The concept of the sinthome - the construction which provides a unique structuring of jouissance, but which is divested of any symbolic meaning - arrived late in Lacan’s work, in his seminar on 1975-6. The sinthom’s most notable application in Žižek’s output is found in Part I of his The Sublime Object of Ideology, in which he explores the homology between the form of commodities and of dreams. It has since been used widely in discussions of literature, art, and (...) cinema, but is missing from musicology, aside from the occasional remark from Žižek himself. This paper demonstrates that the medial caesura which deflects the tonal trajectory of a sonata exposition, and not the themes themselves, should be identified as the locus of this aspect of Schubert’s compositional voice. Drawing on ideas emerging from Žižek’s critique of Hitchcock, the aim is to demonstrate how the Lacanian concept of the sinthom reveals a deeper, more fundamental intertextuality in Schubert’s compositional project than has hitherto been available. (shrink)

This reading companion and commentary on Lacan Seminar XXIII provides detailed analyses of Lacan's seminar while maintaining an overall continuity and consistency. This book does not purport to provide an exhaustive and systematic line-by-line reading of a very complex and varied seminar. Rather it selects key themes of Lacanian theory that are found present throughout his work. In addition, the book does not try to simplify Lacan's ambiguous style, leaving the text open to different interpretations, while providing theory, commentary, and (...) lines of analysis into some of Lacan's important insights. Finally, this book is not about Joyce the writer, but more about the use that Lacan makes of Joyce. Its purpose is not to apply psychoanalysis to a literary subject, but rather to use the literary text to illustrate and develop psychoanalytic theory, and Lacanian theory in particular. It is an analysis of topology and language, or a linguisterie, as Lacan called it, for clinicians. The references to neurosis and psychosis are always there. However, a Lacanian clinic can also be of service to those interested in literary theory and/or social studies to develop theory within their own respective fields of studies. (shrink)

Aiming at the long repressed politico-semiotic dimension of Dream of the Red Chamber, this essay employs Lacanian theories of discourse and subjectivity inconjunction with the Chan Buddhist idea of enlightenment to analyze the coming into being of the what Zizek defines as a “modern subject” at the historical juncture of the Manchu conquest of China. Attempting to come to terms with the historical trauma caused by the Manchu conquest, the novel re-examines the fate of the emerging Chinese modernity founded in (...) the discourse of qing or “feeling” by re-visiting the last forty years or so of the Ming resistance against the invasion. The examination, however, reveals that the subject involved in this nationalist struggle unwittingly becomes a “modern subject” because of what Zizek describes as a “redoubled renunciation”: he who sacrifices his particular attachment for the purpose of bolstering the universal Cause ends up losing both. Also unprecedented in classical Chinese literature is that this “modern subject” eventually is able somehow doubly to “identify with the symptom/ sinthome” as his only consistency: “man” on the level of the “framed story” in the metafictional structure of the novel, and “contingency” on the level of the framing story. (shrink)

Aiming at the long repressed politico-semiotic dimension of Dream of the Red Chamber, this essay employs Lacanian theories of discourse and subjectivity inconjunction with the Chan Buddhist idea of enlightenment to analyze the coming into being of the what Zizek defines as a “modern subject” at the historical juncture of the Manchu conquest of China. Attempting to come to terms with the historical trauma caused by the Manchu conquest, the novel re-examines the fate of the emerging Chinese modernity founded in (...) the discourse of qing or “feeling” by re-visiting the last forty years or so of the Ming resistance against the invasion. The examination, however, reveals that the subject involved in this nationalist struggle unwittingly becomes a “modern subject” because of what Zizek describes as a “redoubled renunciation”: he who sacrifices his particular attachment for the purpose of bolstering the universal Cause ends up losing both. Also unprecedented in classical Chinese literature is that this “modern subject” eventually is able somehow doubly to “identify with the symptom/ sinthome” as his only consistency: “man” on the level of the “framed story” in the metafictional structure of the novel, and “contingency” on the level of the framing story. (shrink)

Si « mon corps est à moi », pourquoi ne serait-il pas raisonnable de changer de sexe ? Telle est la question, finalement curieuse, que pose Pierre-Henri Castel dans son ouvrage monumental sur le transsexualisme1, où, bien au-delà de la question psychopathologique étroite touchant la nature du transsexualisme, c’est un pan entier des savoirs sur..

