>Between Ethics and Aesthetics: Crossing the Boundaries</em>, Ed. Dorota Glowacka. Albany: State University of New York Press, 2002, 29-48). However, rather than framing Irigaray&#8217;s engagement of Hegelian thought through the particulars of his treatment of <em>Antigone</em> in the <em>Phenomenology</em>, the present effort is to frame such an engagement more broadly in methodological terms: How, we might ask, is mimesis related to dialectic?  Taking up the question of the relation between Irigaray and Hegel at this general, methodological level serves indirectly to preserve the proximate distance between Irigaray and Lacan without collapsing that proximity into a definite positioning.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn6" href="#_ftnref6">[6]</a> Irigaray is close at this point to Derrida&#8217;s argument in &#8220;White Mythologies.&#8221; In the course of his argument, Derrida reveals the sun, which has served the western philosophical tradition as the figure through which its favored mode of analogical thought is mediated, to be itself resistant to analogical thought. Put differently, as the traditional condition of the possibility of metaphorics in general, the sun as non-metaphorizable, undermines the force of metaphor. In the language of the present essay, the metaphysical tradition is sun blind to alterity because the favored metaphorical trope of the sun can refer to nothing other than itself.  We might, accordingly, read Irigaray as concurring with Derrida as far as he goes, but extending the import of his conclusion to an ontology of real, material textuality (a textual ontology that anticipates and prepares the way for her theory of real, sexed subjectivity.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn7" href="#_ftnref7">[7]</a> It is necessary to phrase Irigaray&#8217;s conception of &#8220;feminine language&#8221; in hypothetical terms since presenting a theory of language would be antithetical to the pluravocity and openness of this alternate form of discourse.  While Irigaray is clearly employing this alternative form of discourse in her early texts, the result of that practice is in no way a formalized theory of &#8220;feminine language.&#8221;</font></p>
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		<title>Some Remarks on Marcel Duchamp   Alain Badiou </title>
		<link>http://www.lacan.com/symptom2/?p=39</link>
		<comments>http://www.lacan.com/symptom2/?p=39#comments</comments>
		<pubDate>Wed, 11 Jun 2008 03:50:54 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Alain Badiou]]></category>

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		<description><![CDATA[Author’s Bio
My departure point will be Andre Breton&#8217;s text, in 1922, consecrated to Duchamp in the fifth issue of the review Littérature. In this text, Breton writes: &#8220;Could it be that Marcel Duchamp arrives more quickly than anyone else at the critical point of ideas?&#8221; That says everything in a sense.
Synthetically, Breton attributes to Duchamp, [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana"><a href="http://www.lacan.com//bios.htm#badiou" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">My departure point will be Andre Breton&#8217;s text, in 1922, consecrated to Duchamp in the fifth issue of the review <i>Littérature</i>. In this text, Breton writes: &#8220;Could it be that Marcel Duchamp arrives more quickly than anyone else at the critical point of ideas?&#8221; That says everything in a sense.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Synthetically, Breton attributes to Duchamp, once more, the quality that everyone has attributed to him: an exceptional intelligence. This would be trivial if it was a psychological remark: But it is much more than that. What is in question, in fact, is a new relation between art and concept. That is, a form of transgression of romanticism. Call &#8220;romanticism&#8221; the theory of a space between the quasi-divine or<br />
sacred poetic intuition of the infinite, and the supposedly finite and sterile constraints of calculating rationality. In a totally .explicit manner, Duchamp is the hero of an art that ignores this space. Duchamp creates against the entire theory of inspiration and genius. He despises the category of taste that constitutes the unity of artistic action.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Two slogans are quite characteristic. Duchamp declares he made the &#8220;ready-made&#8221; &#8220;with no other intention except to discharge ideas&#8221;. And again: &#8220;I want to contradict myself in order to avoid conforming to my own taste.&#8221;</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">But Breton&#8217;s statement must also be taken in detail. It can be analyzed as five abstract moments.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2"> 1) Art has become a question of movement, of what we get to rather than the abolition of this &#8220;getting to&#8221; in a result closed in the idolatrous cult of the work of art. Art is only the trace of its own action.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">2) As a result the count procedures of movement are internal to art; slowness and speed of execution are pertinent parameters. There is an immanent link between art and number.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">3) Art treats a point of thought. The space-time it moves in, surfaces, supports, speed of execution, references, all this is the envelope in which the point of thought is both exhibited and subtracted. It is the locus of the point. The construction of the locus is toil, but this is so on order for the point to fulgurate.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">4) This point is critical in a dual sense. In the ordinary sense, because it criticizes in thought the idolatrous theory of art, that is, ordinary romanticism. Romanticism supposes the infinite transcendence as the horizon and aim of the finitude of art, it rejects the number and science to the outside of its sacred actiom, it intends to reveal, not one point, but the All. But the point is critical in another sense, the sense it has in mathematics and physics: a point at which there is a qualitative discontinuity, such that at this same point, there is indiscemibility between one state and another, which however differ absolutely every place else. Creating the locus at which anyone can reproduce the experience of such a critical point, and so of such an indiscemibility, would be the fundamental aim of art. At this point, we can say that the virtues of the conception of the infinite and of chance are exchanged.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">5) This critical point is the visitation of the idea in its contemporary artistic form. Art is pure idea. It is not, as in vitalism, cprporal energy establishing the embrace of percepts and affects. It is not the continuous and projective passage from the experienced <i>jouissance</i> of becoming to living thought. It is on the contrary the establishment of a locus, of course, material, spatial- temporal, but at which the separation of the idea is experienced, and the fact that it can only touch the surface, like a bird skims the sea.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">I return now to these five points one by one.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">1). Art has to become the trace of its own action. Art must be the place of its taking place. So, the work of art is self-sufficient. We must have art without any artist. Duchamp affirms the impersonality of artistic action. He argues against everything that brings into the becoming of the work the trace of a perceptive passivity. Everything he calls retinian art, which goes back according to him to Courbet, and includes the impressionists, the fauves and the cubists. He dreams of being totally absent from creation, of &#8220;cutting off his hands&#8221;. On the other hand, he gives detailed explanations of the process of the work. Fundamentally, he accompanies the object by the something like a users7 manual, that is, of its modes of fabrication. Information on the work. The year before his death, speaking of the &#8220;Grand Verre&#8221; (&#8221;The Bride Stripped Bare by her Bachelors, Even&#8221;), he explains that, in order to appreciate this work, it is absolutely necessary to follow the text he wrote, which is, he says, &#8220;a sort of diagrammatic or programmatic explanation of what can be seen on the Glass&#8221;.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">2). On the question of relationship between art and number, we can see that the fatal number, for Duchamp, is the 3. &#8220;The number three as three, for me is neither unity nor duality, the three is everything, the final end of numeration&#8221;. Or again: &#8220;One is unity, two is the double, and three is the rest&#8221;. Duchamp works on the relation between the infinite and space or spaces, that is to say dimensions. But the final space is always tridimensional. This is why he can say &#8220;millions do not count, the three fills the same role for me.&#8221;</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2"> 3) On the point of thought, whose work of art is the envelope, or the place. The correlation between the refusal of all post-romantic sensitivity and the chance for a point of thought is strongly present in Duchamp. There is for him an implacable rationalism turned against aesthetic idolatry. He goes so far as to say, in an interview of 1953, that when we &#8220;do things for the pure idea of functional reasoning, the idea of aesthetics disappears.&#8221;</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">What is the ready-made after all? It is the exposed, although totally commonplace, envelope of the pure thought of choice or selection, with no subjective adherence. The point of thought here is that this choice, cut out of the commonplace, creates a pure point of indistinction between the commonplace and the supreme. Of course, there is a superior irony with respect to the envelope. The object that envelops the point is particularly without particularity.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">(&#8221;Fontaine&#8221; seems to me with respect to this less convincing than the snow shovel or the bottle stand.)</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">Seeing it today hang from the ceiling of a museum and surrounded by pious reverence is comical. But the ascesis of Duchamp is there. Because the choice must be made without adhesion, it is not easy. Duchamp says he must find, in choosing the object, a &#8220;point of indifference of his own gaze&#8221;. The ready-made is the envelope of the point where thought is reduceed to a choice where we must find nothing, except choosing itself. The ready-made exposes the choice of the choice as a cut out of the commonplace. That is why its title is itself, its common name, and its situation a signature.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">The complex works of Duchamp proceed on the contrary by learned recollection, but with the same objective; there are only two of them: The &#8220;Grand Verre&#8221;, the great glass, whose the complete title is &#8220;la mariée mise a nue par ses célibataires même&#8221; &#8220;The Bride Stripped Bare by her Bachelors, Even&#8221; and &#8220;Étant donné, un, la chute d&#8217;eau, et deux le gaz d&#8217;éclairage&#8221;, soit &#8220;Given one the waterfall and two the Gas Light&#8221;. They are in fact installations, which already re-produce often, as elements, anterior productions. The envelope is here the result of an immense, very technical, work, and in the opinion of Duchamp himself, it is very boring. We have in them a sort of maniacal craftsmanship. But why? Let&#8217;s say for the moment: in order to exhibit a complexity whose exterior focal point is the point of the gaze. Do not forget that &#8220;The Bride Stripped Bare&#8221; is a gigantesque transparent; and on the contrary, &#8220;Given&#8221; is a baroque exhibition that is closed, and includes a terrible quartered nude and a blinking landscape that is seen through a hole in a door. The complexity is here the capture of the seeing, as the ready-made is the capture of the indifferent decision. The point is that the simple stupefaction of the gaze is made with respect to an envelope constituted by years of fastidious work. When Duchamp was asked why all this toil, why this tour dc force, he answered: &#8220;Because I didn&#8217;t want to do something simple.&#8221; As he explores the dimensions, Duchamp looks for the envelope of the point of thought in the simplest, the ready-made, but also in the most complicated, the synthetic installations, disposed in correspondence to the openness of transparency or the enclosure of the fantasy.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">4) On the critical aspect of the point. The center of thought is here discontinuity, or the point at which the same and the other are indiscernible. The &#8220;plastic&#8221; concept of this indiscemibility proposed by Duchamp in the 1930s is that of the infra thin. It is necessary, he says &#8220;to try to pass into the infra thin interval that separated two identical things.&#8221;</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2"> Obviously, we have here the foundation of the use of reduplication, of copies, of multiples, which constituted a major part of Duchamp&#8217;s reputation. The famous gesture by which he signed a copy or a miniature or a multiplication of one of his products, or even and above afll when they were done by someone other than himself, by apposing the famous inscription &#8220;certified true copy&#8221;. The infra thin is the exercise of the critical point as a point of minimal discontinuity; the point of discontinuity from the same to the other same. The new productive and reproductive thought must pass by this point.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">5) That the idea not be embodied by a work, by an oeuvre, but given in a separation that touches the surface. The idea is there, in the surface, but at the infra thin point that separates that being-there from itself. For example, the idea of chance is in the &#8220;Grand Verre&#8221; under the form of the impact of bullets made by a little cannon that shoots matches with a bit of paint. Duchamp shot nine shots, three times three, remark, and he then pierced the points of impact. The strategy here is to mark the surface by the Idea forever, but that the surface be accountable for this idea, without its becoming its generous body. It is touched by it, like one shouts &#8220;touche&#8221; in a game or a shooting gallery.