propose, is that one can comprehend at that moment the <strong>in</strong>st<strong>in</strong>ctual reversalof which Freud speaks and <strong>Lacan</strong> takes up aga<strong>in</strong>, the <strong>in</strong>st<strong>in</strong>ctual reversal thatI am go<strong>in</strong>g to put on the top of the graph, as the passage to a second mode ofseparation and this <strong>in</strong>st<strong>in</strong>ctual reversal, as one might say, as a secondattempt at approach<strong>in</strong>g the lost object but this time from a differentperspective: from the perspective of the subject. Let me expla<strong>in</strong>: if youwish, <strong>in</strong> the first moment that I postulate, I would say that while I recognisemyself as listener, the switch<strong>in</strong>g po<strong>in</strong>t that comes, which means that now Iam go<strong>in</strong>g to pass to the other side, can be articulated as follows, namely, toadvance that when I recognise myself as listener, one could say that thistime it is me, I am recognised as listener by the music which comes to me,namely, that the music, what was an answer and which gave rise to aquestion <strong>in</strong> me, th<strong>in</strong>gs are <strong>in</strong>verted, namely, that the music becomes aquestion which assigns me, as subject, to respond myself to this question,namely, that you see that the music is constituted as listen<strong>in</strong>g to me, assubject f<strong>in</strong>ally – let us call it by its name – as subject supposed to hear andthe music, the production, that which was the <strong>in</strong>augural answer becomes thequestion, the production therefore of the musician subject be<strong>in</strong>g constitutedas subject supposed to hear, assigns me <strong>in</strong> this position of subject and I amgo<strong>in</strong>g to answer it by a transference love. In this way one cannot fail toarticulate the fact that music produces all the time effectively love-effects,as one might say.I come back aga<strong>in</strong> to this notion of lost object from the follow<strong>in</strong>g angle: thefact is that you have not failed to remark that what is proper to the effect of34
music on you, is that it has this power, as one might say, of metamorphosis,of transmutation, that one could summarise rapidly as follows, by say<strong>in</strong>g forexample that it transmutes the sadness that is <strong>in</strong> you <strong>in</strong>to nostalgia, I meanby that that if you are sad, the fact is that you can designate, whether you aresad or depressed, you can designate the object that you lack, whose lack youare miss<strong>in</strong>g, makes you suffer, and it is sad to be sad, I mean, it is not thesource of any enjoyment. The paradox of nostalgia – as Victor Hugo said,nostalgia is the happ<strong>in</strong>ess of be<strong>in</strong>g sad – the paradox of nostalgia is thatprecisely <strong>in</strong> nostalgia what happens, is that what you are lack<strong>in</strong>g is of anature that you cannot designate and that you love this lack. You see that <strong>in</strong>this transmutation, everyth<strong>in</strong>g happens as if the object which was lack<strong>in</strong>greally evaporated, has evaporated, and that what I propose to you, is tocomprehend effectively the enjoyment, one of the articulations of musicalenjoyment, as hav<strong>in</strong>g the power to evaporate the object. I see that the word‘evaporate’, we can almost take it <strong>in</strong> the physical sense of the term, <strong>in</strong> whichphysics has located sublimation: sublimation, is effectively a matter ofmak<strong>in</strong>g a solid pass <strong>in</strong>to the state of vapour, of gas; and sublimation, is thisparadoxical path by which Freud teaches us – and <strong>Lacan</strong> has articulated <strong>in</strong> amuch more susta<strong>in</strong>ed way – it is precisely the path along which we can haveaccess, precisely along the path of desexualisation, to enjoyment.Therefore, you see, <strong>in</strong> this second moment – what I am mark<strong>in</strong>g, at the topof the circuit: the reversal of the drive – a first torsion – it is perhapsstart<strong>in</strong>g from this notion of torsion that Dr <strong>Lacan</strong> thought of <strong>in</strong>sert<strong>in</strong>g thislittle topo at the po<strong>in</strong>t that he is <strong>in</strong> his progress – a second moment therefore,a first torsion appears where there is the apparition of a new subject and of anew object. The new subject precisely, is me who from auditor becomes, Iwould say, I cannot say speaker, speak<strong>in</strong>g, music<strong>in</strong>g, one would have to saythat it is the po<strong>in</strong>t <strong>in</strong> music where, the notes that go through you, everyth<strong>in</strong>ghappens as if paradoxically, it is not so much that you hear them, it is as ifeveryth<strong>in</strong>g happens as if – I <strong>in</strong>sist on the ‘if’ – everyth<strong>in</strong>g happens as if youwere produc<strong>in</strong>g them yourself: you are the author of this music. I put herean arrow which goes there from the subject to the separat<strong>in</strong>g little o,want<strong>in</strong>g to <strong>in</strong>dicate by that that <strong>in</strong> this second perspective of separation, this35
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eason is said to be purloined, whil
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Borromean knot with that of the Ima
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Alain Didier Weill, for his part, i
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Seminar 8: Wednesday 8 March 1977Wh
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shouldn’t tell you, at 7.15 at Ju
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means that the tongue fails, that,
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of his time as a formidable cleric
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It is very difficult not to waver o
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I remind you that the place of semb
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this term in the feminine, since th
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which coincides with my experience,
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and to put that for you in black an
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see, does not see too great an inco
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that exists, he says what he believ
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In short, one must all the same rai
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particular besides, neurotic, a sex
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functioning as something else. And
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mean to deny? What can one deny? Th
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slipping from word to word, and thi
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Seminar 12: 17 May 1977People in th
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y writing. And writing only produce
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not pinpointed it? He calls this a