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Book Title
Sinthome : The Seminar of Jacques Lacan
ISBN
9781509510016

Über dieses Produkt

Product Identifiers

Publisher
Polity Press
ISBN-10
150951001X
ISBN-13
9781509510016
eBay Product ID (ePID)
4038373302

Product Key Features

Number of Pages
224 Pages
Language
English
Publication Name
Sinthome : the Seminar of Jacques Lacan, Book Xxiii
Subject
Movements / Psychoanalysis, European / English, Irish, Scottish, Welsh
Publication Year
2018
Type
Textbook
Subject Area
Literary Criticism, Psychology
Author
Jacques Lacan
Format
Trade Paperback

Dimensions

Item Height
0.8 in
Item Weight
15.2 Oz
Item Length
9 in
Item Width
6 in

Additional Product Features

Intended Audience
Scholarly & Professional
Dewey Edition
23
TitleLeading
The
Dewey Decimal
150.19/5
Table Of Content
THE SPIRIT OF THE NODES I. On the logical use of the sinthome, or Freud with Joyce II. On what makes a hole in the real III. On the knot as the subject's support THE JOYCE TRAIL IV. Joyce and the fox riddle V. Was Joyce mad? VI. Joyce and imposed words THE INVENTION OF THE REAL VII. On a fallace that vouches for the real VIII. On sens, sex and the real IX. From the unconscious to the real BY WAY OF CONCLUSION X. The writing of the Ego Note APPENDICES Joyce the Symptom, by Jacques Lacan Presentation at Lacan's Seminar, by Jacques Aubert Reading notes, by Jacques Aubert A note threaded stitch by stitch, by Jacques-Alain Miller Translator's endnotes Index
Synopsis
'Ten times, an elderly grey-haired man gets up on the stage. Ten times puffing and sighing. Ten times slowly tracing out strange multi-coloured arabesques that interweave, curling with the meanders of his speech, by turns fluid and uneasy. A whole crowd looks on, transfixed by this enigma-made-man, absorbing the ipse dixit and anticipating some illumination that is taking its time to appear. Non lucet. It's shady in here, and the Th odores go hunting for their matches. Still, they say, cuicumque in sua arte perito credendum est, whosoever is expert in his art is to be lent credence. At what point is a person mad? The master himself poses the question. That was back in the day. Those were the mysteries of Paris forty years hence. A Dante clasping Virgil's hand to be led through the circles of the Inferno, Lacan took the hand of James Joyce, the unreadable Irishman, and, in the wake of this slender Commander of the Faithless, made with heavy and faltering step onto the incandescent zone where symptomatic women and ravaging men burn and writhe. An equivocal troupe was in the struggling audience: his son-in-law; a dishevelled writer, young and just as unreadable back then; two dialoguing mathematicians; and a professor from Lyon vouching for the seriousness of the whole affair. A discreet Pasipha was being put to work backstage. Smirk then, my good fellows Be my guest. Make fun of it all That's what our comic illusion is for. That way, you shall know nothing of what is happening right before your very eyes: the most carefully considered, the most lucid, and the most intrepid calling into question of the art that Freud invented, better known under its pseudonym: psychoanalysis'. Jacques-Alain Miller, "Ten times, an elderly grey-haired man gets up on the stage. Ten times puffing and sighing. Ten times slowly tracing out strange multi-coloured arabesques that interweave, curling with the meanders of his speech, by turns fluid and uneasy. A whole crowd looks on, transfixed by this enigma-made-man, absorbing the ipse dixit and anticipating some illumination that is taking its time to appear. Non lucet. It's shady in here, and the Théodores go hunting for their matches. Still, they say, cuicumque in sua arte perito credendum est, whosoever is expert in his art is to be lent credence. At what point is a person mad? The master himself poses the question. That was back in the day. Those were the mysteries of Paris forty years hence. A Dante clasping Virgil's hand to be led through the circles of the Inferno, Lacan took the hand of James Joyce, the unreadable Irishman, and, in the wake of this slender Commander of the Faithless, made with heavy and faltering step onto the incandescent zone where symptomatic women and ravaging men burn and writhe. An equivocal troupe was in the struggling audience: his son-in-law; a dishevelled writer, young and just as unreadable back then; two dialoguing mathematicians; and a professor from Lyon vouching for the seriousness of the whole affair. A discreet Pasiphaë was being put to work backstage. Smirk then, my good fellows! Be my guest. Make fun of it all! That's what our comic illusion is for. That way, you shall know nothing of what is happening right before your very eyes: the most carefully considered, the most lucid, and the most intrepid calling into question of the art that Freud invented, better known under its pseudonym: psychoanalysis." -- Jacques-Alain Miller

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