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">So, yes, Duchamp went the fastest between 1912 and 1922, in ten years, in order to attain in the order of art the critical point of the idea. In reality, making the critical point of the idea the origin of art, in accordance with a de-romanticized and de-subjectivized line. Duchamp&#8217;s attempt is to reduce the work of art to the pure anonymous action (&#8221;art does not mean doing but acting&#8221;). A communist dream in its way, but indifferent to any politics. I quote Duchamp :&#8221;Art for me had died by the fact that, instead of being a singularized entity, it would be universal, a human factor in the life of people, each one would be an artist, but misrecognized as artist&#8221;.&#8221; Duchamp Rational form of the generic idea of the engulfment of art by ordinary life.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">There we are. But everything must be taken up again starting from three points, which are quite singular: These points work against the anonymous and democratic concept of the work of art. These three points open the door, for a new aristocratic and self-expressive notion of modern art.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">1) The decisive function of the refusal opposed to his work in Duchamp&#8217;s destiny. First, in 1912, the refusal of the great cubist canvas &#8220;Nude descending a stairway&#8221; by the Salon des Independants. This was the French refusal. Then, in 1917, the refusal or the dissimulation of the urinal entitled &#8220;Fountain&#8221; and signed R. Mutt, by the counsel of The Society of Independent Artists. This was the American refusal. These are crucial episodes. In 1968, Duchamp was an artist practically idolized by his peers and by the vanguard youth. But his rancor is still felt, when he declares: &#8220;Don&#8217;t forget that it never had any success until recently, very recently.&#8221; Behind his provocative and accomplidhed vision, Duchamp is a man.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">2) The function, not only of his signature, now unfailing even for copies very far off. But inscriptions or legends affected to ordinary objects as to complex compositions, in vivid contrast with the redundant names of the type &#8220;bottle stand&#8221; or &#8220;bicycle wheel&#8221; or even &#8221; The Big Glass&#8221;. Take for example &#8220;The Battle of Austerlitz&#8221;, which is a glass door. &#8220;The Breeding of Dust&#8221; (or: &#8220;The Dust Ranch&#8221;), &#8220;Why not Sneeze Rose Selavy&#8221; &#8220;Soigneur de gravité&#8221;, &#8220;In Advance of the Broken Arm&#8221;, and many others. All that is not at all abstract art. He projects the singularity of an art of poetic writing.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2">3) The function of eroticism, absolutely original and constant. The word &#8220;naked&#8221; is found everywhere. Or the thing&#8230; the three great  works, but also a great many other works. As well as the Virgin, the roguish puns (LHOOQ), the use of sperm, etc.</font></p>
<p align="justify"><font face="Verdana"><font color="#000000" size="2"> These three questions seem to converge towards something else that would be that any framing is polarized by a fantasized framing. And that eroticism is of the order of art, as the necessary other side of calculation. But that would be another story. The story — in the work of Duchamp — of the struggle between the abstraction of indifferent choice and the seduction of desire and images. But it is probably the contradictory destiny of the most important part of modern art.</font></p>
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		<title>Learning from Las Vegas  Johannes Thumfart </title>
		<link>http://www.lacan.com/symptom2/?p=64</link>
		<comments>http://www.lacan.com/symptom2/?p=64#comments</comments>
		<pubDate>Wed, 11 Jun 2008 03:26:49 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

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		<description><![CDATA[Se réorienter dans le penser
In architecture, Postmodernism has been characterized by the introduction of ornamental forms such as pillars and gables in the mere functional realm of modern building. As best described in Venturi&#8217;s, Izenour&#8217;s and Scott Brown&#8217;s Learning from Las Vegas, Postmodernism was loud, noisy and eclectic and was - just like Las Vegas [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font size="2" face="Verdana" color="000000"><b>Se réorienter dans le penser</b></font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">In architecture, Postmodernism has been characterized by the introduction of ornamental forms such as pillars and gables in the mere functional realm of modern building. As best described in Venturi&#8217;s, Izenour&#8217;s and Scott Brown&#8217;s Learning from Las Vegas, Postmodernism was loud, noisy and eclectic and was - just like Las Vegas - surrounded by an icy desert of whatever-ness and ignorance.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">When Alain Badiou chooses Plato as a guide through &#8220;the desert&#8221; (Deleuze) of postmodern thought, he surely engages a bit of postmodern historicism, as well. After the successful delocalization of Enlightenment (Foucault), Catholicism (Zizek), Rabbinsim (Derrida) Aristotelianism (Agamben), Baroque (Deleuze) and Japanese Samurai (Baudrillard), Plato may have been the last thing left to postmodern theory that hadn&#8217;t already been recycled.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">But Plato is a very peculiar recycled object, too. He especially claimed his truths to be unbound by any particular time and space, but to be universal. Due to this rejection of affixing his thinking to any particular historical period, Plato cannot really be used as a mere historic ornament within a postmodern context. He is way too modern for that. Because geometry and mathematics haven&#8217;t fundamentally changed since Plato, his dictum that no one who doesn&#8217;t know geometry should enter the academy is still scary to many, especially to postmodernists. Are geometry, mathematics and logics not the ontological enemies of postmodern theory, which is, conversely, based on différance, Ereignis (event) and Werden (becoming)?</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Although a pupil of Deleuze, Badiou knows mathematics, geometry and likes to argue with the theory of sets. Badiou&#8217;s series of lectures &#8220;Plato: For Today&#8221; is therefore not just the testimony of the &#8220;secret appointment&#8221; (Benjamin) between two great thinkers and mathematicians, but also a provocation. It is a provocation, foremost, of all for the postmodernists to whom Plato - founder of the academy and symbol of academic philosophy - has always and ever been the enemy No. 1. But Badiou&#8217;s reconsideration of Plato is not just a simple &#8220;patricide&#8221; within the allegedly &#8220;post-oedipal&#8221; (Deleuze) realms of Postmodernism. It also bears an extreme connection to his comments on contemporary politics. Therefore, when the critic Badiou says &#8220;Plato for today,&#8221; he means, in fact, &#8220;against today.&#8221; For Badiou, today, Plato&#8217;s philosophy signifies everything &#8220;that is not there,&#8221; and thus, the place where we should step to in order to &#8220;take measurement&#8221; anew. According to Badiou, a renaissance of Plato should contribute to the re-introduction of the notions of an objective end and an objective measure in contemporary society, where - as with Las Vegas - anything goes if, (and only if), it is measurable in terms of money.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">First of all, Badiou finds in Plato the antithesis to all philosophical approaches of the 20th Century by pointing out that Plato was the most attacked thinker during that period. Although the philosophies of the 20th Century might be various and their differences numerous, one could summarize the whole of 20th Century philosophy as different objections to Plato: The Vitalism of Bergson, Nietzsche and Deleuze defined the Becoming against the platonic idea; the analytical philosophy of Wittgenstein and Carnap based their language against the platonic idea; Marx contrasted social reality against the platonic idea; existentialists like Sartre and Kierkegaard declared the mere force of existence against Plato; Heidegger accused Plato of being the first in a long tradition of the &#8220;forgetfulness of being,&#8221; (Seinsvergessenheit), and he claimed the recovery of the procedural character of the Sein as his own. Today&#8217;s democratic philosophy claims Pluralism and the free play of opinions against the &#8220;totalitarian tendencies&#8221; of Plato&#8217;s political philosophy, especially as expressed in the Politeia.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">What connects all these different approaches to one another is their inconsistency, and especially the inconsistency of their objections to Plato. Reading Plato can, therefore, help to cultivate an understanding of the 20th Century philosophies&#8217; - whose values are as vague and fluctuant as Becoming (Nietzsche), Language (Wittenstein), Society (Marx), Existence (Sartre), Process (Heidegger), and Political Pluralism (Popper) - by helping to understand their point of objection.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The most obvious inconsistency might be inherent to Nietzsche&#8217;s philosophy of Becoming and its anti-Platonism. Badiou says that by fighting the stagnancy of the &#8220;platonic sickness,&#8221; Nietzsche&#8217;s Vitalism has turned into an &#8220;anti-platonic sickness&#8221; itself. The &#8220;static&#8221; platonic ideas that Nietzsche was fighting against are completely imaginative. It is Parmenides&#8217; concept that is much less flexible than Plato&#8217;s. Nietzsche seems to interchange the two. Badiou points out that in the &#8220;Sophistes&#8221; and the &#8220;Parmenides&#8221;, Plato, himself, fought against the static quality of the parmenidian concept of Being.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The most influential inconsistency is probably the analytical philosophers&#8217; Anti-Platonism. Wittgenstein and Carnap especially attacked Plato because of his granting an eternal and unchangeable status to mathematical objects. Badiou notes that the analytical project of reducing all properties of mathematical and other objects of formal language to mere conventions is still to be debated and that the analytical philosophers too quickly eliminated any idealistic concept of language. The Anti-Platonism of analytical philosophy must, therefore, be re-thought.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">It was Marx who dubbed Plato the &#8220;philosopher of the society of slaveholders.&#8221; In this platonic objection, Marx chose to follow Aristotle. This affiliation is not only obvious in Marx&#8217;s famous reprise of Aristotle&#8217;s rejection of monetary economics, but also in Marx&#8217;s general belief in the supremacy of the &#8220;natural&#8221; over the &#8220;artificial.&#8221; In his preference of Aristotle&#8217;s natural philosophy over Plato&#8217;s mathematical idealism, Marx completely overlooks the fact that it was Aristotle who legitimatized the slave-holder society by creating the figure of the &#8220;slave by nature&#8221; (<i>doulos physei</i>) and not Plato, who said nothing at all explicit on the problem of slaves.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">The democratic Anti-Platonism of today accuses Plato of being &#8220;totalitarian,&#8221; because it is an essential concern of Plato to take a step out of the plurality of the doxa (opinion) towards an absolute knowledge (episteme). The theorists of modern democracy do not acknowledge any possibility of an absolute scientific or objective truth. That disavowal is, of course, a very totalitarian concept of truth in politics and precisely the stance of the Sophists against whom Plato fought. By identifying themselves with the Sophists, who were lawyers and rhetoric teachers, democratic theorists completely exclude the ethic dimension of politics. But according to Badiou, that dimension of ethics is exactly what is necessary for a measurement of today&#8217;s political process. Otherwise, the only reliable measurement of today&#8217;s political and social circuity is money.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Badiou writes that today&#8217;s most important political and theoretical values - Becoming (Nietzsche), Language (Wittenstein), Sociality (Marx), Existence (Sartre), Process (Heidegger) and Political Pluralism (Popper) - can be identified by their differing forms of modern Anti-Platonisms. In addition to supporting an understanding of these paradigms&#8217; overwhelming power, the study of Plato today offers possibilities for opening up toward the absolute, impossible decisions, which must be made in the field of ethics. More extensively than fluxus, positivism, oversocialization, epistemic and moral nihilism, epistemic and moral relativism, and other discourses whose only aims are ongoing discourse, Plato can tell us, what &#8220;is possible, besides from that what is given,&#8221; according to Badiou.</font></p>
<p align="justify"><font size="2" face="Verdana" color="000000">Back to Las Vegas, that gem of postmodern architecture and metaphor for postmodern thinking, what Plato recycles is probably the desert itself. Imagine that: the reinvention of the desert as desert. Not an empty space, chora that - as Derrida once put it with Plato - &#8220;bears no property in order to take on any property.&#8221; Neither does Badiou dwell in Zizek&#8217;s &#8220;desert of the real.&#8221; Imagine Peter O&#8217; Toole in &#8216;Lawrence of Arabia&#8217; instead. When asked why he likes the desert, he answers, &#8220;Because it is clean.&#8221; That could be Badiou&#8217;s answer too.</font></p>
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		<title>Féminin singulier Saintes et exilées   Cristina Alvares </title>
		<link>http://www.lacan.com/symptom2/?p=47</link>
		<comments>http://www.lacan.com/symptom2/?p=47#comments</comments>
		<pubDate>Tue, 10 Jun 2008 17:50:51 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques-Alain Miller]]></category>

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		<description><![CDATA[Dans un de ses remarquables essais, Slavoj Zizek formule les coordonn&#233;es imaginaires de la position subjective masculine dans les sph&#232;res priv&#233;e et publique sous forme d&#8217;un carr&#233; s&#233;miotique.

