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THEORY, POETRY, FICTION AND CONTEMPORARY ART
ISSUE 6 SPRING 2005
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Mental cover
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FROM THE FRENCH
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A and a in Clinical Structures
by Jacques-Alain Miller

Just a word to begin. I've been told that Americans take offense when you don't read to them. Well, I can't speak for all French people, but it's very unusual in France, and it may even be considered, not rude, but lacking ability to speak. So anyway, in the department of psychoanalysis, following Lacan, who for 30 years of these seminars never read one, we usually don't read in a workshop. I may even say that, if you want to read during the talk, please do so. Perhaps it will just save some stupidity. [...] go to article

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Affects
by Stuart Schneiderman

Imagine that you are sitting at a desk writing something about Lacanian clinical practice. You probably know that such activity requires considerable concentration of one's mental faculties. And imagine that as you are performing this activity there appears in the room an insect, a fly, the sort that makes a sound that is impossible to ignore. If you would like to add meaning, make it that the fly is buzzing around your head. At first, the sound of the fly is an annoying, droning, slightly whining buzz, but if you listen closely, if you redeploy your mind in the direction of the fly, you may discover that you can make out through the noise the faintest phonetic distinctions. And after a little practice you may eventually be able to make out the word that this fly is trying to communicate to you. [...] go to article

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NEUROSIS

Conducting the Hysteric's Cure
by Michel Silvestre

By no means can the recognition of the clinical type of a particular patient be taken for a preliminary to the cure; this is rather a matter of the position proper to each analyst, who manages his practice in solitude, with the experience he has forged for himself. However, note the solidity of the threefold division hysteria, obsession, and phobia—all attempts to reshape or to modify this division have been unable to shatter it. From this, we suggest that each of these three general clinical types regroups specific modes of the subject's response and that these responses are found from one subject to another within the same clinical type. [...] go to article



Obsession: A Name of the Super-Ego
by Dominique Miller

I’d like to suggest, that one of the most pressing clinical problems in the field of psychoanalysis is that of female obsessional neurosis. Who would disagree if I were to allege that any woman who enters the consulting room [...] go to article

IN ITALIAN

Le tre estetiche di Lacan
by Massimo Recalcati

Lacan non si è mai interessato in modo sistematico ad una estetica psicoanalitica. Piuttosto il suo interesse fondamentale è stato sempre rivolto all’etica della psicoanalisi. A chi  aveva provato ad ironizzare malevolmente sulla dimensione “filosofica” del suo insegnamento sull’etica, sviluppato nel Seminario VII dedicato com’è noto a [...] go to article



Dora and the name-of-the-father
by Ellie Regland Sullivan

In "The Direction of treatment and principles of its power" (1958), Lacan refers to Dora, as he will repeatedly throughout his teaching. In the 1958 essay Lacan points out that hysterics generally remain captives of purely imaginary identification because their fantasies imply its ensnarement. In the essay "Intervention on the Transference" (1953), Lacan opened the door to a reconsideration of what [...] go to article





The technique of Lacanian Psychoanalysis
by Anna Shane

As many have discovered, learning Lacanian theory isn’t necessarily a straightforward or even an obviously logical undertaking.  It may seem easier, if one has trustworthy teachers, but for English speakers teachers aren’t always convenient.  Because of this dearth, many students of Lacanian psychoanalysis must rely mainly on texts, perhaps supplemented by attending occasional seminars. go to article

CLINICAL CASE

The Indiscrete Language and the Unrepeatable
by Marco Focchi

Hysteria today has disappeared from psychiatric nosology, swallowed up in the vortex of oblivion, as if it were no longer recognizable after having lost the lively, theatrical nature with which it was presented to Charcot and clinicians in the nineteenth century.  The expressiveness of hysterical symptoms has changed [...] go to article

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The Taste of Dasein
by Jane Kurki

In this article, I will underline some simple concepts in Lacan’s reading of Poe. These concepts are so simple and so tightly connected to the practice of psychoanalysis that secondary literature tradition seems to have lost the essential dimension of Lacan’s comments. [...] go to article


MUSIC

Interview to
Lawrence "Butch" Morris

by Alessandro Cassin

Butch Morris Jazz has literally driven the 20th century from one end to the other, and it has given birth to many offspring, reinventing itself time and again. No matter how many times it has changed, however, jazz has always been a medium for individual expression and collective interaction with its own characteristic spirit, and this is the essence of swing. Born from the elements of spontaneity, momentum, combustion, ignition and propulsion, this essence has been called the "extra dimension". [...] go to article

Butch Morris

IN SPANISH

Asesinato en una Escuela
por Slyvia Elena Tendlarz

Un alumno de 15 años, hasta entonces retraído, tímido, que se mantenía a distancia de los otros jóvenes, entra lúcido en su aula y dispara con un arma robada de su casa contra sus compañeros. Cinco de ellos caen heridos, otros tres mueren. Cuando intenta utilizar el segundo cargador, se traba, y Dante, su mejor amigo, también un “Dark” como se autodenominan, se abalanza sobre él preguntándole qué hizo. Junior, en silencio, se sienta en el pórtico a la espera que vengan a buscarlo. go to article





The Subject of Art
by Alain Badiou


My Father was accustomed to say, “We must begin by the beginning.”  So, I must begin this lecture about the subject of art by it’s beginning.  But, what is this beginning?  I think we have to begin with the oldest question—the question of being, the question of being as being, of being qua being.  What is being?  What are we saying when we say something is, something of art is…?  Something of art “is a joy forever,” for example.  What are we saying?  I begin by a fundamental distinction between three levels of the signification of being. First, when I say something is, I just say that something is a pure multiplicity. ‘Something is’ and ‘something is a multiplicity’ is the same sentence.  So, it’s a level of being qua being. [...] go to article

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The Act and its Vicissitudes
by Slavoj Zizek

What is an act in the strict Lacanian sense of the term? Recall C.S.Lewis' description of his religious choice from his Surprised by Joy - what makes it so irresistibly delicious is the author's matter-of-fact "English" skeptical style, far from the usual pathetic narratives of the mystical rapture. C.S. Lewis' description of the act thus deftly avoids any ecstatic pathos in the usual style of Saint Theresa, any multiple-orgasmic penetrations by angels or God: it is not that, in the divine mystical experience, we step out (in ex-stasis) of our normal experience of reality: it is this "normal" experience which is "ex-static"(Heidegger), in which we are thrown outside into entities, and the mystical experience signal the withdrawal from this ecstasy. [...] go to article
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