They are called the schemata, adaptation, assimilation and…, After becoming abandoned, the creature tries to provide for himself. The primordial ambivalence or "basic tension" provoked during weaning persists and presides over all later stages of psychical differentiation (27 / 14). In Lacan's later formulations about the mirror stage, the allegorical mode asserts itself in two immediate ways. (Šcrits, 917). Some inanities circulate like that" (146 / 127). Lacan does not revise or "return" to his own texts. The "passion of the signifier," as we have seen, is not a trope to salve the soul. 2 On the atmosphere at the Marienbad congress, the conflicts between Anna Freudians and Kleinians, and Lacan's general reception, see Roudinesco, Esquisse, 151-61. Yet whose face appears as the mirror? 6 The term "story" here designates the narrated events in their chronological or sequential order; "plot," the actual disposition of this narrative content in the work. In this respect, Lacan adheres to Freud's supposition in the essay "On Narcissism: An Introduction" that "a unity comparable to the ego cannot exist in the individual from the start; the ego has to be developed" (SE, 14: 77). In "The Child's Relations with Others" (1960), Maurice Merleau-Ponty comments on the Lacanian extension of the ideas found in Les origines: In reading Wallon one often has the feeling that in acquiring the specular image it is a question of a labor of understanding, of a synthesis of certain visual perceptions with certain introceptive perceptions. Lacan's convoluted sentence is mimetic. The autonomous I is constructed through its adversarial relations. (Hilda Doolittle) recalls Freud's showing her the Pallas Athena in his art collection: "'This is my favorite' he said. But Lacanian theory conceded--in fact, insists--that the narcissistic dimension of ego formation also includes a different trajectory. The mythic Janus could also be invoked as a metaphoric analogue for this aspect of mental functioning. His late 1940s presentation of the mirror stage, although not complete allegorical in format, has recourse to distinctive allegorical procedures. 7 For further discussion of the significance of Matthews's and Chauvin's research for Lacanian theory, see Ver Eecke, 115-16. He envisions human individuals and groups primarily as sites of division and strife. ... Only so far as it is futural can Dasein be authentically as having been. In the chapter of Les origins entitled "The Body Proper and Its Exteroceptive Image," Wallon introduces a zoo of creatures to demonstrate, first, the disparity between animal and human modes of cognition and, second, the series of intricate stages in which consciousness of reflexive reciprocity develops in the child. The "I" is an optical effect, a mir(or-im)age, a trick done with mirrors. Hence Shakespeare's Hamlet may well provide a more perfect dramatic example of the Freudian theory than Sophocles's Oedipus Rex. His conclusion does not repeat the diachronic indication given in the rhetorical question ("Is it not enough that what is there has not barred the way?") Instead of a paternal representative of the law and societal custom, this turning point involves a less-than-harmonious identification with a semblable, as in: "The child who strikes another says that he has been struck" (Šcrits, 113 / 19). The passion that derives from the signifier is not modeled after the pattern by which Logos descends from a divine realm for the salvation of humankind. No less important for Lacan's conception of subjectivity, although a less familiar or expected resource than the Hegelian-Kojevian dialectics, is his assimilation of the tropes of Christian theology into his writings. Appropriately enough, "ideal [that is, unreal or imaginary] unity" is endowed by a reflected totality. (ll. The stages of his concept include the Imaginary, the Mirror, and the Symbolic. Another difference lies in the perception of the psyche, the "life" or "soul," whose typical state is characterized by machia, a "fight." Yet a more archaic type of anxiety is also evident in Lacan's writings. Metntal "integration" is an effect of the visual image or form (Urbild); "organic disarray," of the maternal body. The infant's first ambivalent object (which causes, and becomes the target of, contradictory feelings) is the imago of the maternal breast. Reflection is perceived by the baby as an outside object which contradicts the fragmented perception of self. There is neither confusion nor inadvertence in his discussion of the captivation (captation)--in both senses of subjugation and of seduction--that the mirror stage imposes on the perceiving subject: "this erotic relation, in which the human individual fixes upon himself an image that alienates him from himself" (Šcrits, 113 / 19). "Desire is human," according to KojËve, "only if the one desires ... the Desire of the other" (6).5 In the exchange of blows between the knights, whose self-absorption completely defeats whatever gallantry their chivalric code defends, Alice represents no more than a function of their narcissistic and imitated desires. Nevertheless, Lacan insists on Ferenczi as the principal perpetrator. Wallon noted that by the age of about six months, human infants and chimpanzees both seem to recognize their reflection in a mirror. Ferenczi nevertheless read the paper, published it, and bore the consequences. In the same passage accusing Ferenczi of disseminating "poison," Lacan excuses Freud, still in the early stages of his own theoretical development, for relying on Ferenczi's "very poor" 1913 article and thereby beginning an unfortunate psychoanalytic trend. Moreover, he insists that the distinction is not his own invention. The same footnote also gives the exact place and date (31 July 1936) of his own lecture's aborted delivery and reaffirms that the mirror stage constitutes, in Lacan's view, the "pivot" of his contribution to the psychoanalytic field (Šcrits, 67 n. 1). 