Si « mon corps est à moi », pourquoi ne serait-il pas raisonnable de changer de sexe? Telle est la question, finalement curieuse, que pose Pierre-Henri Castel dans son ouvrage monumental sur le transsexualisme1, où, bien au-delà de la question psychopathologique étroite touchant la nature du transsexualisme, c’est un pan entier des savoirs sur...

The future is kid stuff -- Sinthom-osexuality -- Compassion's compulsion -- No future.

The Psychosis of Race offers a unique and detailed account of the psychoanalytic significance of race, and the ongoing impact of racism in contemporary society. Moving beyond the well-trodden assertion that race is a social construction, and working against demands that simply call for more representational equality, The Psychosis of Race explores how the delusions, anxieties, and paranoia that frame our race relations can afford new insights into how we see, think, and understand race's pervasive appeal. With examples drawn from (...) politics and popular culture--such as Candyman, Get Out, and the music of Kendrick Lamar--critical attention is given to introducing as well as explicating on several key concepts from Lacanian psychoanalysis and the study of psychosis, including foreclosure, phallus, the Name-of-the-Father, sinthome, and the objet petit a. By elaborating a cultural mode to psychosis and its understanding, an original and critical exposition of the effects of racialization, as well as our ability to discern the very limits of our capacity to think through, or even beyond, the idea of race, is provided. The Psychosis of Race speaks to an emerging area in the study of psychoanalysis and race, and will appeal to scholars and academics across the fields of psychology, sociology, cultural studies, media studies, and the arts and humanities. (shrink)

In recent years, commentators have begun to re-examine the proximity of Frantz Fanon's and Jacques Lacan's work — a proximity which has traditionally been underappreciated. This article adds to these voices, demonstrating the reciprocal intellectual relationship between these two figures. It develops five interrelated arguments to chart this proximity. First, it emphasizes Lacan's and Fanon's connections through their ontological perspectives on madness. Second, it arbitrates the two theorists’ criticisms of the limits of Western psychoanalysis. Third, it shows the importance placed (...) by both on social structures in determining mental illnesses. Next, it demonstrates the centrality of their common understanding of psychosis. Finally, it argues that Lacan's argument in The Sinthome concerning the colonizer's power is inherited from Fanon's Black Skin, White Masks — itself influenced by Lacan's early theory of language. The article does not attempt to cast Fanon as an apprentice Lacanian but rather to argue that reciprocity helped shape both oeuvres. (shrink)

Este artículo ofrece una aproximación psicoanalítica al Derecho en el contexto de un mercado global como el actual. El propósito es explicar la ruptura entre Derecho, mercado y política, como consecuencia de la globalización económica, y proponer un esquema para pensar su posible articulación. Para explicar la ruptura entre Derecho, mercado y política, se describen tres modos de relación con el Derecho en la evolución de la economía de mercado, en analogía con los modos de relación con la ley edípica (...) en las tres estructuras psíquicas que define Lacan (psicótica, neurótica, perversa); la conclusión es que el modo de relación con el Derecho en el contexto económico actual corresponde a una estructura perversa. Para pensar la posible articulación entre Derecho, mercado y política, se recurre a una analogía con los tres registros de lo psíquico según Lacan -Simbólico, Imaginario, y Real-, y al concepto de sinthome, como solución singular que permite anudar esos tres registros. (shrink)

