image.png

 
Copyright © 2021
Association Mondiale de
Psychanalyse

 __________________________________________________________


New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

image.png
4 + one
NEWSLETTER CARTELS NLS
Schermafbeelding 2021-09-28 om 08.57.05.png
Schermafbeelding 2021-09-28 om 08.58.54.png
Schermafbeelding 2021-09-28 om 08.51.37.png

_______________________________________________________

New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

image.png


Initiative–Vienna

 New Lacanian Field Austria

May 7 – by Zoom

Field Evening

 The Trans Issue

with Marco Mauas

   8 pm Local Time   

In English

Registration:  lacanfeld@gmx.at 

The zoom link will be sent on the day of the event

https://www.lacanfeld-initiative-vienna.org/events/feldabend-3-r4ell

__________________________________________________________

New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

image.png

Pendant le Congrès de la NLS 2021

Effets corporels de la langue

During the Congress of the NLS 2021

Bodily Effects of Language



Habiller le corps parlant   

To Clothe the Speaking Body 

 avec – with 

Daniel Roy, Abe Geldhof & Glenn Strubbe

La robe de Jana.jpg

Must-read! / À lire absolument :


TRACES

Réginald Blanchet: Strip-tease



Le lien Zoom pour le congrès sera envoyé la veille du congrès

 The  Zoom link for the congress will be sent in the evening before the congress


Register HERE – Inscrivez-vous ICI!

 

Les inscriptions seront fermés le vendredi 21 mai, 21h (Bruxelles/Paris)  

Registrations will be closed on Friday 21th of May 9 p.m. (Brussels/Paris Time)


image-3.png

__________________________________________________________


 New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

image.png
Pendant le Congrès de la NLS 2021

Effets corporels de la langue

During the Congress of the NLS 2021

Bodily Effects of Language


Marina Abramović

 Temps II  / Second Act : Restless, Limitless

with / avec 

Joost Demuynck & Ruzanna Hakobyan


Conversation with M. Abramović on 20th of May  – online :

image.png

Le lien Zoom pour le congrès sera envoyé la veille du congrès

 The  Zoom link for the congress will be sent in the evening before the congress


Register HERE – Inscrivez-vous ICI!

 

Les inscriptions seront fermés le vendredi 21 mai, 21h (Bruxelles/Paris)  

Registrations will be closed on Friday 21th of May 9 p.m. (Brussels/Paris Time)


image-3.png

__________________________________________________________


 New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

The Mirror Stage and the Body

"Writing is a trace in which an effect of language can be read"
— Lacan, XX, 121



INSCRIPTION / REGISTER HERE →

NLS Congress presents

Rik Loose
The Mirror Stage and the Body

Lacan’s second sentence in his article – “It should be noted that this experience (of psychoanalysis) sets us at odds with any philosophy directly stemming from the cogito” [1] –  places psychoanalysis and the experience of the body therein directly within the history of philosophy, more specifically in relation to Descartes. 

The body that Freud was so interested in, especially since he discovered infantile sexuality, which allowed him to develop his theory of the drives – and the body that was such a crucial aspect of Lacan’s work from beginning to end – are very different kinds of body than the Cartesian-inspired conception of it. This body, as Miller suggests, concerns life under the form of the body and this living body is the condition for that which animates it – which animates life – namely, jouissance, which is unthinkable without the body. [2]  This body, being alive, and thus infused with the spectre of death, is a body that is more or less coherent against a background of “a primordial Discord” [3], but it is also a body caught up in a dialectic of desire, traversed with jouissance, affected by the material of language and traumatized and parasitized by the latter.  He presented his conception of the mirror stage in 1936 and published The Mirror Stage… thirteen years later.

I will comment on the following sentence from The Mirror Stage…: “the mirror stage is a drama whose internal pressure pushes precipitously from insufficiency to anticipation – and, for the subject caught up in the lure of spatial identification, turns out fantasies that proceed from a fragmented image of the body to what I will call an “orthopedic” form of its totality – and to the finally donned armour of an alienating identity that will mark his entire mental development with its rigid structure”. [4]  This sentence contains a number of elements that are especially relevant for our work on the bodily effects of language.

