{"id":706,"date":"2020-01-26T16:18:44","date_gmt":"2020-01-26T16:18:44","guid":{"rendered":"http:\/\/www.lacan.com\/symptom\/?page_id=706"},"modified":"2024-05-22T15:10:08","modified_gmt":"2024-05-22T15:10:08","slug":"706-2","status":"publish","type":"page","link":"https:\/\/www.lacan.com\/symptom\/706-2\/","title":{"rendered":"Mr. Sandman, Bring Me a Dream"},"content":{"rendered":"

[vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”212″ img_size=”full” alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/symptom\/”][vc_empty_space height=”70″][vc_custom_heading text=”Mr. Sandman, bring me a dream
\nby Josefina Ayerza” font_container=”tag:h2|font_size:45|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_empty_space height=”70″][vc_column_text]<\/p>\n

There are four corners to my bed,<\/span>
\nThere are four angels overhead,<\/span>
\nMatthew, Mark, Luke, and John…<\/span><\/h4>\n

Now I lay me down to sleep,<\/span>
\nI pray the Lord my soul to keep, <\/span>
\nIf I shall die before I wake,<\/span>
\nI pray the Lord my soul to take.<\/span><\/h4>\n

Hush little baby, don\u2019t say a word<\/span>
\nAnd never mind that noise you heard.<\/span>
\nIt\u2019s just the beasts under your bed<\/span>
\nIn your closet, in your head.<\/span><\/h4>\n

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Exit: light, Enter: night. Grain of sand\u2026<\/span><\/h4>\n

E.T.A Hoffmann\u2019s stories get to the heart of such an experience, \u201cthe subject goes from one inveiglement to the next, faced with this form of image that strictly speaking materializes. The doll that the hero of the tale spies through the window of the sorcerer, who is conjuring up some magical operation or other, is strictly speaking this image, i\u2019(a) <\/em>(the virtual\u00a0<\/em>of a\u00a0real image<\/em>), being finished off with what is absolutely singled out in the very form of the tale, to wit, the eye. The eye in question can only be that of the main character in the dream, the someone wanting to rob him of this eye providing the thread that explains the whole tale.\u201d Jacques Lacan, Seminar X, Ch. lV.\u00a0<\/span><\/span><\/h4>\n

The ploughshare enters into the furrow of the discovery of subjective structure. If The Devil\u2019s Elixir <\/i>contains all the occasions when the reaction of the unheimliche <\/i>may occur, desire as desire of the Other is here desire in the Other. Here my desire enters the lair where it has been awaited for all eternity in the shape of the object. I am in so far as it exiles me from my subjectivity, by deciding on its own all the signifiers to which this subjectivity is attached.\u00a0<\/span><\/span><\/h4>\n

In The Devil\u2019s Elixir <\/i>getting lost makes up part of the function of the labyrinth, which has to be brought to life. In following each of these twists and turns, however, it\u2019s clear that the subject only gets to his desire by substituting itself for one of his doubles.\u00a0<\/span><\/span><\/h4>\n

There\u2019s but the one subject, not two.\u00a0<\/span><\/span><\/h4>\n

The field of fiction imparts to our experience of the unheimliche<\/i>. Fiction demonstrates it far better and even produces it as an effect in a more stable way. It\u2019s a kind of ideal point, but how precious it is for us since this effect allows us to see the function of the fantasm<\/i>.\u00a0<\/span><\/span><\/h4>\n

This effect of fiction, spelled out over and over in The Devil\u2019s Elixir<\/i>, is that which, in the flux of existence, remains in the fantasy state. \u201cWhat is the fantasy if not something that we rather suspected, ein Wunsch<\/i>, a wish, and even, like all wishes, a somewhat naive one? To put it light-heartedly, I\u2019d say that the formula of the fantasma<\/i>, $\u00a0desire of a<\/i>, can be translated into the following perspective\u2014that the Other faints, swoons, faced with this object that I am, a deduction I reach on account of being able to behold myself.\u00a0<\/span><\/span><\/h4>\n

\u201cThe two phases whose relations of $<\/span>\u00a0to a \u00a0<\/i>I\u2019ve written up here, situating this last term differently in relation to the reflexive function of the A as a mirror,\u00a0correspond exactly to the distribution of the terms of the fantasma <\/i>for the pervert and the neurotic.\u201d\u00a0<\/span>Jacques Lacan, Seminar X, Ch. lV. <\/span><\/h4>\n

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After Jacques-Alain Miller\u2019s talk at the closing of the IXth Congress of the WAP, 2014, \u201cthe substitution of the Lacanian parl<\/i>\u00eatre for the Freudian unconscious fixes down a<\/i> scintillation.\u201d\u00a0<\/span><\/span><\/h4>\n

Parl\u00eatre<\/i>\u2014the speaking body\u2014is the amalgamatic word that will pierce through the wall, mur <\/i>of language.\u00a0<\/span><\/span><\/h4>\n

Again, \u201cthe sinthome <\/i>of a parl\u00eatre <\/i>is an event of the body, and an emergence of jouissance<\/i>. When one analyzes the unconscious, the meaning of interpretation is the truth. When one analyzes the speaking body, the meaning of interpretation is jouissance. <\/i>This displacement from truth to jouissance <\/i>sets the measure of what analytic practice is becoming in the era of the parl\u00eatre<\/i>.\u201d\u00a0<\/span><\/span><\/h4>\n

“`<\/span><\/h4>\n

Exit: light<\/span>
\nEnter: night<\/span>
\nTake my hand<\/span>
\nWe\u2019re off to never never land\u00a0<\/span><\/h4>\n

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