<strong>Sem<strong>in</strong>ar</strong> 8: Wednesday 8 March 1977What one writes..., I say ‘one’, because – anyone at all can write – I say‘one’ because it embarrasses me to say ‘I’. It is not without reason that itembarrasses me. Why should the ‘I’ be produced on this particularoccasion? Therefore it happens that I said and by that fact it can be found <strong>in</strong>writ<strong>in</strong>g, I said that there is no metalanguage, namely, that one cannot talkabout language.As it happens I reread someth<strong>in</strong>g which is <strong>in</strong> Scilicet IV that I called,anyway that I entitled, that is how, it is someth<strong>in</strong>g like that that carries yourbrand, anyway that I entitled L’étourdit, and <strong>in</strong> L’étourdit, I noticed, Irecognised someth<strong>in</strong>g, <strong>in</strong> L’étourdit, this metalanguage, I would say that Ialmost brought it to birth. Naturally that would mark an epoch. It wouldmark an epoch, but there is no epoch because there is no change. Thisalmost that I added to my sentence, this almost underl<strong>in</strong>es that it neverhappened. It is a semblance of metalanguage and s<strong>in</strong>ce I make use <strong>in</strong> thetext, I make use of this way of writ<strong>in</strong>g, s’embler, s’emblant tometalanguage. Mak<strong>in</strong>g a reflective verb of this s’embler, detaches it fromthis com<strong>in</strong>g to fruition which be<strong>in</strong>g is, and as I write, il parest, parest meansa s’emblant of be<strong>in</strong>g. There you are.And then, <strong>in</strong> this connection, I notice that it was for a preface that I openedthis writ<strong>in</strong>g, for a preface that I had to write for an Italian edition that I hadpromised, it is not sure that I will do it, it is not sure that I will do it becauseit annoys me, but I noticed <strong>in</strong> this connection, I consulted someone who isItalian for whom this tongue, that I understand noth<strong>in</strong>g about, is hismaternal tongue, I consulted someone who po<strong>in</strong>ted out to me that there issometh<strong>in</strong>g that resembles this s’embler, which resembles this s’embler, butwhich is not, which is not easy to <strong>in</strong>troduce with the deformation <strong>in</strong> the wayof writ<strong>in</strong>g that I give it. In short, it is not easy to transcribe, that is why Iproposed that my preface should not be translated, after all, this all the more90
that there is no k<strong>in</strong>d of <strong>in</strong>convenience <strong>in</strong> translat<strong>in</strong>g anyth<strong>in</strong>g whatsoever, <strong>in</strong>particular, not the preface.Like every preface, I would be <strong>in</strong>cl<strong>in</strong>ed, s<strong>in</strong>ce this is usually what happens<strong>in</strong> prefaces, I would be <strong>in</strong>cl<strong>in</strong>ed to approve myself, even to applaud myself;this is what is usually done. It is a comedy. It is of the order of comedy andthat made me, that <strong>in</strong>duced me..., that pushed me towards Dante. Thiscomedy is div<strong>in</strong>e, of course, but that only means one th<strong>in</strong>g, which is that itis farcical. I speak about the farcical <strong>in</strong> L’étourdit, I don’t know at whatpage I speak about it but I do speak about it. That means that one can befarcical about this supposedly div<strong>in</strong>e work. There is not the slightest div<strong>in</strong>ework, unless one wants to identify it to what I call the Real. But I want tospecify this notion that I have of the Real.I would like it to become more widespread. There is an aspect (face) – it isunheard of that one should dare to advance terms like that – there is anaspect by which this Real is dist<strong>in</strong>guished from what is, to say the word,knotted to it. Here it is necessary to specify certa<strong>in</strong> th<strong>in</strong>gs. If one can talkabout aspect, it must take on its weight, I mean that it should have a sense.It is quite clear that it is <strong>in</strong>asmuch as this notion of the Real that I amadvanc<strong>in</strong>g, is someth<strong>in</strong>g consistent that I can put it forward.And there I would like to make a remark, which is that the r<strong>in</strong>gs of str<strong>in</strong>g, asI called them, <strong>in</strong> which I made consist this triad of the Real, of theImag<strong>in</strong>ary and of the Symbolic, to which I was pushed, not by just anyone,by the hysterics, so that that I started from the same material as Freud, s<strong>in</strong>ceit is <strong>in</strong> order to say someth<strong>in</strong>g coherent about hysterics that Freud built upthe whole of his technique, which is a technique, namely, someth<strong>in</strong>g that onthis particular occasion is very fragile.I would like all the same to po<strong>in</strong>t out the follow<strong>in</strong>g, which is that the r<strong>in</strong>gsof str<strong>in</strong>g on this particular occasion do not hold up. Someth<strong>in</strong>g more isneeded – this is what was, I should say, suggested to me the other day bySoury’s lecture; Soury gives lectures on Thursday even<strong>in</strong>g, I don’t see why I91
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Seminar 1: Wednesday 16 November 19
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after all noticed that to consist m
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It would be enough for you to take
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There had therefore been a turning
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Supposing that we have a torus in a
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topology encourages us to do so. Th
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and me, and I who, in short, by din
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we cut it in two, the front and the
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is itself a hole and in a certain w
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Everyone knows that this is how thi
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Seminar 3: Wednesday 21 December 19
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proceed to this double cut, a doubl
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The inside and the outside in this
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egards the structure of the body, o
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inspired by it and its inspiration,
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music on you, is that it has this p
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from the beloved to the lover. What
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