                            [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana">Dans un de ses remarquables essais, Slavoj Zizek formule les coordonn&#233;es imaginaires de la position subjective masculine dans les sph&#232;res priv&#233;e et publique sous forme d&#8217;un carr&#233; s&#233;miotique.</font></p>
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<p>                                  <img src="http://www.lacan.com/perfume/alvares91.jpg" height="184" width="331" border="0">                                  </font></div>
<p align="justify"><font color="#000000" size="2" face="Verdana"> En haut, la certitude et la suret&#233; d&#8217;une place et d&#8217;une identit&#233; contrastent avec le d&#233;placement, l&#8217;activit&#233; et le risque d&#8217;en bas. Sur la gauche, substance et apparence sont repr&#233;sent&#233;es par deux figures de la f&#233;minit&#233;: la m&#232;re et la prostitu&#233;e  qui correspondent &#224; l&#8217;inscription du f&#233;minin dans l&#8217;espace priv&#233; (particulier) et dans l&#8217;espace publique (universel) respectivement. Il s&#8217;agit de l&#8217;id&#233;ologie misogyne qui identifie la femme hors de la maison et la prostitu&#233;e. Le sujet se situe &#224; droite, divis&#233; entre l&#8217;aventurier qui s&#8217;oppose &#224; la famille, repr&#233;sent&#233;e par la m&#232;re, dans la sph&#232;re priv&#233;e, et le h&#233;ros &#233;thique qui, en tant qu&#8217;homme de parole, incarne dans la sph&#232;re publique la consistance du contrat symbolique en contraste avec l&#8217;incons&#233;quence, l&#8217;instabilit&#233;, la superficialit&#233; et le leurre de la prostitu&#233;e. En tant qu&#8217;aventurier, le sujet quitte la maison familiale pour d&#233;couvrir le monde. D&#233;racin&#233;, il se d&#233;place tout le temps, il erre. Pensons &#224; Ulysse, Perceval, Lucky Luck. Dans le sch&#232;me h&#233;ro&#239;que, le sujet est toujours matricide en quelque sorte, car son d&#233;part lib&#232;re le d&#233;sir de l&#8217;inertie libidinale repr&#233;sent&#233;e par la substance maternelle (la jouissance incestueuse). De par cette d&#233;-substantialisation, le sujet du d&#233;sir se situe au-del&#224; de son identit&#233; particuli&#232;re (appartenance &#224; une famille, une nation, une culture) et se rapporte directement &#224; l&#8217;universel, c&#8217;est-&#224;-dire &#224; la structure signifiante en tant que telle. Il repr&#233;sente alors la loi symbolique.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Mais que devient le carr&#233; s&#233;miotique lorsque le sujet est f&#233;minin? Comment se situe une femme par rapport &#224; la sph&#232;re priv&#233;e et &#224; la sph&#232;re publique?</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Il est facile de relever dans toutes sortes de produits culturels (romans, feuilletons, cin&#233;ma, autobiographies), depuis le Moyen &#194;ge jusqu&#8217;&#224; aujourd&#8217;hui, des personnages f&#233;minins rebelles et errants, qui s&#8217;opposent &#224; ce que leur identit&#233; soit d&#233;termin&#233;e par la tradition comme appartenance &#224; un groupe social particulier (clan, tribu, lignage). Le motif du refus du mariage y joue un r&#244;le fondamental. Le mariage arrang&#233; et impos&#233; par la famille, selon les pratiques matrimoniales des soci&#233;t&#233;s pr&#233;-modernes, aussi bien du XII&#232;me que du XXI&#232;me si&#232;cles, est l&#8217;instrument crucial du confinement des femmes &#224; la place que la communaut&#233; leur r&#233;serve et qui est d&#233;termin&#233;e par leur r&#244;le dans la reproduction. La r&#233;duction de la fonction sociale des femmes &#224; l&#8217;immanence biologique de la maternit&#233; les confine alors &#224; la sph&#232;re priv&#233;e et cette rel&#233;gation sociale se traduit physiquement et logistiquement: la place d&#8217;une femme est la maison. Refuser le mariage signifie alors s&#8217;arracher &#224; la sph&#232;re priv&#233;e afin d&#8217;acc&#233;der &#224; la sph&#232;re publique, d&#233;velopper une action civique et politique, &#234;tre libre. Comme pour l&#8217;homme, ceci implique mobilit&#233;, d&#233;placement, errance, exil.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Les r&#233;cits hagiographiques du Moyen &#194ge poss&#233;daient une pr&#233;gnance id&#233;ologique comparable &#224; celle de la culture de masses d&#8217;aujourd&#8217;hui. Ils mettent en sc&#232;ne des jeunes filles qui d&#233;fient l&#8217;autorit&#233; paternelle plus ou moins ouvertement et violemment. La sainte peut casser les idoles de la religion pa&#239;enne profess&#233;e par le p&#232;re ou, moins bruyamment, refuser le mari choisi par le p&#232;re. Typiquement, l&#8217;acte de casser des idoles conduit au martyre, mais refuser le mariage conduit au d&#233;part. &#201;nimie, la princesse m&#233;rovingienne du VII&#232;me si&#232;cle, dont la vie a &#233;t&#233; &#233;crite en langue d&#8217;oc par Bertrand de Marseille au XIII&#232;me si&#232;cle, utilise le stratag&#232;me de la l&#232;pre non seulement pour faire fuir le fianc&#233;, mais aussi pour quitter la maison familiale &#224; la recherche de la source qui la gu&#233;rirait. Elle la trouve finalement tr&#232;s loin de Paris, dans un lieu sauvage1, et reste dans les parages, dans une sorte d&#8217;exil: sans famille, sans biens, sans confort, elle s&#8217;est d&#233;pouill&#233;e de son identit&#233; et de sa condition sociale et habite un <i>no man&#8217;s land</i> symbolique et culturel o&#249; elle n&#8217;existe que pour Dieu. La saintet&#233; repr&#233;sente bien, pour une femme m&#233;di&#233;vale, la seule forme possible de rapport direct avec la transcendance universelle du symbolique (Dieu) qui en fait un sujet d&#233;racin&#233;, vide de tout contenu particulier, sans attaches familiales, sans place dans la soci&#233;t&#233;, un pur sujet du signifiant qui n&#8217;appartient qu&#8217;&#224; Dieu. Or, tout comme Zizek le souligne, la condition du rapport direct du sujet avec l&#8217;universel (Dieu) est la n&#233;gativisation (abandon, trahison) de la famille, de l&#8217;espace priv&#233; et domestique, de ses lois et traditions qui composent le domaine du particulier. Et si le sujet masculin s&#8217;oppose &#224; la m&#232;re, le rapport de la sainte &#224; la famille passe in&#233;vitablement et prioritairement par le p&#232;re dont elle d&#233;fie le pouvoir au nom de l&#8217;Autre P&#232;re, le p&#232;re transcendant et invisible, purement symbolique: Dieu. Mais ceci ne signifie point que la m&#232;re n&#8217;y soit pour rien, puisque c&#8217;est justement en tant que m&#232;re que la femme appartient &#224; la famille patriarcale et occupe une place dans la communaut&#233;: &#8216;elle y est toute&#8217;, comme dit Lacan. Souvent la m&#232;re est plus s&#233;v&#232;rement et formellement engag&#233;e que le p&#232;re dans la perp&#233;tuation des valeurs et traditions du groupe, notamment la morale sexuelle. C&#8217;est pourquoi la r&#233;sistance de la fille &#224; la d&#233;cision paternelle tue aussi la m&#232;re. En effet, la figure du matricide n&#8217;a rien &#224; voir avec un suppos&#233; passage du matriarcat au patriarcat mais tout simplement avec l&#8217;arrachement du sujet &#224; l&#8217;ontologie familiale, op&#233;ration n&#233;cessaire &#224; sa constitution au champ de l&#8217;Autre comme sujet du d&#233;sir.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Si la sainte m&#233;di&#233;vale est une exil&#233;e, l&#8217;exil&#233;e de notre temps n&#8217;est pas une sainte. Les femmes exil&#233;es d&#8217;aujourd&#8217;hui viennent fr&#233;quemment du Tiers-Monde et m&#232;nent une importante activit&#233; politique et civique dans les pays occidentaux o&#249; elles habitent. Elles se r&#233;clament ath&#233;es, la&#239;ques et des Lumi&#232;res. C&#8217;est le cas d&#8217;Ayaan Hirsi Ali, la d&#233;put&#233;e hollandaise d&#8217;origine somalienne qui, rejetant la d&#233;cision paternelle concernant son &#233;poux, est rest&#233;e en Hollande au lieu de poursuivre son voyage jusqu&#8217;au Canada pour rejoindre le mari impos&#233;. Aux yeux de sa famille, de son clan et de son mari, elle les a tous d&#233;shonor&#233;s et trahis. Mais Ayaan ne voulait tout simplement pas &#234;tre une unit&#233; dans une vaste ruche (Hirsi Ali, 2007:187). La m&#232;re qui lui tourne le dos au moment du d&#233;part et la lettre hostile qu&#8217;elle re&#231;oit du p&#232;re quelques mois apr&#232;s &#234;tre arriv&#233;e en Hollande marquent la rupture d&#8217;Ayaan avec les valeurs et lois de sa culture et de sa famille. Mais le geste le plus symbolique est celui de remplacer son nom de famille, c&#8217;est-&#224;-dire le nom du p&#232;re, Magan, par un autre, Ali, qu&#8217;elle a indiqu&#233; aux autorit&#233;s hollandaises pour &#233;chapper au clan. Le nom Ali marque sa nouvelle identit&#233;, cr&#233;&#233;e &#224; partir de l&#8217;ind&#233;termination radicale du sujet exil&#233;.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Chahdortt Djavann est une iranienne exil&#233;e en France depuis 1992. Outre deux essais o&#249; elle prend parti contre le port du voile, Djavann a &#233;crit trois romans. Dans Comment peut-on &#234;tre fran&#231;ais? (2006) elle raconte dans quelles circonstances Roxane a quitt&#233; son pays et est venue en France. La trahison de la famille commence par un projet de trahison linguistique amorc&#233; pendant l&#8217;enfance:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"> Le s&#233;jour de la famille de l&#8217;oncle Sam a boulevers&#233; ma vie, et nous voil&#224; au coeur du sujet. Il m&#8217;a permis de comprendre les avantages qu&#8217;il y avait &#224; ne pas comprendre la langue de sa famille! Comme il &#233;tait d&#233;j&#224; trop tard pour que je ne comprisse pas le persan, je me suis dit que, quand je serai grande, j&#8217;irai moi aussi &#224; l&#8217;&#233;tranger, loin, et apprendrai une autre langue. Comme &#231;a, personne, dans ma famille, ne me comprendra (p.191).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"> L&#8217;abandon de la famille se mat&#233;rialise dans l&#8217;absence de la fille aux les fun&#233;railles du p&#232;re, d&#233;c&#233;d&#233; le jour m&#234;me de son d&#233;part. La cause de sa fuite n&#8217;est pas exactement le mariage forc&#233; mais l&#8217;intensification obsc&#232;ne et sinistre de celui-ci sous la forme du viol: Roxane avait subi un viol collectif de la part des gardiens de la r&#233;volution islamique, elle en est tomb&#233;e enceinte et est partie &#224; Istambul pour avorter. Deux ans plus tard, elle a pu acheter un billet d&#8217;avion pour Paris. L&#8217;irr&#233;versibilit&#233; de l&#8217;exil correspond au d&#233;sir radical de s&#8217;arracher &#224; la langue maternelle pour refaire son &#234;tre en prenant racine dans la langue fran&#231;aise. Son apprentissage de la langue a une vis&#233;e ontologique. Comment peut-on &#234;tre fran&#231;ais? En parlant fran&#231;ais. Elle veut s&#8217;arracher au sol linguistique et culturel iranien, ce monde abhorr&#233;, s&#8217;&#233;manciper de la langue de sa famille, faire peau neuve, &#234;tre pleinement fran&#231;aise par la langue. Pour bien apprendre la langue &#233;crite, Roxanne &#233;crit des lettres &#224; Montesquieu qu&#8217;elle appelle &#8220;son cher g&#233;niteur&#8221;, tout en s&#8217;identifiant avec le personnage homonyme des <i>Lettres persanes</i>. C&#8217;est l&#8217;op&#233;ration symbolique cruciale: Roxane remplace le p&#232;re biologique par Montesquieu, p&#232;re dont le nom symbolise les Lumi&#232;res et ses valeurs rationnelles, universelles et la&#239;ques. Roxane aime le fran&#231;ais en tant que langue de l&#8217;universalisme la&#239;que, cet espace de la <i>polis</i> o&#249; tout un chacun se trouve &#233;vid&#233; des particularit&#233;s culturelles, religieuses, ethniques, g&#233;n&#233;riques, pour &#234;tre consid&#233;r&#233; dans sa singularit&#233; radicale de sujet.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Examinons maintenant l&#8217;autre vecteur du carr&#233; s&#233;miotique, celui concernant la position du sujet dans la sph&#232;re publique. En tant que repr&#233;sentant de la loi symbolique, le sujet masculin a affaire &#224; la prostitu&#233;e, figure de l&#8217;apparence et du leurre. Mais le sujet f&#233;minin ne peut pas occuper la m&#234;me position. Le h&#233;ros se situe sur la droite du carr&#233;, entre Sujet et Essence, mais l&#8217;h&#233;ro&#239;ne, tout en occupant la place de Sujet dans son opposition &#224; la Substance, ne peut pas occuper la position d&#8217;Essence contre l&#8217;Apparence. Ceci impliquerait que &#8216;La femme&#8217; existe et il n&#8217;y aurait aucune diff&#233;rence entre les carr&#233;s masculin et f&#233;minin. Le sujet f&#233;minin doit donc occuper la place de non-essence. Or, qu&#8217;est-ce qui s&#8217;oppose &#224; l&#8217;Essence, c&#8217;est-&#224;-dire &#224; la consistance du symbolique, &#224; la positivisation de l&#8217;universel, et qui n&#8217;est pas de l&#8217;ordre de l&#8217;Apparence? Des femmes qui sont devenues abbesses, d&#233;put&#233;es, &#233;crivaines, ne sont pas des s&#233;ductrices qui d&#233;tournent le h&#233;ros du droit chemin pour le m&#233;tamorphoser en cochon ou l&#8217;immobiliser dans le Val sans Retour, bref pour &#233;touffer son d&#233;sir dans la jouissance. Au contraire, l&#8217;&#233;thique est maintenant du c&#244;t&#233; f&#233;minin et se manifeste comme r&#233;sistance &#224; l&#8217;appropriation du sujet par le symbolique. Ce qui s&#8217;oppose &#224; l&#8217;Essence n&#8217;est donc pas l&#8217;Apparence mais l&#8217;inconsistance de la <i>pastoute</i>. Ce qui s&#8217;oppose &#224; la droiture de la loi, ce n&#8217;est pas le leurre imaginaire mais le r&#233;el qui la fait d&#233;faillir. Il ne s&#8217;agit pas tellement d&#8217;un regard cynique qui d&#233;noncerait les int&#233;r&#234;ts priv&#233;s cach&#233;s sous de grands projets universaux, qui ne croirait pas &#224; la loi mais seulement &#224; la jouissance. Si cela &#233;tait le cas, les femmes ne feraient plus que ramener l&#8217;universel au particulier (le social au domestique) et revenir &#224; la famille, apr&#232;s l&#8217;avoir quitt&#233;e pour s&#8217;&#233;lever &#224; la dimension de l&#8217;au-del&#224;. Un tel parcours en cercle vicieux s&#8217;&#233;noncerait: une femme s&#8217;&#233;loigne de la m&#232;re pour revenir occuper sa place.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Mais en fait, la <i>pastoute</i> s&#8217;oppose &#224; la loi symbolique comme le singulier s&#8217;oppose &#224; l&#8217;universel. Le particulier est cat&#233;gorisable mais pas le singulier, ce qui explique pourquoi les femmes constituent un ensemble ouvert, un univers infini, qui objecte &#224; la tendance du symbolique &#224; se totaliser. La <i>pastoute</i> se trouve ainsi en opposition diagonale avec le tout-symbolique qui fige la droiture de la loi en imp&#233;ratif surmo&#239;que. Le point de vue non-misogyne, qui n&#8217;identifie pas la femme libre avec la prostitu&#233;e, focalise une dimension du symbolique diff&#233;rente de celle qui permet au sujet de se  d&#233;marquer de la particularit&#233; de la culture familiale et d&#8217;acc&#233;der &#224; l&#8217;universel. Il s&#8217;agit de la dimension omnivore du symbolique qui prend la forme obsc&#232;ne et f&#233;roce de la loi phallique dont l&#8217;&#233;rection ne d&#233;faille pas (&#233;quivalence du surmoi et de la jouissance du p&#232;re de la horde). Parce que leur jouissance &#224; elles ne s&#8217;&#233;puise pas dans la jouissance phallique de Toutom, parce que leur sexualit&#233; n&#8217;est pas toute drain&#233;e par le phallus, les femmes sont en position d&#8217;objecter &#224; l&#8217;appropriation symbolique de la subjectivit&#233;.</font></p>
