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Jealousy Against Mourning

Butahan Demir

In that case, there will be a relationship between the idea of jealousy as a form of relating to the object and the process of mourning. The primary object, which serves as the root cause of the beloved object, simultaneously becomes the trigger for jealousy, as it acts as a reminder of the potential for loss.

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Le transfert, à rebours d’un amour douloureux

Perla Miglin

De ce fait, le transfert ne peut pas être un amour douloureux ; à rebours, dans l’expérience de l’analyse, il devient un amour plus digne, où s’inscrit « cette Spaltung dernière par où le sujet s’articule au Logos ». Est-ce là l’indication du fantasme fondamental ?

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“To confine ourselves to a more lucid tradition, perhaps we can understand the celebrated maxim by La Rochefoucauld — 'There are people who would never have fallen in love but for hearing love discussed'— not in the romantic sense of a thoroughly imaginary 'realization' of love that would make this remark into a bitter objection, but as an authentic recognition of what love owes to the symbol and of what speech brings with it by way of love.”

Lacan J., “The Function and Field of Speech and Language in Psychoanalysis”, Écrits, trans. B. Fink, New York/London, Norton, 2006, p. 219.

LOVE CUTS #9

The Notebook

Presentation of the Congress Theme / Présentation du thème du Congrès

Les amours douloureuses
Painful Loves

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Amour vénéneux

Elfi Killachidou Lefeuvre

Alors que la relation sexuelle s’établit au niveau du désir, sous le signifiant du phallus, le rapport sexuel s’établirait au niveau de la jouissance. Paradoxalement, la mise en scène de l’empoisonnement de son partenaire semble faire « fonctionner » leur union désunie dans la souffrance, mais pas sans jouissance, oscillant entre amour et sacrifice.

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Possessed by Love

Bogdan Wolf

The symptom is being written in the present. Love’s madness is felt first as being loved, which is what Erato’s name carries. Ergo, love proceeds from inexistence. It is the cry in the solitary signifier that hooks, as Cupid shoots his arrow, onto the beloved.

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The Ob-Scene Love of Manto

Prerna Lila Kapur

The trace of the waste object has been effaced and replaced by the signature of smell, “a smell at once pleasant and nauseating”, distinctly defining the subject's relationship to the object. Manto’s writing is ob-scene for it unveils the dynamics of sexuality, doing away with the curtain of love.

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