Nous interrogeons le phénomène de la folie à la lumière de l’enseignement de Jacques Lacan. Elle a supposé une restitution de la dimension du sujet de la parole et du langage, ainsi que du sujet de la jouissance, dans un renversement éthique qui n’est repérable que dans l’expérience de la psychanalyse. Nous faisons un parcours des premiers textes de Lacan, lors de son passage de la psychiatrie à la psychanalyse, jusqu’aux conséquences repérables dans la dernière partie de son enseignement, où (...) les termes du « sinthome » et de « lalangue » permettent de replacer le sujet de la folie dans la structure. (shrink)

"We have learnt to see Joyce as Lacan's own symptom," writes Jean-Michel Rabate, "and as the sinthome par excellence" (2006, 26). This duality of Joyce as an unreadable text permeated with enjoyment and at the same time as an enigma that Lacan wants to decipher supplies the key to an understanding of Seminar XXIII. Lacan's addition to the triad of the Real, the Symbolic and the Imaginary of a fourth term, the Sigma (or sinthome) firms up his late shift from (...) the speakingbeing (parletre, the Lacanian neologism that indicates the insertion of the human being into the signifying chain) to MAN (LOM, a Lacanian play on l'homme). Instead of the human being as inserted into the Symbolic Order, Seminar XXIII presents Joyce as inserting himself into language, tying the signifier to the body in a special, unique way. For Lacan, the sinthome is eccentric to the registers of the Real, Symbolic and Imaginary, yet it paradoxically links them when the Name-of- the-Father fails. The implication is carried in the concept of "nomination" that the Name-of-the-Father (or its structural equivalents, such as "Woman," "God" and "Joyce") makes language possible for the individual. (shrink)

Valérie Chevassus-Marchionni | : Après une étude de la notion de symptôme en psychanalyse chez Freud et chez Lacan, la paresse est envisagée précisément comme un symptôme. Mais quel peut être le sens de ce symptôme? Quelle est la nature du désir inconscient qui préside à son apparition? Après avoir considéré plusieurs causalités et élaboré quelques interprétations possibles, nous nous intéressons au cas particulier du personnage d’Oblomov dans le roman éponyme d’Ivan Gontcharov. Si la paresse d’Oblomov a un sens qu’il (...) est possible de déterminer à l’aide des outils de la psychanalyse, il est intéressant aussi de ne pas en chercher à tout prix la signification et de l’envisager davantage comme un sinthome au sens lacanien du terme : Oblomov ferait usage de sa paresse comme d’une véritable création visant à contourner son mal-être et à lui permettre de s’accommoder à sa manière des souffrances générées par son existence et sa sensibilité. En conclusion est présenté succinctement le cas de Svevo qui donne de la paresse une illustration bien différente. | : A study of the notion of symptom in psychoanalysis in Freud’s and Lacan’s work shows that laziness can be regarded exactly as a symptom. But what can be the significance of this symptom? What is the nature of the unconscious desire which presides over its appearance? Having considered several causalities and developed some possible interpretations, we’re concerned with the particular case of the character of Oblomov in Ivan Gontcharov’s eponym novel. If Oblomov’s laziness has a significance which it is possible to determine by means of the tools of psychoanalysis, it is also interesting not to look at all costs for the meaning and to envisage it more as a sinthome in the Lacanian sense of the term : Oblomov would make use of his laziness as a real creation to bypass his ill-being and to adapt, in his own way, to the sufferings generated by his existence and sensitivity. In conclusion is briefly presented the case of Svevo which gives of the laziness a very different illustration. (shrink)

Selon la thèse centrale de l’auteur, le nom-du-Père est situé, dans l’enseignement de Lacan, comme le trou où convergent le nom, le singulier, le sinthome. Le nom-du-Père, que Lacan reprend à la religion, dans un premier temps de son enseignement est lu comme ce symbolique qui permet à l’homme de s’insérer dans l’universel du langage. Mais la cure psychanalyse oblige Lacan de passer de la valeur universel du nom-du-Père à la valeur particulière, voire singulière pour l’humain.