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<p>  <img src="http://www.lacan.com/perfume/alvares92.jpg" height="161" width="331" border="0">  </div>
<p align="justify"><font color="#000000" size="2" face="Verdana"> L&#8217;histoire d&#8217;&#201;nimie tourne autour de l&#8217;appropriation symbolique du sujet. Le rapport direct d&#8217;une femme avec Dieu n&#8217;est pas une situation que l&#8217;&#233;glise puisse tol&#233;rer. Elle intervient alors pour m&#233;diatiser ledit rapport au moyen de ses propres structures hi&#233;rarchiques et infrastructures logistiques. Devenant abbesse, &#201;nimie est enferm&#233;e dans le clo&#238;tre et soumise &#224; l&#8217;&#233;v&#234;que. Elle meurt peu de temps apr&#232;s. C&#8217;est justement apr&#232;s la mort d&#8217;&#201;nimie qu&#8217;il est &#233;norm&#233;ment question de sa place. Quelle institution doit avoir la garde de ses reliques: la Monarchie ou l&#8217;&#233;glise? Or, les nonnes r&#233;sistent aux grands projets des hommes, aussi bien celui du roi Dagobert de proc&#233;der &#224; la translation (le) du cercueil de sa soeur &#224; Saint-Denis, que celui de l&#8217;&#233;glise de r&#233;v&#233;ler les reliques et de faire du monast&#232;re un lieu de  p&#232;lerinage. Comment les nonnes ont-elles fait &#233;chouer les deux projets? En se taisant. &#201;nimie avait fait promettre aux nonnes de garder secret du lieu de son cercueil, sans nom, cach&#233; dans la pierre dure et ainsi soustrait au signifiant. De par la localisation impossible du cercueil figure l&#8217;inconsistance du symbolique, il manque un signifiant, un nom: S(<s>A</s>). C&#8217;&#233;tait sa strat&#233;gie pour limiter l&#8217;appropriation symbolique et institutionnelle de son corps. Le secret est mort avec les nonnes. Ce que Dagobert ram&#232;ne &#224; Saint Denis c&#8217;est le cercueil de la filleule d&#8217;&#201;nimie qui portait le m&#234;me pr&#233;nom. Quant &#224; l&#8217;&#233;glise, il lui faudra recourir aux comp&#233;tences visionnaires d&#8217;un moine pour d&#233;couvrir l&#8217;endroit o&#249; le cercueil &#233;tait cach&#233;. Apr&#232;s quoi, les nonnes disparaissent et il n&#8217;y aura qu&#8217;un monast&#232;re masculin. Mais &#201;nimie a quand m&#234;me r&#233;ussi &#224; ne pas revenir au sol familial qu&#8217;elle avait quitt&#233; irr&#233;versiblement: elle ne voulait pas &#234;tre enterr&#233;e en France, elle voulait rester sur son lieu d&#8217;exil et de libert&#233;.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>Bibliographie</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Bertrand de Marseille, <i>La vie de Sainte &#201;nimie</i>, ed. Clovis Brunel, Paris, Champion, 1970.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Djavann, Chahdortt, <i>Comment peut-on &#234;tre fran&#231;ais?</i>, Paris, Flammarion, 2006.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Hirsi Ali, Ayaan, <i>Infidel</i>, NY, London, Toronto, Sydney, Free Press, 2007.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Zizek, Slavoj, <i>Metastases of Enjoyment</i>, London, NY, Verso, 2001.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Art: Tanyth Berkeley, <i>Grace for Cyberspace</i>, C-print, 2006.	</font></p>
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		<title>Heidegger and Lacantheir most important difference   Janne Kurki </title>
		<link>http://www.lacan.com/symptom2/?p=44</link>
		<comments>http://www.lacan.com/symptom2/?p=44#comments</comments>
		<pubDate>Mon, 09 Jun 2008 07:24:55 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques Lacan]]></category>

		<category><![CDATA[Martin Heidegger]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=44</guid>
		<description><![CDATA[
This paper presents only one main proposition: the most important difference - a kind of founding difference - between Heidegger and Lacan is formed by the question of science and the related theme of the formalization of language. This founding difference between them induces, in a way, all the other differences between them. The reader [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana"><br />
This paper presents only one main proposition: the most important difference - a kind of founding difference - between Heidegger and Lacan is formed by the question of science and the related theme of the formalization of language. This founding difference between them induces, in a way, all the other differences between them. The reader is supposed to be familiar with their writings, at least in general, and, thus, I focus on abstracting this difference in order to make it evident.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It has to be noted that this difference between Heidegger and Lacan lives on in the articulations of their heirs: thus, for example, Jacques Derrida and Jean-Luc Nancy have inherited clearly a kind of Heideggerian position within this &#8220;debate&#8221; (which was never explicitly debated), <a title="" name="_ftnref1" href="#_ftn1">[1]</a> where as, for example, Alain Badiou seems to speak up for a kind of Lacanian position, as have done many other French thinkers, like the late Louis Althusser. In other words, by explicating this difference between Heidegger and Lacan we explicate an important question area of contemporary Continental thought. In fact, my bold claim is that if we do not conceptualize this problem properly, we miss the central point of gravity of contemporary thinking.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>The Question of Science</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">For Heidegger, all sciences belong to and continue the metaphysical tradition of forgetting the question of the being of beings. For Lacan, every proper science means a break against, within and in regard to the metaphysical tradition of philosophy. From a Heideggerian perspective, Lacan is unable to see the metaphysical implications and presuppositions of all the sciences. From a Lacanian perspective, Heidegger&#8217;s interpretation of a science is, in the end, naive and totalitarian. In other words, Heidegger includes all discourses into the totality formed by the history of the question of (the meaning of) the being of beings. Besides this, Heidegger includes all sciences into a homogenic and homological group, the totality of science, which seems to be, not only a coarse judgment, but also simply a totally blind and incompetent misjudgment. In Lacanian jargon, this means that Heidegger himself presupposes the Other of the Other: for Heidegger, the question of the being of beings functions, in the last analysis, as the Other of the Other criticized by Lacan. For Lacanians, what is radical in sciences is their ways of constructing discourses through formalized languages, not some determined &#8220;scientific&#8221; proposition. This is why Lacan stresses again and again that psychoanalysis is a science, and not only whatsoever science, but the science of the subject of science. The subject psychoanalyses studies is the subject of signifiers approached formally as signifiers, without their signified. Psychoanalysis as Lacan sees it became possible only after scientific revolutions. From this perspective, psychoanalysis is always secondary in regard to scientific revolutions.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Heidegger rejects sciences and the formalization of language; instead, he returns to the poetry, especially to Hölderlin, and to the times when philosophy was still immersed within poetry, namely to the pre-Socratic thinkers. Neither Lacan nor Badiou has denied the importance of this return or the importance of what took place in Greek philosophy before, with and after Plato. However, the way in which both Lacan and Badiou construct their discourses makes their commitment to explication through formalization pretty clear: after mathematicians, Newton, Marx, Darwin, Einstein etc. the Heideggerian return means, in the end, from the perspective of constructing discourses of thinking, degeneration, not regeneration. From this perspective, the only thing shared by sciences is the explication and abstraction through formalization.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>The Formalization of Language</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Thus, the question of science and the question of formalization of language are, in a way, the parallax of the &#8220;same&#8221; problem: they form the two sides of Moebius strip. The question of science deals with the revolution in the ways and the rules according to which we claim something about the presence. The question of the formalization of language deals with the conditions we lay down for the systems of differences within which these claims are articulated. In other words, the question of science names the modern problem of relating oneself to presence, and the question of the formalization of language names the modern problem of relating oneself to absence.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">To be frank, there are certain moments in Heidegger&#8217;s writings when he himself turns toward formalization of his language, for example, when writes the being of beings as <em>Sein</em> and when he demands that <em>Dasein</em> should be written as <em>Da-sein</em>. However, these exceptions are really exceptions and they are clearly against the overall tendencies of Heidegger&#8217;s discourse. In Lacan, the formalization is an on-going and, in fact, increasing tendency from the fifties to the eighties. The topological objects and knots are nothing but the crystallization of this tendency: whereas still in the <em>Seminar XI</em> Lacan states that his formalizations are something we need to support our discourse due to the impotence of our thinking, during his knot era he states explicitly that the formalization itself, namely the knot, is the real.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">It has to be noted, however, one thing: the formalization of language takes place always within a situation. Thus, the language to be formalized is always specific to that situation. For example, Lacan formalized the theoretical language of psychoanalysis, Newton formalized the language of physics etc. It is ridiculous to formalize natural languages that are used in the endless number of situations (which means, of course, that the contemporary so called &#8220;analytic philosophy&#8221; is ridiculous, from the hard-liners like Quine to the soft-liners like Putnam and Rorty, including the Finns Jaakko Hintikka - referred by Lacan himself, too - and Georg Henrik von Wright).</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>Conclusions</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">All this has certain consequences of which I present two:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">1) First of all, a Lacanian thinker should never miss or deny the importance of sciences. This does not mean blind obedience to all kinds of discourse presenting themselves as science, on the contrary: from this perspective, there are sciences only on and of the presence and every science aims at the formalization of its language. Thus, for example, didactics or psychology are not and will never be sciences. Similarly, natural sciences can never say anything about meanings: you can use the best possible functional magnetic resonance imaging for observing what takes place in the brain of a speaking being, but you will never catch any meanings but only biological processes within the brain.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">2) Secondly, the formalization of language is, however, partly independent of the question of science. For philosophy - which is not and will never be a science - the formalization of language forms the supporting guideline, the way to abstract and explicate its articulations.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In order to argue for the formalization within philosophy and the independence of sciences from metaphysics, I present &#8216;The Logic of Monogamy&#8217;. It is, on the one hand, a continuation of Lacanian theories; and, on the other hand, a withdrawal through formalization from a certain part of Freudian heritage of psychoanalysis, from the part that does not recognize the independence of sciences from philosophical speculations.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>The Logic of Monogamy</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>Introduction</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In <em>Ils se marièrent et euront beaucoup d&#8217;enfants</em> (France, 2004), the director Yvan Attal introduces three men who are friends and whose relations to women differ from each other: the first one is married and without a lover (and his marriage seems to be an endless hell); the second one is married, but he has also a lover (and this arrangement does not seem to be an easy solution either); and the third man is a steady bachelor and he has an endless series of women, besides which he becomes a father during the story. The theme is expressed explicitly: whether to devote oneself to one woman or to the possibility to have all the women - and whether to bind oneself to this opposition (one &#8220;realized&#8221; woman vs. all the possible women) or to break this logical division with, for example, a lover. In other words, it is a question of the logic of monogamy and the nature and necessity of this logic. All this is softened by humor that partly veils the severity of the skeleton of the film, but not too much: this is a question that touches everybody living in monogamy, like the most of Western people and the most of women in the Moslem nations do.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Essential broadening to this setting is brought about by the question of children, for it is the birth of new human life that reorganizes the logic of monogamy as if from the inside of this logic. With the birth of a new human being, the black and white setting of one &#8220;realized&#8221; vs. all the possibilities has to be transformed into a system with more nuances.