The ”armour of an alienating identity” is the ego but it may be interesting to read this expression against the background of a more “economic” expression, namely, an “internal pressure” that “pushes”. Earlier on in the text he used the expression “jubilant activity” in the context of overcoming the necessity for a prop for the child to hold itself up (In other words, the specular image has substituted itself for the prop). [5]  These terms or expressions are indications of the fact that the self-image or ego and the image of the other, i(a), are invested with libido. This is what Miller refers to in his Six Paradigms of Jouissance as “imaginary jouissance”, a jouissance that is “intra-imaginary”. [6]  This means that this jouissance belongs to the image itself, it livens-up and animates it. So, the Mirror Stage… is, as Miller suggests, Lacan’s attempt to interpret “the ego on the basis of narcissism and narcissism on the basis of the mirror stage”. [7]  From this can be deduced that libido is largely narcissistic and that, at this early stage of Lacan’s work, the drive (jouissance) is intimately connected-up with the image.

In this quote there are two related references to the body: there is “the fragmented image of the body” and the “orthopedic form of its totality”. Lacan’s use of the word “orthopedic” is interesting here. It’s modern use concerns that branch of medicine that deals with the correction of deformations, disorders, or injuries of the bones. These references to the body here are interesting, because they demonstrate that already in this early period of Lacan’s work Lacan thought that the body that we have is in a sense an orthopedic prop that prevents the body from fragmenting, buggering off, or doing its own thing.  Or, as Lacan says in Seminar XXIII: “because of form, the form that was so dear to Plato, the individual presents himself just as he has been put together, as a body” and he adds, that “the astonishing thing is that form offers up nothing more than the bag, or, if you like the bubble, because it is something that inflates”. [8]
Reading The Mirror Stage… is as relevant as ever, especially now that jouissance and the (speaking)body have found themselves centre-stage in the Lacanian orientated clinic. All kinds of phenomena from the clinic, such as fragmented body experiences, organs doing their own thing, out-of-body experiences and bodies being inflated, narcissistically offering themselves up to the Other’s gaze, can still be read against the background of a text in which life and death, unification and fragmentation, animation and aggression, love and hate, and, indeed, body and mind are either explicitly or implicitly referred to and which were already there as forces that form part of the same, topological, surface.

[1] Lacan, J. (1949). The Mirror Stage as Formative of the I Function, in: Ecrits, (trans. B. Fink), New York: Norton, 2006. p. 75.
[2] Miller, J.-A. (1999). Lacanian Biology and the Event of the Body, in: Lacanian Ink, nr 18, 2001, p. 22.
[3] Lacan, J. op.cit. p. 78.
[4] Ibid.
[5] Ibid. p. 76.
[6] Miller, J.-A.  (1999), Paradigms of Jouissance, Psychoanalytical Notebooks, London: LSNLS, 1019, p. 17.
[7] Ibid. p. 16.
[8] Lacan, J. Seminar XXIII, The Sinthome, (ed. J.-A. Miller, trans. A. Price), Cambridge: Polity Press, 2016. P. 9.
TRACES >>>
INSCRIPTION / REGISTER HERE →
Facebook Facebook
Twitter Twitter
NLS NLS
Our mailing address is: 
accueil@amp-nls.org
Join NLS Messenger

 unsubscribe from this list

Copyright © 2020 NLS.
All rights reserved.


image.png

New Publication
Psychoanalysis Under Nazi Occupation
The Origins, Impact and Influence of the Berlin Institute

by Laura Sokolowsky

Translated by Janet et John Haney
Psychoanalysis Under Nazi 9781032105192 author flyer.jpg
__________________________________________________________

New Lacanian School

Désinscription – Unsubscribe
nls-messager-unsubscribe@amp-nls.org
Le site de la NLS website
https://www.amp-nls.org
Inscription – Sign up for the Newsletter


 

image.png




NLS Congress 2022 


Fixation and Repetition 

Argument

 

Alexandre Stevens

 

Repetition is one of the four fundamental concepts of psychoanalysis, as set out by Lacan in Seminar XI where, with repetition, he introduced a new mode of the real. To do so, he distinguished it from transference, which the post-Freudians had reduced to being merely the repetition of figures from the past.