While he develops three different aspects of Lacan's “Real,” Slavoj Žižek does so only partially, in the end leaving an inconsistent and contradictory account. Here these three versions of the Real are outlined and clarified by showing their relation to Marx's account of capitalist exchange and socialist politics. This leads to a discussion of two other aspects of the Real that appear in Žižek's work: the pre-Symbolic Real and the “Sinthome.” Where the former is simultaneously the fear of a unified (...) working class and the fantasy of a world of “total enjoyment” without conflict, the latter is discussed here in terms of political struggle that takes on not only the form of a means to an end but also that of an end in itself. (shrink)

Music and the symptom -- The acoustic mirror as formative of auditory pleasure and fantasy : Chopin's Berceuse, Brahms's Romanze, and Saariaho's "Parfum de l'instant" -- Debussy and the three machines of the Proustian narrative -- Chopin dreams : the Mazurka in C♯ minor as sinthome -- Intermezzo : on agency -- Postmodern quotation, the signifying chain, and the erasure of history -- Lutoslawski, molar and molecular.

The critique of psychoanalysis by late Foucault discretely opens up the possibility of a paradoxical dialogue with Lacan. The article aims to reconstruct the possibility of such a dialogue by recasting the issue of the subject. Conceiving the latter as an effect of his act, the article sets out from a “praxeology” which aims to establish the relationship between the subject and truth by other means than those provided by knowledge, in order to challenge the ‘rights’ of epistemology. What kind (...) of strategies are required for building such a relationship; what kind of aesthetical and ethical consequences might follow from such a departure point? To answer these questions, the virtual dialog of Foucault and Lacan, presented here, confronts “parrhesia” and “sinthome”, two concepts which help us shed some light on their common problematics. Far from indulging in vain polemics, yet without ignoring the irreducible differences, the aim of the article is to examine how Foucaldian notions can support the renewal of the fundamental concepts of psychoanalysis – such as the symptom – and how a Lacanian orientation can further open up Foucault’s inquiry into subjectivity. (shrink)

In the spirit of praxis, I connect Lacanian theory with the practice of making a video. Lucky in Savannah, which is an experimental adaptation of “Lucky’s speech” from Samuel Beckett’s masterpiece, Waiting for Godot —"[t]he prototype of a modernist text” according to Slavoj Žižek. For Žižek, Beckett—rather than Shakespeare—is “a kenotic writer, a writer of utter self-emptying of subjectivity, of its reduction to a minimal difference”. Will Greenshields argues that Žižek goes further than Lacan, and even performs an anti-Žižekian move (...) when choosing Beckett over Joyce: “While for Joyce the beginning and end were so close as to be indistinguishable…for Beckett there is such a thing as a beginning, a bare minimum, and if the truly revolutionary act is to be achieved, one must return to it”. For these reasons, it is certainly worthwhile to consider Beckett avec Žižek and others. In my video, I employ a Beckettian aesthetic informed by Lacanian psychoanalysis, which leads me to the following question: Is Lucky's speech an example of “full speech” par excellence, or is it a Real manifestation of the sinthome as "the meaningless letter that immediately procures jouis-sense, ‘enjoyment-in-meaning,' 'enjoy-meant'"? (shrink)

Mon corps est-il un objet parmi d'autres dans l'espace ou bien crée-t-il l'étendue qu'il perçoit jusqu'à l'écho des étoiles? À quelle spatialité suis-je assujetti pour être relié de l'intérieur au monde et aux autres corps qui m'entourent? Les dimensions de l'espace sont-elles des coordonnées de la matière morte ou sont-elles des variations modales de mon esprit? C'est à la découverte de la spatialité du corps vivant que nous invite Guy-Félix Duportail dans son Analytique de la chair. il nous apprend, entre (...) autres, que la phénoménologie et la psychanalyse se rencontrent en ces lieux de la chair suivant des principes topologiques communs. Guy-Félix Duportail dessine le schéma intérieur de la subjectivité comme se donnant à l'extérieur, dans le monde. La subjectivité incarnée se retourne comme un gant et se retrouve ainsi exposée au-dehors, dans son sinthome, comme disait Lacan, dans son implexe, comme disait Merleau-Ponty. Dans tous les cas, elle se réalise dans une création réparatrice de son mal-être. L'immanence est donc dans la transcendance, et l'espace-temps se réfléchit dans la chair, dans les tourbillons de sa jouissance. La présente Analytique de la chair révèle qu'un corps sans organes (Deleuze et Guattari) est certes moins qu'un noeud, mais demeure plus qu'un emmêlement, et qu'une chair sublime mais sans corps (Levinas, Henry) ne fait du visage qu'un masque, et de la Vie glorieuse du Moi qu'un éloge de la pulsion de mort. (shrink)