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Because I am interested in the logic of monogamy, I will put into the brackets the problem of sex as the oppositions between a man and a woman and between homosexuality and heterosexuality. My bold statement is that, for the logic of monogamy, the sex (as articulated by the oppositions man/woman and hetero/homosexuality) is, in the end, irrelevant. The central logical terms of the logic of monogamy include: one, all, possible, realized, but/except, all-but/except and one+third. For all of these, the sex is insignificant.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>One realized vs. all the possible ones</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The love for one has, no doubt, its biological background. This biological background is not, however, central for the pure logical approach, for the place of biology is, in regard to the logic of monogamy, the place of mythology. In other words, one cannot solve biological/mythical problems with the logic of monogamy. In any case, everybody who has lived or worked with the babies knows that for a baby its relationship to its first caretaker - in many cultures usually to its mother - is a special one and nobody is equal to the mother in baby&#8217;s eyes. This is a fundamental empirical fact, not a logical one. As noted, this empirical fact functions, no doubt, also as the mythical root of monogamy, but exactly because of this, it is irrelevant for the logic of monogamy.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In a monogamy that functions in both ways (both sides of a pair are devoted fully to their partner), it is a question of giving to the other an exclusive love/sexual enjoyment. What is central for the logic of monogamy is the setting determined by this exclusiveness: on the one side is my chosen one/the one who has chosen me, this one and only, this realized relationship within which sexuality is practiced, included and narrowed; on the other side are all the possibilities (including this one that, on the other side, excludes all the other possibilities). In other words, there is the opposition between the in-principle-determined-and-realized-but-non-transparent &#8220;one&#8221; that is more than a possibility and the almost-totally-non-determined &#8220;all the possibilities&#8221;:</p>
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<img src="http://www.lacan.com/perfume/kurki91.jpg" border="0" width="400" height="161" align="center">
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<p><em><span style="font-family: Georgia, 'Times New Roman', Times, serif;">Schema 1: The founding logical opposition of monogamy</span></em></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>But/Except</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">However, the actual logic of monogamy is not as simple as the above-presented founding opposition. On the both sides, there appears usually - and, again, this is an empirical, non-logical fact that, in all its non-logic is, however, the very condition for the continuation of monogamy - a special &#8220;but/except&#8221;. On the side ruled by the one that is more than a possibility, there appears often, even if not always, another than the one, namely the third one of the couple: the child. The side that is ruled by all the possibilities is determined, on the other side, by a central factor that limits these possibilities: the prohibition against incest. Thus, the one that is more than a possibility becomes &#8220;one+third&#8221;, and all the possibilities become &#8220;all-except&#8221;:</p>
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<img src="http://www.lacan.com/perfume/kurki92.jpg" border="0" width="371" height="209" align="center">
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<p><span style="font-family: Georgia, 'Times New Roman', Times, serif;"><em>Schema 2: The buts/excepts of the founding opposition of monogamy</em></span></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">In fact, monogamy can go on only through these buts/excepts of its founding opposition: only if the pair gives birth to the third one can the humankind, empirically, exists in the future, and only if the children do not marry their parents can a monogamy exists (for, in a traditional monogamy, the father and the mother are already engaged and not free to be chosen). Of course, these two buts/excepts are logically dependent on each other and together they form the non-logical excess of monogamy - around which monogamy is structured.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>Conclusions</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Thus, I have presented the logic of monogamy, based, not on the sex, but on the logical terms. In other words, the logic of monogamy is, as such, independent of the sex. The questions of sex and hetero/homosexuality are, from this perspective, irrelevant and particular components of monogamy.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The implications of this paper are provocative and they can be summarizes thus: in regard to desire, enjoyment, marriage etc. the sex is of no importance. On the contrary, the concern for the sex belongs to biological discourses: the sex is not a philosophical category, but a coarse abbreviation for the innumerable functions of probability proper to biological realm. This means that the sex can be studied meaningfully only through natural scientific methods: the sex is nothing but what becomes present through those methods. It is clear that this arrogant statement has its targets.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">1) First of all, the main targets are the crude feministic theories from Judith Butler and Luce Irigaray to Jane Fonda. For example, Butler&#8217;s <em>Gender Trouble</em> presents a ridiculous reading of Lacan and, if possible, even more ridiculous reading of biological observations. This kind of mess is possible only when we confuse philosophical concepts with scientific concepts and do not bother to read the original texts. If Butler had even tried to explicate her statements through some kind of formalization, she would probably have noticed even by herself the ridiculousness of her statements.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">2) Secondly, the kernel of Lacanian theory on sexuality is the discontinuity between the sex and the desire. Thus, my intention at the Lacanian front is to underline the simple, but often forgotten axiom of the discontinuity between the biological sex and the desire. This discontinuity is the origin of such fundamental Lacanian concepts like the imaginary and the fantasy. In other words, this fundamental gap is what the imaginary and the fantasy veil. The first time this discontinuity was explicitly articulated by Lacan was in &#8220;Beyond the Reality Principle&#8221; (1936)&#8217;: the human sexual behavior is independent of the biological sex. Here are the roots of the concept of imaginary and, thus, of the triad RSI. Again, the concept of fantasy names this &#8220;same&#8221; gap, or the way this gap is veiled - and what would the Lacanian field be without the concept of fantasy!</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">3) What it comes to psychoanalytic theory, this problematic area brings forth the never-ending debate of the relation between psychoanalysis and biology - articulated again and again by such names like Freud, Lacan and Laplanche. The implications of this paper are evident: leave to biology what belongs to biology and concentrate on what is yours, namely, on the logic and dynamics of desire, enjoyment, fantasy, identification, symptoms and signifiers. The sex is to be explicated by natural scientific methods, in other words, it is something that is present. But natural sciences can say nothing about what is absent, for example, about the system of difference (the symbolic), the absent cause of desire (the object a) etc. For example, the logic of desire is created historically by control and inhibitions, but also by baits and structures, ideals and images; here, one factor is, if you live within monogamy, the logic of monogamy.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Thus, the final conclusion of all this is the only radical conclusion to be drawn: psychoanalysis can say nothing about the topic of sex. Thus, &#8216;The Logic of Monogamy&#8217; introduces - with a help and support of formalization - a sex-free logic of organizing and structuring desire, enjoyment, identifications and symptoms. Such is the future of psychoanalysis - and, in the end, such was one of the fundamental discoveries of Lacan.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><strong>Note:</strong></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><a title="" name="_ftn1" href="#_ftnref1">[1]</a> It is improbable that Heidegger and Lacan would have discussed this matter during Heidegger&#8217;s visit to Lacan&#8217;s home in 1955.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Art: Anna Gaskell, <i>untitled # 8 (wonder)</i>, C-print, 1996.</font></p>
<p> </p>
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		<title>Sex is Surface Ontology and the Play of Signification   Jared Russell </title>
		<link>http://www.lacan.com/symptom2/?p=41</link>
		<comments>http://www.lacan.com/symptom2/?p=41#comments</comments>
		<pubDate>Mon, 09 Jun 2008 07:04:39 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques Lacan]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=41</guid>
		<description><![CDATA[Genital organizations
Recently I witnessed the following incident. The &#8220;Contemporary Freudian&#8221; institute where I train holds a rotating case seminar for advanced candidates doing control work. A new member had recently joined our group, having transferred in from another training institute, well known for its more &#8220;Classical&#8221; bent. When it came time for this new member [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#000000" size="2" face="Verdana"><b>Genital organizations</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Recently I witnessed the following incident. The &#8220;Contemporary Freudian&#8221; institute where I train holds a rotating case seminar for advanced candidates doing control work. A new member had recently joined our group, having transferred in from another training institute, well known for its more &#8220;Classical&#8221; bent. When it came time for this new member to present a case, he quite courageously chose one that had been carried under supervisors from the previous institute. The patient was a female professional in her mid-thirties who complained of chronic disappointment in her relationships with men. The details of the case are unimportant, save to say that this was a very thoughtful analyst working under supervisors whose orientation had emphasized sexuality and aggression as things for which to be on the lookout. Everyone involved had generally agreed that the patient was a hysteric, and would therefore make an outstanding analysand.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">As the transference developed, the patient brought in more and more sexualized material. She spent her sessions bemoaning her love life and relating dreams whose sexual content was readily interpretable. The supervisors saw this as evidence of analytic progress based on accurate interpretations, of which the candidate clearly was proud. So obvious was the sexual content of the patient&#8217;s dreams, however, that as the details of the treatment emerged, the instructor running our case seminar, and following him several students, began to smile knowingly, and then to laugh, goodheartedly but not without a certain sense of self-satisfaction: the analyst had been duped! Here was a hapless candidate, victim of his supervisors&#8217; biases, thinking he was dealing with a hysteric. Since that was what the analyst was looking for, our instructor explained, that was what the patient provided him with - but this was not at all what was really going on. The group then approached the case as one in which the analyst&#8217;s desire to please his supervisors had led to an &#8220;intellectualized pseudo-analysis&#8221; with a patient who, on closer inspection, clearly had difficulties integrating self and object representations; who struggled to contain primitive anxieties; and who evinced a general level of character pathology that spoke to deeply pre-Oedipal issues. In other words, the patient was not hysteric at all, she was merely complying with her analyst&#8217;s wish to be treating such a case.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">From a Lacanian perspective, the irony is frustratingly obvious: of course the patient was giving the analyst what he wanted to hear. This does not cancel the diagnosis of hysteria, but rather confirms it. That the patient imitates the symptoms of hysteria is precisely what makes her a hysteric. This was the lesson Freud took with him from his work with Charcot at Salp&#234;tri&#232;re: it is the very extent to which the hysteric presents herself as a compliant malingerer that demonstrates she is not a compliant malingerer. Where the analyst misses this, the treatment will eventually be abandoned as yet another manifestation of how it is not the patient&#8217;s wishes, but those of everyone around her, that are at fault. One can imagine this patient&#8217;s jouissance had she witnessed the supervisors&#8217; excitement over the sexualized material she so eagerly provided, not to mention the scene in which the analyst found himself in a group of her surrogates, laughing at his ignorance over the nature of his own desire.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Given the obverse situation, where a case supervised under a &#8220;contemporary&#8221; orientation were presented to a &#8220;classical&#8221; audience, much the same thing likely would have occurred: the instructor and group members pointing out how the analyst missed the obvious drive derivatives, criticizing his preoccupation with the dynamics of the object relationship. It is not that either of these positions is wrong, rather they are identical: both seek after something fundamental to the nature and constitution of the patient&#8217;s experience. Such essentialism in psychoanalysis today is based in a complete misunderstanding of how sexuality is to be situated with respect to the clinical field. Hysteria led Freud to the discovery of transference as an effort at seduction: the patient is always trying to seduce the analyst into offering what cannot be given (a brand new past, new parents, happiness) so that this can be refused and the analyst&#8217;s impotence unmasked. Where transference is understood not as passively repetitive, but as actively seductive, sexuality describes something more than what simply motivates transferential dynamics. Rather, the clinical surface across which the analytic relationship gets played out is itself sexually contrived. That is, transference does not describe how sexuality encroaches upon the clinical relationship; transference reveals sexuality as the very possibility of an interpretive framework.