147-48). Prudentius portrays successive martial confrontations in which an erotics of destructiveness comes to the fore. According to Roudinesco, the archival notes dated 16 June 1936 corroborate Lacan's claim that the discussion of the mirror stage in 1938 reiterates the main ideas of his unpublished paper (Esquisse, 159). The vision of the self-constituted individual, or what might be called "the good-enough gestalt" indeed turns out to be a mirage. The immediate result, however, was that the "original" essay never appeared in print. They seem to impose, or at least contribute to, the alienation that curtails Lacan's jubilant assumption of his own invention. But to exclude the diachronic dimension of Lacan's work would seem to counterman his own instructions. Social isolation leads to a loss of morality. The throat is choked and the scant breath confined by the stopping of its passage, and long gasps make a hard and agonizing death. quoted in Macey, 97-98). The issue of priority is a particularly complicated one in the case of Ferenczi. ndor Ferenczi, Carl Jung, and others chose to focus on the developmental suggestions in Freud's work, the idea of deferred action recurs throughout his writings. For example, "psycho-analysis, as we employ it to-day, is a procedure whose most prominent characteristic is passivity. ...[I]t might be argued that the application of psychological terms at all to the unconscious is itself a species of allegory" (61 n. 1). Again in "Aggressivity in Psychoanalysis," Lacan enacts the "aggressive competitiveness" he describes by defining the resolution of the Oedipus complex as an "identificatory reshaping of the subject": the basis for further egoic maturation is "a primary identification which structures the subject as rival of himself." The Derridean critique, succinctly stated, is that by "reading 'The Purloined Letter' as an allegory of the signifier, Lacan ... has made the 'signifier' into the story's truth" (Johnson, 232).5 The details of this famous debate and the numerous responses it has produced do not require rehearsal here. The inaugural version of Lacan's famous essay thus has the distinction of not being delivered on two separate occasions. Lacan constructs an allegorical text of his own rather than an allegorical interpretation or extraction of meaning from the text written by another author.6 The "light" or truth purveyed by his text is not purloined from another. In Mary Shelley’s gothic novel, Frankenstein, it begins with Robert Walton’s letter to his sister, revealing his plan to obtain glory by reaching the North Pole. The entry for the 1936 essay in Šcrits produces or, rather, collaborates in the production of yet another ambiguity. From such historical material--as from the recollections of dream material--"a nation today learns to read the symbols of a destiny on the march" (Šcrits, 255 / 47). The question is: how is it possible for him to affirm what Freud has implicitly discounted without adopting an oppositional stance? From the very outset, Lacan thus posits a psychical mechanism--"narcissistic intrusion" as he calls it--that requires "the subject's recognition of his image in a mirror" (CF, 45 / 18, 42 / 17). The statue is consonant with Freudian (and Lacanian) theory in yet another sense. Solitude induces a shameful development of morals.…, Because of Victors actions, the creature is not able to control his rage. So while Lacan tends to present his own work as (a tribute to) Freud's, he presents Wallon's work as his own; that is, he translates himself into Freud, but translates Wallon into himself. From these they developed profiles of typical development of the children in each age group. Instead, the 1924 title may be glossed by a position statement from Ferenczi's 1928 essay on "The Elasticity of Psycho-Analytic Technique": "Analysis should be regarded as a process of fluid development unfolding itself before our eyes rather than as a structure with a design pre-imposed upon it by an architect" (90). Freud also correlates his patient Emma's symptom, her "compulsion of not being able to go into shops alone," with two episodes from her past: "a memory from the time when she was twelve years old (shortly after puberty)" that activated a second, repressed memory of a scene when she was "a child of eight ... and the shopkeeper had grabbed at her genitals through her clothes" (SE, I: 353-54). Reflexive recognition displaces the Oedipal conflict as the linchpin or turning point in the constitution of the subject. The infant ego inhabits a rarefied and abstract landscape, tentatively "sampl[ing] the external stimuli" and then withdrawing into itself again. The practice of psychoanalysis, as conducted by exegetes proficient in the arts of recuperation, could henceforth be called an "archae-logogical" investigation. The