 

As for fixation, it is a Freudian term, which Freud made use of in a rather discreet way and which was never given a significant place in his metapsychology. It was Jacques-Alain Miller, a careful reader of Freud, who gave it a new relevance when he took up the last period of Lacan’s teaching: "jouissance (…) is an event of the body. (…) it is of the order of trauma (…) it is the object of a fixation”. (1)  This was not the first time he had drawn upon Freud to propose a way of approaching Lacan’s last teaching. He had already proposed a reading of Inhibition, Symptom and Anxiety in this sense. (2) 

 

 

Fixierung

 

I referred to the index of the Gesammelte Werke and found that fixation is a term that appeared for just about the first time in Freud’s work, in 1905, in his “Three Essays on Sexuality”. In the development of sexual life, Freud identifies initial disturbing factors – it being understood that it is disturbed, in varying degrees, for each person. In Freud, these first, constitutional factors are still not very precise. They contain what he calls a “pertinacity” towards the impressions of sexual life. It is this “pertinacity” (3) that he calls a “susceptibility to fixation”.(4) It is in later encounters, made up of “stimulations of infantile sexuality as are experienced accidentally" that this material “can become fixed as a permanent disorder”. (5)

 

This is the fixation, the elementary structure of which is already present here: there are first factors, revived by a traumatic contingency that produces a fixation in a symptom whose durable element allows us to infer a repetition. “Every step on this long path of development [of sexual life] can become a point of fixation”. (6) What will become clearer later is that these first factors always refer to a drive dimension.

 

In 1909, in his Five Lectures on Psychoanalysis, in other words his American lectures, he is more precise. Hysterical symptoms are described by him as "residues and mnemic symbols" of traumatic experiences and thus testify to a fixation to traumas. (7) This fixation does not only concern the signifiers of the trauma, the symbols, but also its charge of excitation, i.e., what he calls drive “residues”.

 

This is even clearer in Lecture XVIII of his Introductory Lectures on Psychoanalysis, which deals precisely with fixation. (8) This 1917 text is post-war, and the link is made here with traumatic neuroses. As in these, the fixation of the libido always occurs at a traumatic moment, and this is sometimes very early. The drive is stopped, inhibited, and fixed at a certain point in development.

 

Finally, in Analysis Terminable and Interminable, 1937, Freud says the following about the development of the libido: "even in normal development the transformation is never complete and residues of earlier libidinal fixations may still be retained in the final configuration”. (9)  For Freud, fixation is thus always linked to the repetition of a particular libidinal trait that has been traumatic, in other words, that has involved the irruption of a real. However, he brings the aim of the analytical experience to a halt at the rock of castration, without going beyond it, without aiming at this point of fixation. It is Lacan who will take the analysis beyond this point to the point of stripping it bare in the Pass, and what the Analysts of the School (A.S.) testify to is indeed this One of jouissance which is this fixation that Freud discovered without ever really addressing. We find this term in a several places in his work, but it should be noted that he never gave it much scope.

 

Jacques-Alain Miller is the one who connected this fixation with the One of jouissance in the last Lacan, where jouissance is no longer taken up in the dialectic of desire but becomes a purely contingent shock. You will find this development in the fourth and ninth lessons of Being and the One. (10)  "What Freud identified is what we formulate as the conjunction between the One and jouissance, a conjunction that makes the libido not susceptible to transformation, metamorphosis, displacement. What we mean by point of fixation is that there is a One of jouissance that always returns to the same place, and it is on this account that we qualify it as real.” (11)

 

 

Repetition

 

Repetition, on the other hand, is a concept that is given an important place in Freud’s work. One of his texts is devoted to it, “Remembering, Repeating and Working Through”. (12)  In this text, repetition is linked to transference and constitutes a resistance in the treatment, even aggravating the symptoms. In Freud, the instinctual impulse remains implicit. This is what Lacan reverses, in The Four Fundamental Concepts of Psychoanalysis, when he separates repetition from transference and instead couples repetition with the drive.