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Instead of disrupting the analytic work, the hysteric&#8217;s compliance is precisely what makes possible an interpretive clinical approach. This is why Lacan insisted that the opening phase of work with obsessional patients must consist in a &#8220;hysterization&#8221; of the patient&#8217;s discourse. Of course hysterical compliance is defensive, but there is nothing behind this posture that would indicate the patient&#8217;s true underlying conflicts and difficulties. My colleague&#8217;s analysand had managed happily to collude with the structures of more than one analytic training program. The &#8220;classical&#8221; supervisors were working with an understanding of sexuality that was too narrow (too genital) for this to be appreciated. But the new, &#8220;contemporary&#8221; environment was just as limited, in that sexuality was considered solely as a behavioral phenomenon - not &#8220;deep enough.&#8221; The reversibility of these attitudes is due to the fact that both reduce sexuality to the content of an intersubjective relationship. For Lacan, as for Freud, sexuality is a much broader field: sexuality is not just some activity in which the subject engages, it is the raw material from out of which the possibility of subjective experience emerges.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>Neurotic strategy</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The unconscious conceived as a container of buried psychic truths is a pre-Freudian unconscious - it is the &#8220;subconscious&#8221; of Janet, and of all descriptive accounts of the unconscious as a site of potential consciousness that simply has yet to be realized. Freud&#8217;s dynamic unconscious describes what is by definition unavailable to awareness. The dynamic unconscious is not &#8220;outside&#8221; awareness, capable eventually of being assimilated to conscious self-knowledge; it is the very form of awareness itself, and as such it cannot be taken up as an object of reflection. This inscrutable &#8220;structure&#8221; defines the Lacanian notion of subject, as what makes self-awareness possible by relating the ego to itself in the element of reflection. Rather than being a more primordial or authentic version of the self, the subject is instead that space or opening which gives rise to the capacity for reflective, narcissistic self-containment. What Freud ultimately called &#8220;death drive&#8221; describes consciousness (which arises &#8220;instead of a memory-trace,&#8221; (<i>S.E. XVIII</i>, p. 24)) as the subject&#8217;s effort to close its space down by relating to itself alone, in defiant opposition to the Other. It is this openness - &#8220;structured like a language,&#8221; like the infinite substitutability of signifiers that makes meaning possible - structured, that is, in such a way that the classical opposition of structure and process breaks down - that neurosis figures as castration.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">A patient complains that I tell her nothing about myself, that I am so &#8220;clinical,&#8221; so cold. She goes on the internet and discovers my email address, which indicates that my middle initial is &#8220;k.&#8221; Announcing her discovery at first triumphantly, eventually she says that knowing this only makes things worse. What does &#8220;k&#8221; stand for? This becomes a question that weaves in and out of several sessions. What name could possibly begin with &#8220;k&#8221;? There are so few, yet at the same time too many to decide. And most importantly, why don&#8217;t I just tell her what my middle name is? Why do I torture her by telling her nothing about myself? She protests my not volunteering simple details about my life, while she continues to divulge her most intimate secrets. Of course, in all the haranguing about what a terrible sadist I am, the one question she never poses is: what is your middle name? Had she asked this, I may have answered, since my middle name in and of itself has nothing at all to do with the analytic work. What was important was not my withholding information, but that the patient never actually formulated the question. Instead, she insisted on her lack of knowledge as evidence of my refusal.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">The hysteric says, &#8220;I tell you everything, yet I know nothing about you!&#8221; For the ego, this complaint communicates information about the experience of neurotic suffering. For the unconscious subject, it is designed to discover desire in the analyst. Lacan understood that neurosis consisted in the extent to which the simple question, &#8220;Tell me doctor, what is wrong with me?&#8221; could actually mean: &#8220;Tell me doctor, what makes you believe you are who you are, and me who I am?&#8221; - in other words, &#8220;What do you want from me?&#8221; The hysteric dramatizes this question, while the obsessive poses it in earnest. The hysteric insists, &#8220;It&#8217;s not me, it&#8217;s the world I live in - everyone else!&#8221; The obsessive worries, &#8220;Am I really connected to anything beyond myself?&#8221; What binds these two experiences of self and world together is the ideality of the phallic object. Neurosis is defined by the eagerness with which the question, &#8220;What is it you desire?&#8221; is answered: the phallus. Hysteria and obsession are strategies for obtaining possession of the phallus as the object-cause of the desire of the Other. The hysteric, in her effort to be the phallus, embodies absolute self-certainty; the obsessive, whose concern is over having the phallus, embodies pervasive self-doubt. By &#8220;neurosis,&#8221; Lacan understands the intrinsic complicity of these positions.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">What mattered to my patient was not my middle name, but that I might wish to speak it, to &#8220;let her know.&#8221; By soliciting me to speak about myself, she sought to transform the analytic relationship into a power struggle over the fate of the process of signification, by converting a particular signifier (&#8221;k&#8221;) into a phallic object. This would impose upon the transference a clearly defined structure of opposition (knowing/not-knowing, having/not-having, subject/object, etc.). &#8220;What does k signify?&#8221; This is not at all the question raised by the unconscious subject. As subject rather than as ego, the patient&#8217;s question is always: &#8220;How am I to figure out what you are after?&#8221; By substituting the first kind of question for the second, the patient works to draw the analyst&#8217;s attention away from the play of signifiers that constitutes the transferential relationship as a stage dedicated to realizing the impasse that sustains desire. Neurosis consists precisely in the effort to distract from this, to seek instead after something allegedly &#8220;deep&#8221; and &#8220;hidden.&#8221; The patient&#8217;s ego speaks of suffering and wanting to know what the letter &#8220;k&#8221; represents. The subject of the unconscious is not interested in what &#8220;k&#8221; represents, but that &#8220;k&#8221; represents, and how this might be appropriated in such a way that would stabilize the play of signification.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>The facticity of castration</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Why do others invariably intervene in our experience of sexuality? Or, rather, how does sexuality make the investigation of otherness and difference an intrinsically clinical project? For Lacan, it is by filling the void of the lost little a that the Other rendered as object becomes our support by telling us about our being, about what we are. The &#8220;who&#8221; of the subject is determined by the &#8220;what&#8221; that essentially belongs to the Other - &#8220;who I am&#8221; is never something &#8220;I have,&#8221; but always something received. What allows the neurotic subject to be structured as an openness within the Symbolic order is the fact that the mother always seems to desire something else, something beyond the simplicity of the child&#8217;s being. The phallus is the fantastically ideal object - the object by means of which ideality receives its determination - with which the child imagines it might gain such absolute self-possession as to be able to give its being over to its mother and in doing so satisfy her completely.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">A colleague describes an obsessional patient who contemplates leaving analysis for the refuge of a more &#8220;proactive,&#8221; &#8220;results-oriented&#8221; treatment. For months the patient collects brochures about Cognitive Behavioral Therapy (&#8221;CBT&#8221;). He promises that termination is imminent, and that he may not be able to give more than a moment&#8217;s notice. The analyst all the while is able to maintain a neutral, interpretive stance, consistently demonstrating her desire that the patient keep talking about how he may stop talking and leave treatment altogether. Eventually, with exasperation the patient concludes: &#8220;I&#8217;m so messed up, I probably need CBT just to go to CBT in the first place! So I might as well stay in analysis&#8230;&#8221; This is a perfect example of what sustains analytic work even at its most difficult moments. The patient will stay - indeed, he comes in the first place - as an enactment of the very refusal that any change might occur: &#8220;I might as well stay in analysis, since it isn&#8217;t giving me what I need like CBT would, which I would need in order to be in CBT to begin with.&#8221; Staying in analysis as if by default, this patient says, &#8220;I need what I lack in order to get what I need&#8221; - that is, &#8220;I am so terribly castrated that I must already have the phallus in order to be able to receive it in the first place. Do you see how impossible my life is? I am completely powerless!&#8221;</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">This patient insists that he lacks something the Other withholds, and that his lack is an effect of the Other&#8217;s refusal. The transference here consists in the patient&#8217;s effort to render performatively his conviction as to the fact of his castration, so that the Other can be reduced to an object, whose giving and withholding can potentially be controlled. This is the sense in which, for Lacan, transference is the enactment of unconscious psychic reality (Sem. XI, p. 149), and as such has nothing to do with the repetition of an actual developmental past. Dynamically conceived, transference is not the passive repetition of past events; transference is the active insistence that truth resides in an original, fantastically unmediated relationship with the caretaking world. Such a relationship is, of course, purely imaginary, never having taken place, yet it determines absolutely the way the patient comports himself both in the treatment and in his life. To work clinically with transference then is to understand that the symptom is not something the patient has, but how the patient is. This is what the Lacanian &#8220;return to Freud&#8221; had always aimed at recovering: that the symptom is not a manifestation of the psychological, but of the ontological. Despite the fact that it exchanges a philosophical for a medical vocabulary, Freud&#8217;s &#8220;metapsychology&#8221; demonstrates an ontological sensibility with respect to clinical phenomena. It is in these terms that &#8220;sexuality,&#8221; again dynamically conceived, translates into a clinical register what Heidegger, in Being and Time, intended by the term &#8220;facticity&#8221;: not what we are, but how we are, in confrontation with the fact that we are.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>Summary</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">From a &#8220;classical Freudian&#8221; perspective, conflicts around sexuality are the cause of the symptom. From a &#8220;contemporary Freudian&#8221; perspective, sexuality manifests itself symptomatically in terms of one&#8217;s position vis a vis the object world. Lacan emphasizes sexuality as neither an intrapsychic nor an intersubjective problem, but as the very condition according to which any distinction between the two might be drawn. In opposition to clinical approaches that would interpret sexual demands, a Lacanian orientation tends to desire as it appears in the particularities these demands attempt to gloss over in addressing themselves to objects. Desire has no object, only a singular cause: desire desires its own cause in order ever to perpetuate itself. The ego experiences desire in the form of psychological contents (&#8221;wishes&#8221;). The subject of the unconscious does not have desire - it is desire. This is what is witnessed clinically as transference.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">To the ego, the symptom appears as an external object, an incomprehensible &#8220;foreign body&#8221; intruding upon the unique individual one imagines oneself to be. For the subject of the unconscious, the symptom constitutes a modality of being. The Lacanian effort to distinguish the ego from the subject in terms of the relationship to desire is an insistence that sexuality is not the content of the unconscious, but the very structure of reflexive self-relation. Sexuality is that structure or process according to which consciousness is diverted from the phenomenological surface of experience. Unconscious fantasy in this way constitutes the unobservable truth or &#8220;material&#8221; support of self-experience, as is consistently revealed by the dynamic process that is the structure of the signifier or symptom. Put more succinctly: the play of signification is the articulation of human being as constitutively sexual.<br />
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		<title>¿Dios ha muerto?   Mario Goldenberg </title>
		<link>http://www.lacan.com/symptom2/?p=33</link>
		<comments>http://www.lacan.com/symptom2/?p=33#comments</comments>
		<pubDate>Mon, 09 Jun 2008 06:42:15 +0000</pubDate>
		<dc:creator>the symptom</dc:creator>
		
		<category><![CDATA[Jacques Lacan]]></category>

		<guid isPermaLink="false">http://www.lacan.com/symptom/?p=33</guid>
		<description><![CDATA[Author’s Bio
La pertinencia de interrogar despu&#233;s de m&#225;s de un siglo , la frase de Nietzsche, pone en evidencia, que el problema de las creencias, sigue vigente.
