Seminar XXIV Final Sessions 1 - Lacan in Ireland
Seminar XXIV Final Sessions 1 - Lacan in Ireland Seminar XXIV Final Sessions 1 - Lacan in Ireland
moment, effectively there is always this slippage and this interplay of signifiers asin the Seminar on the Purloined Letter, here there would seem to be a process ofcontinuity, of curious insistence, a first level which would be a level of denotation,which might exist in poetry, which exists in what concerns me, in a pictorialexperience where at that moment there is a first putting into a scenario or aproduction; signs are scenoengraphed and are going to insist at a level where theprimary passes into the secondary and if you wish, constitutes a first formation ofsigns which themselves will be afterwards put into the condition of an abyss bythe operation of a sort of scenic engagement.- Lacan: For my part I believe that your preverbal on this particular occasion iscompletely modelled by the verbal. I would even say that it is hyper-verbal. Whatyou call on this particular occasion filaments, is something which is profoundlymotivated by the symbol and by the signifier.- X: Yes, moreover I believe that too. But let us say that the path is different anddoes not happen by the whole process of the Symbolic and this is not at all to putin doubt or to fault your teaching even though I am not for it here.- Lacan: There is no reason why one cannot find fault with my teaching.- X: No but let us say at the level of what no longer is.- Lacan: I am trying to say that art on this particular occasion goes beyondsymbolism. Art is a know-how and the Symbolic is a principle of doing. I thinkthat there is, that there is more truth in the saying of art than in any amount ofblah-de-blah. That does not mean that it can pass along any path whatsoever.- X: Yes I just wanted to say that things...- Lacan: It is not a preverbal. It is verbal to the power of two. There you are.58
Seminar 6: Wednesday 8 February 1977Ah! I am banging my head against what I would call, on this occasion, a wall, awall of course of my own invention. That is precisely what annoys me. One doesnot invent just anything at all. And what I invented is designed in short to explain– I say to explain, but I am not very clear about what that means – to explainFreud. What is striking, is that, in Freud, there is no trace of that worry or moreexactly of these worries, of these worries that I have and that I communicate toyou in any case in the form of: ‘I am banging my head against the walls’. Thatdoes not mean that Freud did not worry a lot, but what he gave to the public wasapparently of the order, I say of the order of a philosophy namely, that there wasnot..., I was going to say that there were no snags (d’os); but precisely, there werebones and what is necessary for walking on one’s own, namely, a skeleton. Thereyou are. I think that here you recognise the figure, in any case if I drew itproperly, the figure, the figure in which by a single stroke depicted the generationof the Real, and that this Real is extended in short by the imaginary since thatindeed is what is at stake, without us knowing very clearly where the Real and theImaginary stop. There you are, it is this figure [Fig. VI-1] which is transformed intothis figure there [Fig. VI-2]. I am only offering it to you because in short it is thefirst drawing where I haven’t got into a muddle, which is remarkable, because Ialways of course get into a muddle.59
- Page 7 and 8: It would be enough for you to take
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<strong>Sem<strong>in</strong>ar</strong> 6: Wednesday 8 February 1977Ah! I am bang<strong>in</strong>g my head aga<strong>in</strong>st what I would call, on this occasion, a wall, awall of course of my own <strong>in</strong>vention. That is precisely what annoys me. One doesnot <strong>in</strong>vent just anyth<strong>in</strong>g at all. And what I <strong>in</strong>vented is designed <strong>in</strong> short to expla<strong>in</strong>– I say to expla<strong>in</strong>, but I am not very clear about what that means – to expla<strong>in</strong>Freud. What is strik<strong>in</strong>g, is that, <strong>in</strong> Freud, there is no trace of that worry or moreexactly of these worries, of these worries that I have and that I communicate toyou <strong>in</strong> any case <strong>in</strong> the form of: ‘I am bang<strong>in</strong>g my head aga<strong>in</strong>st the walls’. Thatdoes not mean that Freud did not worry a lot, but what he gave to the public wasapparently of the order, I say of the order of a philosophy namely, that there wasnot..., I was go<strong>in</strong>g to say that there were no snags (d’os); but precisely, there werebones and what is necessary for walk<strong>in</strong>g on one’s own, namely, a skeleton. Thereyou are. I th<strong>in</strong>k that here you recognise the figure, <strong>in</strong> any case if I drew itproperly, the figure, the figure <strong>in</strong> which by a s<strong>in</strong>gle stroke depicted the generationof the Real, and that this Real is extended <strong>in</strong> short by the imag<strong>in</strong>ary s<strong>in</strong>ce that<strong>in</strong>deed is what is at stake, without us know<strong>in</strong>g very clearly where the Real and theImag<strong>in</strong>ary stop. There you are, it is this figure [Fig. VI-1] which is transformed <strong>in</strong>tothis figure there [Fig. VI-2]. I am only offer<strong>in</strong>g it to you because <strong>in</strong> short it is thefirst draw<strong>in</strong>g where I haven’t got <strong>in</strong>to a muddle, which is remarkable, because Ialways of course get <strong>in</strong>to a muddle.59
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