Jacques Lacan's innovative development of Freudian psychoanalysis entails a differentiation between registers of the "symbolic," "imaginary," and "real," and then an analysis of the way these three registers are held together as three rings of the "Borromean knot." This work is taken a significant step further in his 1975-76 Seminar XXIII, and is sometimes thought to mark the shift to a "later Lacan.,, The seminar shifts its focus from "symptom" (as a coded message to the Other, repetitively sent even unbeknownst (...) to the subject) to the "sinthome" as a device by which the subject configures and is configured by a little circuit of messages. The Borromean knot is now seen as held together in some circumstances by the " sinthome." In this paper I explore what Lacan has to say about language, the Borromean knot, James Joyce, and God, and then turn to explore the place of symptoms, "sinthomes" and psychoanalysis itself in relation to psychiatry and contemporary culture. This paper is in two parts. In the first I review main lines of argument in Seminar XXIII, and then in the second part I embed Lacan's account in the broader cultural processes in which our clinical work must be read in order to be rewritten. (shrink)

This chapter looks at the function of phobia in the work of Gilles Deleuze. It looks particularly at how Deleuze’s concepts of the ‘line of flight’ and ‘becoming’ find definition in a creative rethinking of Lacan’s understanding of phobia, transforming his own symptoms into a sinthome that links a fear of milk to the figure of the schizophrenic thereby offering a ‘nonsensical’ yet effective way of understanding the dynamic genesis and development of his philosophy, particularly the logic of sense.

This chapter looks at the function of phobia in the work of Gilles Deleuze. It looks particularly at how Deleuze’s concepts of the ‘line of flight’ and ‘becoming’ find definition in a creative rethinking of Lacan’s understanding of phobia, transforming his own symptoms into a sinthome that links a fear of milk to the figure of the schizophrenic thereby offering a ‘nonsensical’ yet effective way of understanding the dynamic genesis and development of his philosophy, particularly the logic of sense.

The present paper aims to shed light on some post-oedipal moments of the Freudian-Lacanian psychoanalysis. Going beyond the stereotypical opposition between the oedipal psychoanalysis and the anti-oedipal schizoanalysis, it endeavors to reinvestigate the semiotic nature of theknotenpunktand thesinthomeby applying some Deleuzian and Bakhtinian concepts. Thus, theknotenpunktis described as a grotesque knot bringing together some heterogeneous elements. The involved disparate components establish a rhizomatic multiplicity irreducible to a common determiner. As far as thesinthomeis concerned, it is also illustrated as a grotesque (...) knot quilting the disseminated heterogeneous orders. In contrast to the dominant conception of the symptom with a complex mode of signifying (that is mainly bound to the oedipal topography), theknotenpunktand thesinthomehold a kind of hyper-formative mode of signifying. As a result, the latter may be regarded as pure formators irreducible to a meaning or a certain interpretation. Finally, the paper sets out to analyze and evaluate the relationship between thesinthomeand the foreclosure from a semiotic perspective. Accordingly, thesinthomeis explained as a reply to foreclosure which is specifically a perceptive-imperative (retroactive) contemplation (in the light of law according to the Peircean phaneroscopy) on the rhizomatic multiplicity of psychosis (the case of schizophrenia). (shrink)