Gianni Vattimo, fil&#243;sofo italiano, autor de “Creer que se cree” y “Despu&#233;s de la cristiandad”, entre otros, toma la frase de Nietzsche, siguiendo la interpretaci&#243;n heideggeriana, como el anuncio [...]]]></description>
			<content:encoded><![CDATA[<p align="justify"><font color="#de0013" size="2" face="Verdana"><a href="http://www.lacan.com/bios.htm#goldenberg" target="top"><b>Author’s Bio</b></a></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La pertinencia de interrogar despu&#233;s de m&#225;s de un siglo , la frase de Nietzsche, pone en evidencia, que el problema de las creencias, sigue vigente.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Gianni Vattimo, fil&#243;sofo italiano, autor de “Creer que se cree” y “Despu&#233;s de la cristiandad”, entre otros, toma la frase de Nietzsche, siguiendo la interpretaci&#243;n heideggeriana, como el anuncio del final de la metaf&#237;sica racionalista, el fin del Dios moral, aquel que Pascal llam&#243; “el Dios de los fil&#243;sofos”.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La frase indica que la era del absoluto, de los fundamentos &#250;ltimos ha llegado a su fin. No considera la frase como un fin de la fe,  si no que el fin de los relatos absolutos, deja la posibilidad de una renovada vuelta de la fe religiosa.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">¿Cu&#225;l es el lugar del psicoan&#225;lisis en esta debate? </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>Dios: sentido, sacrificio y verdad.</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Los primeros exponentes del pragmatismo americano fueron William James y Charles Peirce en el siglo XIX . Uno de los textos m&#225;s importantes de William James fue “The will of believe”,(La voluntad de creer ), y de Pierce “La fijaci&#243;n de la creencia”. Ambos, William James y Charles Pierce, fueron creyentes; William James  promov&#237;a una especie de psicoterapia religiosa. John Dewey, es posterior, plantea una continuaci&#243;n del pragmatismo de los dos primeros y, a la vez, maestro de Rorty. Dewey fue tambi&#233;n creyente, proviene de la religi&#243;n, e intenta hacer un cruce entre cristianismo y socialismo( -lo que puede ser socialismo en Estados Unidos-). Richard Rorty, que es el exponente del pragmatismo actual, reconoce a William James, a John Dewey, como sus antecesores en el pragmatismo pero, es absolutamente ateo. Es muy interesante, como el pragmatismo norteamericano puede pasar de una vertiente religiosa a una vertiente atea sin soluci&#243;n de continuidad, en el sentido que lo predominante es lo &#250;til del sentido, no importa si es religioso o no. En los libros de Rorty  no es alguien interesado en la religi&#243;n, le interesa la pol&#237;tica, la filosof&#237;a; la cuesti&#243;n de la religi&#243;n es un tema que est&#225; fuera de su obra.  Es interesante ese movimiento, c&#243;mo una corriente filos&#243;fica pasa de sus primeros exponentes, creyentes en el sentido religioso, a un exponente ateo sin  ruptura, sin la muerte de Dios, a pesar de que  Rorty reconoce la tradici&#243;n pragm&#225;tica anterior.<br />
En la conversaci&#243;n con Alan Badiou (*), sobre la cuesti&#243;n de la muerte de Dios y la muerte del comunismo. Badiou plantea, la muerte de Dios como una separaci&#243;n definitiva entre sentido y verdad. Toma el sentido definido por Lacan como religioso, y la religi&#243;n como una conjunci&#243;n entre sentido y verdad. Justamente dice que en el pragmatismo hay una desaparici&#243;n, una anulaci&#243;n de la verdad, o de la categor&#237;a de la verdad, y que la utilidad para el pragmatismo es solamente relativa al sentido. Esta apreciaci&#243;n de Badiou tiene todo su valor para el psicoan&#225;lisis, pues es por el Sujeto Supuesto Saber, es por el sentido, que se llega a la verdad, esa es la ilusi&#243;n neur&#243;tica, mientras la experiencia anal&#237;tica  enseña que el sentido, m&#225;s bien, obtura la castraci&#243;n. La operaci&#243;n anal&#237;tica separa sentido y verdad, y es la fuga de sentido la que conduce a lo real. En esta conversaci&#243;n con Badiou, la pregunta apuntaba a dos muertes de las que habla en relaci&#243;n a esta &#233;poca; la muerte de Dios y la muerte del comunismo,  ubica la muerte del comunismo en el mismo sentido de la muerte de Dios, porque en el sentido hist&#243;rico, el materialismo dial&#233;ctico hac&#237;a coincidir sentido y verdad. La historia tiene un sentido, la humanidad va inexorablemente al socialismo y, de &#233;ste modo, hay una coincidencia entre verdad y sentido, toda pol&#237;tica es justa en tanto va en esta perspectiva. As&#237;, por ejemplo, es llamativo el trato que ten&#237;an los opositores en la &#233;poca de Stalin. Ustedes saben que Stalin acab&#243; con todo la vanguardia bolchevique de Lenin,; el comit&#233; central del Partido Comunista que llevo a cabo la Revoluci&#243;n de Octubre, poco a poco, fue diezmado. Hay una diferencia en el modo de eliminaci&#243;n stalinista, del modo nazi. El nazismo, su modo de tratar al enemigo era eliminarlo directamente, no hab&#237;a ninguna pregunta que hacer; si hab&#237;a una pregunta era, si era negro, jud&#237;o o gitano. En cambio, en el stalinismo, en el juicio a los opositores se les exig&#237;a una autocr&#237;tica, una especie de confesi&#243;n con arrepentimiento por haber faltado al sentido de la historia, como una condici&#243;n ejemplar para el resto, donde la autocr&#237;tica implicaba una especie de semblante de verdad de que se hab&#237;a fallado respecto de la orientaci&#243;n hist&#243;rica del materialismo dial&#233;ctico. Ahora suena hasta disparatado, pero pueden leer sobre los procesos de Mosc&#250; y las purgas stalinistas. Kameniev, Zinoviev y Bujarin, sus juicios terminan con una autocr&#237;tica, reconociendo sus desviaciones. Ese arrepentimiento no implicaba el perd&#243;n, sino que, los fusilaban igual pero dejando como testimonio la autocr&#237;tica. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Badiou dice que, en ese punto, el stalinismo era religioso porque hac&#237;a coincidir sentido y verdad, toda pol&#237;tica era justa en tanto el sentido de la historia conduc&#237;a al socialismo inevitablemente, de ese modo sentido y verdad coincid&#237;an y pod&#237;a justificar todas sus atrocidades.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La formulaci&#243;n de Badiou: “Dios ha muerto”,  est&#225; como pr&#243;logo, en un texto que se llama “Breve tratado de ontolog&#237;a transitoria”, es justamente del año ’98. Es muy interesante que ese texto coincide con el curso de Miller y Laurent titulado “El Otro que no existe y sus comit&#233;s de &#233;tica”, hay una especie de solidaridad entre el “Dios ha muerto” de Badiou, y “El Otro que no existe” de Miller. -El Otro que no existe- es una formulaci&#243;n que est&#225; en Lacan, el agregado que hace Miller es ubicar  los ’90, como “la &#233;poca del Otro que no existe”. Sin embargo, en su curso posterior llamado “Un esfuerzo de poes&#237;a” 2002/3 Jacques-Alain Miller  pone en cuesti&#243;n si podemos seguir llamando esta &#233;poca como la del Otro que no existe. All&#237; Miller plantea un retorno de Dios, un retorno del discurso del Amo, cosa que en los ’90 parec&#237;a que eso hab&#237;a concluido.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Hay una relaci&#243;n entre el Otro lacaniano y Dios. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Es conocida una an&#233;cdota de Lacan con Althusser. Cuando Lacan, empieza la teorizaci&#243;n del gran Otro, se encuentra con Althusser quien le dice -pero ese Otro del que usted habla no es otro que el buen Dios-. La afirmaci&#243;n de Althusser habr&#237;a captado una vertiente de Lacan, el de la primer &#233;poca, donde pasa de la intersubjetividad a la relaci&#243;n del sujeto barrado al Otro. No es disparatado decir que, si uno tematiza la teolog&#237;a, los problemas teol&#243;gicos, se trata de la relaci&#243;n del sujeto con el Otro. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Dios, podr&#237;a decirse, no es un sujeto; en la historia, uno de los modos de leer al Otro, es Dios. El problema para Lacan es si su teorizaci&#243;n llevaba a una vertiente religiosa.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Jacques-Alain Miller en el curso “Un esfuerzo de poes&#237;a”  dice claramente que en la primer &#233;poca de Lacan, el Nombre del Padre, el gran Otro, toda la problem&#225;tica de la verdad, conduc&#237;an a un injerto cristiano en el psicoan&#225;lisis. Esa vertiente religiosa del psicoan&#225;lisis, lo lleva a Lacan, a tener que introducir el Otro barrado, a pasar del problema de la verdad al problema del goce, a orientar al psicoan&#225;lisis por lo real. No es casual que Lacan haya tomado como t&#233;rmino Nombre del Padre que es un t&#233;rmino claramente religioso. Hay una referencia del Seminario de la Angustia 10, donde Lacan, plantea:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">“La cuesti&#243;n tiene una gran importancia, ya que nos conduce al terreno donde se dibuj&#243; en el esp&#237;ritu de Freud y con su forma m&#225;s fulgurante la funci&#243;n de la repetici&#243;n. La funci&#243;n de la repetici&#243;n es solamente autom&#225;tica, y en cierto modo, est&#225; ligada al retorno, al acarreo necesario a la bater&#237;a significante. O bien, posee otra dimensi&#243;n que me parece inevitable encontrar en nuestra experiencia, si tiene un sentido aquella que da el sentido de esta interrogaci&#243;n portada por la definici&#243;n del lugar del Otro con may&#250;scula, caracter&#237;stica de lo que intento sostener ante ustedes, aquello a lo cual intento para decirlo todo intento acomodar vuestra mentalidad. Acaso a quien cuyo recuerdo se trata de despertar quiero decir que se trata de hacer que recuerde, no es Dios mismo?”.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La frase –“Dios ha muerto” -, es una frase de Nietzsche, que est&#225; en “As&#237; habl&#243; Zaratustra”, es retomada por Heidegger, por Deleuze y por Badiou, por Vattimo, y otros; marca las coordenadas de una &#233;poca. Hay un art&#237;culo de Karl Löwith, disc&#237;pulo de Heidegger,  que se llama “La interpretaci&#243;n del sentido t&#225;cito de la sentencia de Nietzsche, -Dios ha muerto-”, que est&#225; en un libro  “Heidegger pensador de un tiempo indigente”, de 1956. La cita dice lo siguiente: </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">“La sentencia de Nietzsche de que Dios ha muerto se encuentra en el centro de la interpretaci&#243;n de Heidegger, pero no como un fragmento aislado de su doctrina, sino como, el leit motiv que ilumina el resto de los vocablos cl&#225;sicos de Nietzsche, nihilismo, vida, valor, voluntad de poder&#237;o, eterno retorno. Dios ha muerto significa que el mundo metaf&#237;sico de las ideas, del ideal, de los valores ya no tiene vida, y que, por lo tanto la metaf&#237;sica en general ha llegado a su fin.” Aunque Heidegger no niega que la frase de Nietzsche se refiere al Dios cristiano de la revelaci&#243;n b&#237;blica. Hay dos vertientes de c&#243;mo se toma esta frase, por un lado Nietzsche en el ataque al cristianismo, pero lo interesante de ese art&#237;culo es que dice que es un ataque al cristianismo y no a la iglesia; y por otro lado, el fin de la metaf&#237;sica y de la ca&#237;da de los ideales y los valores.<br />