 

And in Beyond the Pleasure Principle, it is repetition compulsion that, according to Freud, puts us on the trail of the death drive on the basis of the repetition of the traumatic element.  (13)

 

However, for Freud, as for Lacan before Seminar XI, repetition is essentially symbolic. The privileged example for this in Lacan’s teaching, is his Seminar on the “Purloined Letter” where it is a syntax that introduces signifying repetition with its automatic character. “[T]his automatism has the value of Freudian memory in the strict sense (…) One could say that at the beginning of his teaching Lacan makes the unconscious only a repetitive sentence that obeys the laws of symbolic determination”. (14) And we can add that this network of alpha, beta, gamma, highlights repetition as the elaboration of a knowledge, S2. (15) 

 

“There is something honest in repetition, something well known”. (16)  There is no surprise in it. However, in Seminar XI, Lacan brings in a new kind of repetition. With the Aristotelian couple of tuché and automaton, he in fact introduces a new type of repetition. Here, while automaton is the signifying repetition that obeys the symbolic order, tuché is the irruption of a real, a chance encounter, which does not obey the symbolic order. It is the missed encounter, the one that is not inscribed in signifying repetition. It is what gives the object little a its place and thus opens up a new meaning for the real: the irruption of bits of the real, as bits of jouissance. 

 

The tuché is an “encounter with the real” that “eludes us”, it “is beyond the automaton”, the irruption of a first encounter “behind the fantasy”. (17) It is therefore the repetition of a trauma. It is the real that is the principle of this repetition “that occurs as if by chance”. (18) “Here, already, in this ‘as if by chance’, we have the first indication of what, in his very last teaching, Lacan will bring to light as ‘the real is without law’. It is ‘the real as unassimilable’.” (19)

 

 

The Sinthome

 

Lacan will subsequently link repetition ever more closely to the drive, to the point that in Seminar XVII, The Other Side of Psychoanalysis, “[h]e says that repetition is not thinkable, has no value, except on the basis of jouissance”. (20) And as Miller goes on to clarify: “What Lacan calls ‘knowledge’ in Seminar XVII is the transcription of the Freudian fable of repetition. What he calls knowledge is repetition insofar as it is in relationship with jouissance”. (21) Repetition is thus linked to the surplus jouissance that escapes the operation of the signifier.

 

But, in Lacan’s last teaching, repetition will find another, even more radical formulation, since it becomes the sinthome itself. There is the One of the signifier all alone, outside the symbolic, which strikes the body and leaves a mark of jouissance there. The sinthome will be the repetition, an iteration, of this mark of jouissance. This is where we meet up with what Freud designated as fixation. We can say that the sinthome is the repetition of a fixation, it is even the repetition + the fixation.

 

This is the sinthome, written with a t-h, which is the last form of repetition and which we must now be able to read. It is no longer a question of discovering the advent of a signification, but of reading the letter of the event of jouissance that is repeated in the event of the body.

 

Jacques-Alain Miller has given us the paradigmatic example of this iteration, as a repetition of a new kind, which does not lend itself to interpretation but is articulated to jouissance. I quote from his text “Reading a Symptom”: “This is laid bare in addiction, in the ‘one more drink’ (…) Addiction is the root of the symptom which is made from the reiteration of the same One. It is the same, in the sense that it can’t be added up. One never gets to: ‘I’ve had three drinks, so that’s enough now’. One always downs the same drink, once more. It was in this sense that Lacan said the symptom is an et cetera, the return of the same event.”(22)  

 

So, as you can see, the theme of our next Congress is also, in a sense, a logical continuation of this one.

 

 

 

Translated by Philip Dravers

 

___________________________________________________________________

[1] Jacques-Alain Miller, L’être et l’Un, lesson 4 (9 February 2011). 

[2] Jacques-Alain Miller, Le Partenaire symptôme, lesson of the 3rd and 10th of December 1997.

[3] Freud, S. Three Essays on the Theory of Sexuality, SE VII, p. 242. ‘Pertinacity’ in the English and adhérence in the French, translate the German, Haftbarkeit, G.WV, p. 144.

[4] Ibid.

[5] Ibid.

[6] Ibid. p. 235.

[7] SE XI, p. 16.

[8] Freud, S., “Lecture XVIII: Fixation to Traumas—the Unconscious”, SE XVI, p. 273-285.

[9] Freud, S., “Analysis Terminable and Interminable”, SE XXIII, p. 229.

[10] Miller, J.-A., L’Être et l’Un, lesson 4 of 9th February 2011 and lesson 9 of 30th March 2011 (unpublished).

