scholarly journals Del amor como reconocimiento, a la valentía ante la castración

2021 ◽  
Vol 11 (3) ◽  
pp. 41-49
Author(s):  
Eduardo Laso
Keyword(s):  
Jacques Lacan

Jacques Lacan sitúa con el aforismo “No hay relación sexual”, un desencuentro estructural que el amor apuesta ilusoriamente a volverlo posible. Operación soportada en la pasión de la ignorancia, que por un instante hace de la pareja la ilusión de que el destino los hizo el uno para el otro. Adam´s rib de George Cukor plantea la pregunta de desde dónde se sostiene una pareja: si desde el reconocimiento mutuo en el plano de la igualdad de los sexos, o desde el reconocimiento del deseo, que introduce la diferencia y la falta. Para Lacan, el amor se pone a prueba enfrentando la castración. Si en el film de Cukor, Amanda pondrá a prueba a su esposo a que done su falta por amor, también ella será puesta a prueba por Adam a que acepte que más allá de la militancia por la igualdad de derechos femeninos, en el plano erótico se requiere la admisión de una “pequeña diferencia”. Diferencia que no es lo mismo planteada a nivel imaginario o real. El reconocimiento en el plano imaginario reanuda la separación y unión hasta el infinito, a menos que se inscriba como falta real que abra a una nueva forma de amor, más curado de las pasiones del ser. En estas comedias de rematrimonio las parejas pasan dos veces por la decisión de elegirse, en una suerte de topología del ocho interior propia del acto logrado: el corte a la fijación a un objeto de goce que obturaba la castración, relanzando así el deseo amoroso.

Jacques Lacan.

PsycCRITIQUES ◽  
1970 ◽  
Vol 15 (12) ◽  
Author(s):  
David Elkind
Keyword(s):  
Jacques Lacan

Jacques Lacan

2018 ◽  
Author(s):  
Frances L. Restuccia
Keyword(s):  
Jacques Lacan ◽  
The Unconscious ◽  
As If

Agamben only sporadically alludes to psychoanalysis and invokes psychoanalytic concepts. He does so most prominently in Stanzas, where he dedicates Part III to ‘geniisque Henry Corbin et Jacques Lacan‘ (S 61); refers to ‘the Lacanian thesis according to which […] the phantasm makes the pleasure suited to the desire’, in order to elaborate a point in Plato about desire and pleasure relying on images in the soul (S 74); and takes up melancholia and fetishism – both of which, it is important to note, circumvent lack. But Agamben is by no means ‘psychoanalytic’. He presents and employs melancholia and fetishism as paradigms for accessing the inaccessible (perhaps we can say that he plays with them). Melancholia, in Agamben, becomes an ‘imaginative capacity to make an unobtainable object appear as if lost’ so that it ‘may be appropriated insofar as it is lost’ (S 20), a strategy for saving the unsavable that evolves into his conception of the messianic. And, although Agamben is preoccupied with ‘a zone of non-consciousness’, he underscores that it is ‘not the fruit of a removal, like the unconscious of psychoanalysis’ (UB 64)

‘Who Speaks?’ Morgenthaler and/or Lacan Behind the Couch

2020 ◽  
Vol 22 (1) ◽  
pp. 127-148
Author(s):  
Ulrike Körbitz
Keyword(s):  
Jacques Lacan ◽  
Developmental Psychology ◽  
Practical Work ◽  
Primary Process ◽  
Theoretical Perspectives

Is it possible to speak of conceptual conjunctions between Fritz Morgenthaler and Jacques Lacan? This question is explored in relation to the practical work of an analyst as she engages with their – at once completely different and yet complementary – theoretical perspectives. Both emphasize the active, demanding-desiring position of the analyst while simultaneously refusing any metapsychologically oriented interpretive technique. Both criticize the normative, denigrating impetus of too much psychoanalytic thinking, especially in the context of developmental psychology and pathologizing doctrine. They warn against too-certain knowledge on the analyst's part. Both emphasize primary-process drive-strivings and the emancipatory possibilities of psychoanalysis – as they both also attend particularly to the formal aspects of the analysand's speech.

