Oct 13, 2024
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I'm mostly a Jungian[*] these days, but still:
We must keep in mind that jouissance is prohibited [interdite] to whoever speaks, as such—or, put differently, it can only be said [dite] between the lines by whoever is a subject of the Law, since the Law is founded on that very prohibition. Indeed, were the Law to give the order, "Jouis!" ["Enjoy!" or "Come!"], the subject could only reply "J'ouïs" ["I hear"], in which the jouissance would no longer be anything but understood [sous-entendue].
—Lacan, "The Subversion of the Subject and the Dialectic of Desire in the Freudian Unconscious" (trans. Bruce Fink)
[*] I'm reading Lacan because an old friend from graduate school asked me to, motivated at least in part, I believe, by the same few reservations about my possibly indiscriminate intellectual tastes that Blake Smith expressed in his recent and unspeakably generous tribute to me. I am almost living out this sentence from Love's Work by Gillian Rose—
She is convinced of her originality and dismissed Jim's urgings that she read Lacan, to temper the archetypal patterns of Sexual Personae.
—except that I am less imperious than La Paglia and am at least willing to struggle to understand our surrealo-therapist. I would remind the devotees of French Theory, however, that no less than Deleuze and Guattari pronounced Jung more profound than Freud. Even I wouldn't go that far. Surely we need them both: each sees something the other doesn't—and Freud, anyway, is the superior writer.
Only read if you’ve seen Taxi Driver
"In this precise sense, an act proper is also the very opposite of the violent passage a l'acte. What is a passage a l'acte? Perhaps, its ultimate cinematic expression is found in Paul Schrader's and Martin Scorcese's Taxi Driver, in the final outburst of Travis (Robert de Niro) against the pimps who control the young girl he wants to save (Jodie Foster). Crucial is the implicit suicidal dimension of this passage à l'acte: when Travis prepares for his attack he practices in front of the mirror the drawing of the gun; in what is the best-known scene of the film, he addresses his own image in the mirror with the aggressive-condescending "You talkin' to me?" In a textbook illustration of Lacan's notion of the "mirror stage," aggressivity is here clearly aimed at oneself, at one's own mirror-image. This suicidal dimension reemerges at the end of the slaughter scene when Travis, heavily wounded and leaning at the wall, mimics with the fore-finger of his right hand a gun aimed at his blood-stained forehead and mockingly triggers it, as if saying "The true aim of my outburst was myself." The paradox of Travis is that he perceives HIMSELF as part of the degenerate dirt of the city life he wants to eradicate, so that, as Brecht put it apropos of revolutionary violence in his The Measure Taken, he wants to be the last piece of dirt with whose removal the room will be clean." - Slavoj Zizek on Taxi Driver
la cosa materna che ingombra assilla invade abusivamente il soggetto
M. Recalcati, Jacque Lacan, desiderio godimento e soggettivazione