[11] Miller, J.-A., L’Être et l’Un, lesson 9 of the 30th March 2011 (unpublished).

[12] Freud, S., “Remembering, Repeating and Working Through”, SE XII, pp.145-156.

[13] Freud, S., “Beyond the Pleasure Principle”, SE XVIII, p.1-64.

[14] Miller, J.-A., “Transference, Repetition and the Sexual Real”, Psychoanalytical Notebooks 22 (2011), p. 11-12. Cf. NLS Messager 14: http://ampblog2006.blogspot.com/2011/01/14-20102011-en-towards-london-1-vers.html

[15] Miller, J.-A., “Le Partenaire Symptôme”, lesson of 6th May 1998 (unpublished).

[16] Miller, J.-A., “La fuite du sens” lesson of 20th March 1996 (unpublished).

[17] Lacan, J., The Four Fundamental Concepts of Psychoanalysis (London, Penguin, 1977), p. 53-54.

[18] Ibid. p. 54.

[19] Miller, J.-A. L’Être et l’Un, lesson of 15. 3. 1995, Quarto 121 (2019) p. 17

[20] Miller, J.-A. “Transference, Repetition and the Sexual Real” op. cit. p. 17 (or online, see previous).

[21] Ibid.

[22] Miller, J.-A., “Reading a Symptom”, Hurly-Burly 6 (2011), p. 152.




__________________________________________________________

New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

image.png

Pendant le Congrès de la NLS 2021

Effets corporels de la langue

During the Congress of the NLS 2021

Bodily Effects of Language



Habiller le corps parlant   

To Clothe the Speaking Body 

 avec – with 

Daniel Roy, Abe Geldhof & Glenn Strubbe

La robe de Jana.jpg

Must-read! / À lire absolument :


TRACES

Réginald Blanchet: Strip-tease



Le lien Zoom pour le congrès sera envoyé la veille du congrès

 The  Zoom link for the congress will be sent in the evening before the congress


Register HERE – Inscrivez-vous ICI!

 

Les inscriptions seront fermés le vendredi 21 mai, 21h (Bruxelles/Paris)  

Registrations will be closed on Friday 21th of May 9 p.m. (Brussels/Paris Time)


image-3.png

__________________________________________________________


 New Lacanian School

Désinscription – Unsubscribe
Le site de la NLS website
Inscription – Sign up for the Newsletter

Material | Body – The Body in Contemporary Art

"Writing is a trace in which an effect of language can be read"
— Lacan, XX, 121



INSCRIPTION / REGISTER HERE →

NLS Congress presents

Paulina Tanterl
Material | Body – The Body in Contemporary Art 

When we talk about the body, the body and furthermore the body-event we first have to get a glimpse of what kind of body we’re talking about and what this body is associated with.
 
The artist can use his body as a tool to access material but not exclusively in a performative way. One has to carefully decide, consider and abolish in order to figure out more about the material he chooses to work with. With material we form a structure, we create. It’s a physical thing. Material as form. Figuratively we refer to material as the base of ideas or concepts, the subject matter. Something we express through words. Material as content.
 
This is why the material the artist works with implies not exclusively the solid physical form but even more so the process of reflection, choices, rejection and resumption. This process is the alliance the artist builds with the material. The material functions as an extension of the body. Like a prosthesis which extends the physical but also the mental/intellectual capacity of the artist. But besides these well elaborated steps there’s also the need for a breaking point, a detachment from any preset concept and transgression into something bodily, something which happens spontaneously.
 
What about owning the material? What happens to the “material-prosthesis” after an exhibition for example? Ultimately, the artist only will be able to claim his ownership of the material after undergoing the process of working with it. Only with intense dedication, with persistence, sometimes even obsession and only through the process of trial and error the artist is able to make his material processable and maybe even accessible, too. It is precisely the examination of the material – the trial and error – which ultimately defines the artistic process and progress: The bodily experience of improvisation.

 

TRACES >>>
INSCRIPTION / REGISTER HERE →
Facebook Facebook
Twitter Twitter
NLS NLS
Our mailing address is: 
accueil@amp-nls.org
Join NLS Messenger

 unsubscribe from this list

Copyright © 2020 NLS.
All rights reserved.