Seminar XXIV Final Sessions 1 - Lacan in Ireland

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time, it is from the point of view of the subject that I have a perspective of alack in the Other.So then what is this lack?How map it out with respect to transference love? Well then, when welisten to music that moves us, the first impression is hearing all the time thatthis music has always something to do with love; one might say that musicsings with love. But if one takes this little schema seriously and if even onetries to comprehend how love functions, from this movement of torsion inmusic, you will sense it is not so much the subject, the subject who speaksof his love for the Other, but much more rather that he answers the Other,that his message is this answer where he is assigned by this subjectsupposed to hear and that his music of impossible love is in fact an answerthat he makes to the Other and that it is to the Other that he supposes thefact of loving him and of loving him with an impossible love. The problem,if you wish, one could in a summary way draw a parallel with certainmystical positions, where the mystic is the one who does not tell you that heloves the Other, but that he only answers the Other who loves him, that he isput into this position, that he has no choice, that he only answers it.In this second moment of the music, one can draw this parallel in themeasure that the subject effectively solicits the love of the Other for him,but the love of the Other qua radically impossible. That is why I put thisarrow, the fact is that the subject has, through this second point of view, hasa perspective on the lack that inhabits the Other, namely, that as you see,after these two moments, one could say that there is confirmed by thissecond moment that the evaporated object, in the second position, remainsjust as evaporated as in the first position. We are getting closer, as you see,we are getting closer to the end of the loop. Transference, one may remark,corresponds very precisely to the way in which Lacan introducedtransference love in the seminar on Transference, namely, that there is there:the subject postulates that it is the Other who loves him; he poses therefore abeloved and a lover. There is therefore a passage, in this transference love,36
from the beloved to the lover. What I have told you there, in any case is notcorrect, because the second moment cannot be articulated as such, it issynchronically articulated with a third moment which exists, I would say,synchronically with it in the following way: the subject, this time, if youwish, being himself a musician, being therefore a producer of the music,addresses himself to a new other, which I called the subject supposed tohear who is no longer altogether the Other at the starting point, it is a newother. This new other, precisely, is no longer the ‘vel’ it is no longer ‘eitherone or the other’. To this new other, he is also going to identify himself,namely, that there is starting from the top of the loop, a double arrangementwhere the subject is both the one who is speaking and the one who ishearing.Something may perhaps illustrate this division for you: this is what ishighlighted, in my opinion, by the myth of Ulysses and the Sirens. Youknow that Ulysses, in order to hear the song of the Sirens, had stuffed withwax the ears of his sailors. How ought we understand that? Ulyssesexposes himself to hearing, to hearing the invocatory drive, in fact tohearing the song of the Sirens; but what he is exposed to, since, when hehears the song of the Sirens, you know that history tells us that he shouts tothe sailors, that he says to them: ‘Stop, let us stay here’. But he has takenhis precautions: he knows that he will not be heard. Namely, that this mythin my opinion illustrates, this is my second moment, namely, that Ulysses isput in the position of being able to hear in the measure that he had assuredhimself that he could not speak, namely when he had assured himself thatthere would not be this reversal of the drive, namely, the second and thethird moments, namely, when he had assured himself that there would notbe a subject supposed to hear, because of these wax stoppers. You see thatthe first moment, ‘to hear’ is one thing, but that even poses for us theproblem of the ethics of the analyst. Is the analyst precisely not someonefrom whom one can hear that he hears certain things, is he not, at a givenmoment, necessarily, by the very structure of the instinctual circuit, in aposition of having to make himself a speaker? Not to behave like Ulysses,let us say, who had already taken a first risk of hearing certain things.37
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Page 5 and 6: after all noticed that to consist m
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Page 23 and 24: Everyone knows that this is how thi
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Page 27 and 28: proceed to this double cut, a doubl
Page 29 and 30: The inside and the outside in this
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Page 35: music on you, is that it has this p
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Page 43 and 44: short I called the discourses; the
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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
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Seminar XXIV Final Sessions 1 - Lacan in Ireland

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