The Phallus Unveiled: Lacan, Badiou and the Comedic Moment in Genet's The Balcony

Paragraph ◽  
2019 ◽  
Vol 42 (2) ◽  
pp. 170-187
Author(s):  
James Penney
Keyword(s):  
Jacques Lacan ◽  
Traditional Authority ◽  
Alain Badiou ◽  
Authority Figures ◽  
Conservative Restoration

This essay explores how the image of the Chief of Police dressed as a giant phallus is the often overlooked and misconstrued key to the interpretation of Jean Genet's canonical play The Balcony (1956). Drawing on, but also moving beyond, the invaluable readings of Alain Badiou and Jacques Lacan in their respective seminars, it argues that the motif of the Chief's costume condenses the play's insightful, and more relevant than ever, examination of the functioning of ideology in the visible world. Genet's play is a theatrical allegory for ideology's workings at a historical juncture when spontaneous identification with, and therefore allegiance to, traditional authority figures is no longer possible as it presumably once was. A proper appreciation of the comedic moment of the play sheds ironic light on its final vision of conservative restoration, generating precious insights about the workings of contemporary power and the renaissance of authoritarianism at the twilight of the liberal era.

A teoria da nominação na obra de Jacques Lacan

2018 ◽  
Author(s):  
Andréa Máris Campos Guerra ◽  
Ângela Maria Resende Vorcaro
Keyword(s):  
Jacques Lacan

Psychoanalyse im Turm zu Babel

2020 ◽  
Author(s):  
Robert Heim
Keyword(s):  
Jacques Lacan ◽  
Melanie Klein ◽  
Depressive Position

In fiktionaler, zuweilen humorvoller und kritischer Weise bringt Robert Heim drei ikonische Gestalten der Psychoanalyse nach Freud miteinander ins Gespräch: Melanie Klein, Wilfred R. Bion und Jacques Lacan. Ob Kleins paranoid-schizoide und depressive Position, Bions Container oder Lacans Begehren und Genießen – mittels einer komparatistischen Methode eröffnet der Autor neue Perspektiven auf grundlegende Begriffe und zentrale Bereiche der Psychoanalyse. Neben theoretischen und behandlungstechnischen Fragen widmet er sich auch aktuellen gesellschaftlichen Themen wie der Klimakrise.

Le structuralisme de Jacques Lacan

1968 ◽  
Vol 66 (90) ◽  
pp. 282-308 ◽  
Author(s):  
Maurice Corvez
Keyword(s):  
Jacques Lacan

“Da mágoa, sem reméDio, De perDer-te”: o luto como trabalho Da linguagem na poesia De camões

2017 ◽  
Vol 19 (1) ◽  
Author(s):  
Monica Genelhu Fagundes
Keyword(s):  
Sigmund Freud ◽  
Jacques Lacan ◽  
Maurice Blanchot

Ao abordar a arte, especifcamente a poesia, como meio (espaço e ato) de resistência, este ensaioparte de duas constatações e de uma confssão. As constatações: (1) para além de todo poder deordem histórica, de todo instrumento de coerção, seja político, econômico, ideológico, moralou cultural a que o homem esteja submetido e deva resistir, está a certeza da fnitude -- a sua ea daqueles que ama. Também (sobretudo, talvez) diante da consciência dessa condição mortalque limita, oprime e fere o humano, cabe resistir. O luto, como modo de lidar com a morte, é,portanto, ato de resistência; (2) Se a resistência se organiza no campo da arte, ela deve se valerdas armas próprias dessa linguagem, pelo que aqui importa, tanto quanto a temática abordadana poesia elegíaca de Camões, a forma poética como elaboração de um trabalho de luto. A confssão: este texto é em si mesmo um trabalho de luto, que se vale do exercício de pensamentopróprio do ensaio como forma para elaborar a perda que motiva sua escritura. A partir dessespressupostos e desse lugar de fala, realiza-se nas páginas que seguem uma leitura atenta de trêssonetos camonianos que compõem o assim chamado ciclo a Dinamene, pondo-os em diálogocom as reflexões de Sigmund Freud, Jacques Lacan e Jean Allouch sobre o luto, bem como coma teoria de Maurice Blanchot sobre a linguagem, que a concebe como trabalho de luto.

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