the Erotics of Time
The Birth of
the Intimate (II)
Anorexic Passion for the Mirror
Manifesto of Affirmationism
The Boy Who Cried Wolf
as a Political Category
Jane & Louise Wilson
translated by Barbara P. Fulks
The opposition between art as production of object and art as fiction and operative of truth, in order to be valid, cannot be reduced to the opposition between neurosis and psychosis. In effect, it is by depriving himself that the poet of courtly love produces a woman-object, transforming this element into symbolic operator which structures his stance from then on. This woman-object is presented as impossible or as non-human partner. This analysand's work is well situated in this place, the public having never become a partner for him. Finally, we should add that Lacan, by putting it into practice as well as by affirming it theoretically in this same text on Marguerite Duras, emphasizes that in his work "the artist always precedes him (the analyst) and that he (the analyst) does not have to play the psychologist where the artist paves the way for him. This is precisely what I acknowledge to be the case in the ravishing of Lol V. Stein, where it turns out that Marguerite Duras knows, without me, what I teach." Not to do psychology was my principle. Lacan noted a little farther along that "the practice of the letter converges with the usage of the unconscious." 1 It is from this convergence that this analysis is done.
Art: Alejandra Seeber - Caratapiz - oil on canvas, 2004
courtesy of the artist.
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