Se puede decir, que lo que se llam&#243; Lacan, declinaci&#243;n social de la imago paterna,  proviene de la &#233;poca de Nietzsche. A veces se toma la cuesti&#243;n de la declinaci&#243;n del padre como si fuera un problema de fines del siglo XX; no hay que ir muy lejos, leyendo los historiales freudianos de Dora, de Juanito, del hombre de las ratas, para notar que ya hay un padre que ha declinado all&#237;. El &#250;nico padre fuerte es el de Schreber, que no opera justamente como modelo de la funci&#243;n y evidentemente produce una psicosis. En ese sentido, la declinaci&#243;n del Otro, la declinaci&#243;n de los ideales, est&#225;n desde el nacimiento del psicoan&#225;lisis, desde el fin del siglo XIX, no es una novedad del siglo XX. Miller en “Un esfuerzo de poes&#237;a”, toma la frase de Nietzsche, &#8220;Dios ha muerto&#8221;, como un clivaje, una bisagra entre el discurso religioso y el capitalismo. El plus de goce del discurso capitalista, pone un coto a la &#233;tica sacrificial de la religi&#243;n. El siglo XX marca esa tensi&#243;n entre religi&#243;n y capitalismo. En Freud tenemos una modalidad de neurosis, la histeria donde se trata de la insatisfacci&#243;n y la privaci&#243;n sacrificial, tambi&#233;n  la neurosis obsesiva, donde el rasgo central que tematiza, es la renuncia pulsional y el sacrificio, que estar&#237;an m&#225;s ligado a la &#233;tica religiosa. Sin embargo, el discurso capitalista que no es del siglo XX y por eso es interesante ubicar la frase de Nietzsche como bisagra, promueve m&#225;s bien el plus de goce, la plusval&#237;a, en cambio la religi&#243;n promueve el sacrificio.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Los textos de Freud sobre la religi&#243;n, m&#225;s conocidos son &#8220;El Porvenir de una ilusi&#243;n”, o “Mois&#233;s y la religi&#243;n monote&#237;sta”; tenemos otros textos que son “Psicolog&#237;a de las masas y an&#225;lisis del yo” donde hace una referencia a la Iglesia como masa artificial, y “T&#243;tem y Tab&#250;” donde se puede ubicar en el mito del asesinato del padre, el origen de la religi&#243;n. Hay un texto previo, que no es de los m&#225;s conocidos, llamado “Actos obsesivos y pr&#225;cticas religiosas” de 1907; es un articulo donde anticipa los dos casos que est&#225;n en “El sentido de los s&#237;ntomas” y “La fijaci&#243;n al trauma” que son dos de las &#8220;Conferencias de introducci&#243;n al psicoan&#225;lisis&#8221;,1916/7.  </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La señorita del ceremonial de dormir y la señora que tuvo un fracaso en la noche de bodas que repite un ceremonial que va del mantel a la cama. El primer modo en que aborda la cuesti&#243;n religiosa es comparando el ritual religioso con el ritual obsesivo; ubica el ritual obsesivo como patol&#243;gico respecto de la religi&#243;n. Termina diciendo lo siguiente:</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">“Despu&#233;s de señalar las coincidencias y analog&#237;as podr&#237;amos arriesgarnos a considerar la neurosis obsesiva como la pareja patol&#243;gica de la religiosidad. La neurosis como una religiosidad individual y la religi&#243;n como una neurosis obsesiva universal”.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Freud contin&#250;a articulando la renuncia pulsional, con el sacrificio que promueve la religi&#243;n como uno de los fundamentos del progreso cultural.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"> “La renuncia progresiva a las pulsiones constitucionales, cuya actividad podr&#237;a aportar al yo un placer primario, parece ser uno de los fundamentos del desarrollo de la civilizaci&#243;n humana&#8221;, la renuncia pulsional, una parte de esta represi&#243;n de pulsiones es aportada por las religiones, haciendo que el individuo sacrifique a la divinidad el placer de sus instintos, la venganza es m&#237;a, dice el Señor. En la evoluci&#243;n de las religiones antiguas, creemos advertir que mucha parte de aquello a lo que el hombre hab&#237;a renunciado como pecado, fue cedido a la divinidad y, estaba a&#250;n permitido en nombre de ella, siendo as&#237; la cesi&#243;n a la divinidad el camino por el cual el hombre hubo de liberarse del dominio de las pulsiones perversas antisociales”. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Hay aqu&#237; una versi&#243;n del sacrificio; el sacrificio que implica la cesi&#243;n del objeto al Otro, el objeto de la pulsi&#243;n al Otro. Es interesante, ubicar esta cuesti&#243;n del sacrificio religioso, muy ligado a la &#233;tica kantiana del sacrificio del objeto.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Es necesario señalar que la diferencia entre el sacrificio religioso y la &#233;tica capitalista.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La &#233;tica del discurso capitalista va bien con la frase de  Fedor Dostoyevsky y no de Nietzsche, en “Los hermanos Karamazov”, en la que dice: “Si Dios ha muerto, todo est&#225; permitido”. Si hay Dios, hay sacrificio y si Dios ha muerto todo est&#225; permitido. Es Lacan quien toma la frase de Dostoyevsky para reformularla, plantea en el Seminario XVII, ”El env&#233;s del psicoan&#225;lisis” mas bien, si “Dios ha muerto, nada est&#225; permitido”. El sacrificio religioso, implica renunciar al goce, prohibi&#233;ndolo, en cambio en  el capitalismo hay un imperativo de gozar que redobla la prohibici&#243;n.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La &#233;tica del capitalismo, no es la del sacrificio sino, la del entretenimiento, la diversi&#243;n como lo ha planteado recientemente Miller, tomando este t&#233;rmino de Pascal. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">No es un t&#233;rmino secundario porque toda la promoci&#243;n, a partir del siglo XIX y del siglo XX, en contra de lo sacrificial es del entretenimiento,  en nuestra &#233;poca se habla de la industria del entretenimiento, de la diversi&#243;n, que paradojalmente  tiene como correlato, la depresi&#243;n. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La anorexia es el correlato de la oferta excesiva de objetos en el mercado de consumo y, la depresi&#243;n, es justamente el correlato de la diversi&#243;n, del entretenimiento.La palabra inglesa “entertainment”, entretenimiento, que los americanos han convertido en una poderosa industria.</p>
<p align="justify"><font color="#000000" size="2" face="Verdana">La pel&#237;cula norteamericana “Elephant” de Gus van Sant, trata del mismo episodio de “Bowling for Colombine” de Michel Moore, donde aparecen estudiantes de un colegio secundario que entran con armas en su colegio y hacen una masacre. El film muestra la preparaci&#243;n de esta trama, no es un documental, es una pel&#237;cula donde se va describiendo lo que sucede personaje por personaje. Aparecen dos muchachos que son un poco raros, uno parece psic&#243;tico, pero hacen una vida normal, de uno de ellos se burlan un poco, pero nada distinto de lo que pasa en cualquier colegio secundario. En determinado momento, est&#225;n en la casa y llega una encomienda por correo, la abren, y es un fusil. Lo prueban y al otro d&#237;a –esto transcurre muy normalmente, se ponen ropa de combate, llevan unos bolsos con armas, tienen todo un arsenal- van al colegio -nadie se sorprende de verlos,  eran estudiantes de ese colegio- y la frase, cuando empiezan la masacre, que uno le dice al otro es: “Disfrutalo, Diviertete”!!!.  Se trata de eso, no hay un delirio de que son enviados de Dios, que van a matar al demonio, ni que son enviados de Satan&#225;s, no hay ning&#250;n delirio claro all&#237;, sino que dicen “diviertete” y lo que sucede tiene la estructura de un videogame. Hay algo  psic&#243;tico, seguramente. Matar pero divirti&#233;ndose, eso es muy interesante retomando el planteo de la separaci&#243;n entre sentido y verdad. ¿Qui&#233;n puede creer que la guerra de Irak se hizo porque Saddam Husseinn era peligroso? No hab&#237;a un discurso consistente que sosten&#237;a eso, o se hizo en nombre de Dios, eran m&#225;s bien semblantes que muestran, evidentemente, que est&#225; en juego all&#237; otra cosa. No hay un sentido sino un uso pr&#225;ctico del sentido.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana"><b>¿Qu&#233; Dios?</b></font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">De las distintas versiones de la muerte de Dios, corresponde interrogar ¿De qu&#233; Dios se trata?. Se podr&#237;a hablar en el sentido filos&#243;fico y en el sentido teol&#243;gico de una historia de Dios y  tambi&#233;n el lugar del psicoan&#225;lisis en esta historia. Se puede ubicar una historia en el sentido cronol&#243;gico del polite&#237;smo al monote&#237;smo, la cuesti&#243;n de Dios en la &#233;poca de la ciencia, pero como ordenamiento,  parece m&#225;s acertado el planteo de Blas Pascal, que toma Jacques Lacan.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Blas Pascal, la noche del 23 de noviembre de 1654  escribe lo que llam&#243; su memorial, tambi&#233;n se lo llam&#243; su talism&#225;n; un texto a partir de una revelaci&#243;n, que se lo encontr&#243; cosido dentro de su ropa cuando muri&#243;. Pascal falleci&#243; a los 39 años, realmente es admirable la producci&#243;n que hizo en un tiempo tan corto de vida,  el memorial lo escribi&#243; a los 32 años. Tuvo en esos años -aunque siempre mantuvo su fe religiosa- una vida disipada  dedicada a la diversi&#243;n, hasta que se encuentra, ese 23 de noviembre, en un accidente viajando en un carruaje con  una revelaci&#243;n. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">El texto del memorial empieza diciendo: “Fuego, Dios de Abraham, Isaac y Jacob&#8221;, y no, Dios de los fil&#243;sofos y los sabios.” Pascal apuesta al Dios- fuego, al Dios vivo, al de Abraham, Isaac y Jacob, de Jes&#250;s;  Lacan toma al Dios de los fil&#243;sofos y los sabios como el Sujeto supuesto Saber, como el Dios de la filosof&#237;a y el Dios de la ciencia, un Dios conceptual.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Pascal despu&#233;s de este memorial se convierte al jansenismo, que es una secta cristiana; se habla de Pascal como fil&#243;sofo pero es m&#225;s bien matem&#225;tico y religioso; la cuesti&#243;n religiosa a lo largo de los años se va volviendo m&#225;s fuerte en Pascal. </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Es uno de los autores favoritos de Lacan; son conocidos sus desarrolllos sobre la apuesta de Pascal, en relaci&#243;n a la existencia de Dios. Tambi&#233;n hay una frase de Pascal, que Lacan  toma hablando de la castraci&#243;n del Otro que es: “el silencio eterno, de los espacios infinitos me aterra”, est&#225; en sus “Pensamientos”.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Un trabajo de Joseph Ratzinger, (Te&#243;logo y cardenal de origen alem&#225;n recientemente devenido Papa Benedicto XVI ) titulado:  “El Dios de la f&#233; y el Dios de los fil&#243;sofos”(1959). </font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">En este art&#237;culo toma justamente estos dos dioses de Pascal, el Dios de la fe es el Dios del nombre, del monote&#237;smo, y el Dios de los fil&#243;sofos lo toma de Arist&#243;teles es el Dios como concepto. En el desarrollo de su texto toma el Dios como nombre, (- santificado sea tu nombre-), y el Dios de los fil&#243;sofos que es un Dios conceptual, es el Dios garante de Descartes, es el Dios como motor inm&#243;vil de Arist&#243;teles. El art&#237;culo planteando esta diferencia intenta hacer una conjunci&#243;n hegeliana entre f&#233; y filosof&#237;a, entre nombre y concepto.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Por un lado el nombre, que tiene una relaci&#243;n con el Nombre del Padre y el Dios como Sujeto supuesto Saber; el Dios vivo y el Dios conceptual.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Freud participa de toda la corriente cientificista del siglo XVIII  y XIX, que era m&#225;s bien atea. Hay un intento en el discurso de la ciencia de terminar con la religi&#243;n. La religi&#243;n es una ilusi&#243;n y se va a acceder a lo real a partir de la ciencia. Esa ilusi&#243;n cientificista acompañ&#243; a Freud en toda su obra. Primero quiere demostrar que la religi&#243;n es una neurosis obsesiva, despu&#233;s en “El Porvenir de una ilusi&#243;n” pone las ra&#237;ces del complejo paterno, de desamparo, de fuente de deseos, de la creencia y, en el Mois&#233;s, intenta deconstruir el monote&#237;smo, con el argumento de  Mois&#233;s  egipcio y Mois&#233;s madianita; tambi&#233;n dos dioses,  un Dios egipcio: Aton y un Dios del desierto: Yavhe. Es distinto el planteo de “El porvenir de una ilusi&#243;n” al de  “Mois&#233;s y la religi&#243;n monote&#237;sta”.</p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Freud intenta hacer una especie de refundaci&#243;n del psicoan&#225;lisis, donde toda la teor&#237;a est&#225; planteada de nuevo en relaci&#243;n a la neurosis y a la constituci&#243;n del sujeto. La invenci&#243;n del Dios como Uno aparece a partir de Mois&#233;s. Hay un rezo en hebreo que dice: “ Shema Israel adonai eloheinu, adonai ejat” - Escucha Israel, Dios nuestro Señor, Dios es Uno.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Adonai es el Dios-Uno, que seg&#250;n la hip&#243;tesis que Freud toma de Sellin, proviene de la divinidad solar, At&#243;n,  del breve reinado del fara&#243;n Akhenaton.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Freud en “Mois&#233;s &#8230;” interpreta, despeja el misterio de Dios, planteando que no es otro que el Padre, deconstruye la divinidad pero salva al padre.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">En “El porvenir de una ilusi&#243;n” de 1927, Freud apuesta a la ciencia contra la religi&#243;n, siguiendo el proyecto emancipatorio de la Ilustraci&#243;n, donde la religi&#243;n ser&#237;a un modo de preservar la minoridad del hombre.</font></p>
<p align="justify"><font color="#000000" size="2" face="Verdana">Plante