futural ("anticipated") image that comes up from behind in the rearview mirror renders into spatial terms the paradoxical compression of discrete temporal states that constitute human subjectivity. In Wallon's numerous descriptions of attitudes before the looking glass--be it those of dogs, monkeys, infants in their cradles, or a little girl admiring the straw hat on her head--a real mirror is involved. The Three Stages of Training, Development and Competence. Every adolescent individual has memory-traces which can only be understood with the emergence of sexual feelings" (SE, I: 356). In his seminar on the psychoses, Lacan states: I began by distinguishing the three spheres of speech as such. As indicated in the preceding chapters, these alterations include: the reduction from three family complexes to a two-phase theory of specular and Oedipal identifications; the shift from a primarily genetic (developmental) emphasis to a structural (deferred action) view of psychical temporality; and the recasting of the maternal role. (Seminar XI, 62 / 64). This causes Victor to become furious with the monster, when the monster proposes that Victor create a female companion for himself, Victor follows the demand but quickly destroys it because he doesn’t know what could come about from her…, Rather than capitulating with the Creature’s demands, Frankenstein provokes the Creature in search of his own emotional fulfillment. Their studies demonstrate that visual stimulation links mental and physical processes in these animals; even seeing the reflected image of members of the same species can produce a physiological change. However, under the influence of criticism from the heresy-hunters in his inner circle, Freud gradually became far less tolerant and benevolent. There are certainly dangers involves in this deviation from our 'classical technique' as Ferenczi dubbed it in Vienna, but this is not to say that they cannot be avoided" (Freud to Committee, letter dated January 1924; Rank Collection, Rare Books and Manuscript Library, Columbia University). Both Girard's dictum--"the subject desires the object because the rival desires it"--and Lacan's--"the desire of man is the desire of the Other"--derive from the KojËvian notion of aggression as an outcome of mimesis (Girard, 145; Lacan, Seminar XI, 105 / 115). The author of the Psychomachia does not ask "Am I?" The central insight of the poem--"non simplex natura hominis" (l. 904)--thus has its actualization in the narrative device of doubling. Whereas previously the paternal imago occupied a tertiary position in Lacan's view--after the maternal and fraternal imagos had done their developmental work--it now becomes secondary. The bitter warring over Lacan's "short sessions" in the 1950s and 1960s paralleled the reactions that Ferenczi's therapeutic activities aroused in the 1920s.10. The Oedipal stage is allegorical of a child’s passage into adulthood through socialization as he is initiated into language. The complications of Nachtr”glichkeit, of rewriting the past from a present perspective, are not yet foregrounded in Lacan's thought. The influences of nature (e.g., genetics) and nurture (… The complete position statement excerpted above reads: "Analysis can have for its goal only the advent of a true speech and the realization by the subject of his history in his relation to a future" (Šcrits, 302 / 88). Its meaning value is supra- or hyperlogical and not chronological. The interest and irony lie in the ways in which he contravenes the secularism of Freud, a militant secularism raised to the level of dogma, by drawing on rhetoric and imagery from the religious domain. Lacan himself, in spite of his criticism of overzealous seekers, claims to find in Freud's texts an appeal to something that may be termed "always there" (toujours lý): namely, the Name or Interdiction (nom-non) of the Father. As will become increasingly evidentin what follows, the majority of Lacanian concepts are defined inconnection with all three registers. The stages are organized around the fear of castration. By the 1970… It is also likely that the continual and close study of Freud's texts deepened his understanding of the relevance of Nachtr”glichkeit for his own work. "The Mirror Stage as Formative of the Function of the I" was published in the October-December 1949 issue of the Revue franÁaise de psychanalyse and subsequently reprinted in Šcrits. Under these circumstances, the question of the proper name arises. Thirteen years following the memorable intervention at Marienbad, Lacan presented an uninterrupted communication at the sixteenth International Psychoanalytical Congress in Zurich on 17 July 1949. Lacan redefines the temporal condition of subjectivity in a sense that may therefore be specified, after Heidegger's Sein und Zeit (1927), as "futural." One source of the widespread appeal of the mirror-stage theory, I therefore suggest, derives from this account of human genesis that, painful and fraught with psychical dangers (fantasies of fragmentation, acute narcissism, alienation) though it might be, takes place without mediation: sans mother and sans father. The rival whose desire enables consciousness to come into "Being-for-itself," and to acquire its independent value, is found in the outer world. He likes him whom he is like. Thus "man can appear on earth only within a herd," KojËve asserts; and, "the human reality can only be social" (6). Disclosing "a certain forgetfulness or a curious lapsus," Lacan consistently "skips over" Wallon, as Bertrand Ogilvie puts in (113 n. 1). It orients the relations that are anterior to its actual appearance--weaning, toilet training, etc. In any case it certainly becomes at the same time, although no doubt very obscurely, the subject of a "concrete idea." These complications exemplify at the level of syntax the phenomenon of retranscription more fully articulated in his later work. To highlight this irony--the essay on negation replicates the concept it defines--is to take up the critical position of the one who knows: "So it is his mother.". Wallon's detailed observations clearly established a conceptual paradigm for Lacan's understanding of the mirror stage. As this division implies, Ferenczi defines the "classical" approach in terms of its passivity. But she, rising higher, smites her foe's head down ... lays in the dust that mouth. "I did not give my paper to the congress proceedings," Lacan explains, "and you may find the essential in a few lines in my article on the family that appeared in 1938" (Šcrits 185). Rhetorically, as I shall endeavor to show, this transformation involves a "genre shift." 18, part. To read Ferenczi's 1926 essay, with its frequent tributes to Freud, after reading Lacan elicits the strange sensation of recognition of the unfamiliar. The final state of "The Mirror Stage" was already present in the past. When a monster succeeds on their quests typically a monster would gloat and boast, proud despite all the evil things they have done.…, Piaget believed that children naturally attempt to understand what they do not know. The patient's pronouncement--"It's not my mother"--means the opposite of what it says. Both Michael Eigen, in a comparison of Winnicott and Lacan, and Roudinesco, in a more recent comparison of Wallon and Lacan, comment on the negativistic aspect of the Lacanian vision (Eigen, 421-22; Roudinesco, Jacques Lacan & Co., 143). Lacan, too, in his "Direction of the Treatment and the Principles of Its Power" (1958) and other writings, draws analogies between the "metaphor of the mirror" and the analyst's task; however, he typically evokes the "smooth surface [surface unie] that the analyst presents to the patient" (Šcrits, 589 / 229). "Retroactively, one may clarify what happens in children," Lacan explains to the clinicians in his audience, but only "in a hypothetical and more or less verifiable manner" (Seminar I, 147 / 127-28). More crucial, however, than the identity of the person seen in the mirror is the elimination of the schism between the felt "me" and the visual "me.". Previously, however, Lacan still tended to envisage a life cycle whose progress could be tracked and precisely relived. Lacan's statement here does provide grounds for finding that which is to come already there (dČjý lý), anticipating his later formulation of the mirror stage as a drama involving self-reflection and self-integration: a perception of one's-own-body and of one's-whole-body. However, in the terminological alteration from "stage" (stade) to "role," an abstract setting becomes an actual habitation: a familial setting in which the mother's face serves as primary reflector for the young child.9. Ferenczi extrapolates from Freud's essay on negation what is not in the text--except, perhaps, as a form of negation: "The first and immediate aim ... of reality-testing," according to Freud, "is, not to find an object in real perception ... but to refind such an object, to convince oneself that it is still there" (SE, 19: 237-38). The formalist critic Boris Tomashevsky similarly distinguishes between the story as "the action itself" and the plot as "how the reader learns of the action" (67). Viewed metacritically, Lacan's exegesis freely borrows and superimposes motifs from the classical myths of Narcissus and of Oedipus. The second phase entails an ongoing narcissistic, imaginary relationship based on aggressive alienation/erotic attraction between the ego and the other. Even when an adult holds the infant before the mirror, Lacan asserts that the crucial formative identification occurs only between the self and its semblable. Nonetheless, the discrepancy in Lacan's treatment of Freud and of Wallon raises the question: why this flagrant omission of Wallon's contribution? Carroll's crimson-clad knight arrives first on the scene and, "brandishing a great club," claims proprietary rights over the startled Alice: "'You're my prisoner!' In a letter dated 6 December 1896, he tells Wilhelm Fliess: "I am working on the assumption, that our psychical mechanism has come about by a process of stratification: the material present in the shape of memory traces is from time to time subjected to a rearrangement in accordance with fresh circumstances--is, as it were, retranscribed" (Freud, Origins, 173). This essay was soon translated into English and reprinted in his Further Contributions to the Theory and Technique of Psycho-Analysis (1927). The issues may be focused by asking what might be involved conceptually and politically--also personally, that is to say--for Lacan behind the notion of rewriting, rather than reliving, the past? C.E. In a manner of speaking, the place and the time of the encounter have changed.
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