In this article das Ding is characterized as the structural a priori condition for memory and, more broadly, for the subject in its desire. First, the fundamentally conflicting nature of the psychical apparatus as outlined by Freud in his Project for a scientific psychology (1950a) is examined. The elaboration of the opposition between the primary processes or the pleasure principle on the one hand and the secondary processes or the reality principle on the other is of crucial importance. The ambiguity that characterizes this opposition is related to the Freudian notion of das Ding as the residue of the process of judgement through which a subject tries to grasp the outside world and the Nebenmensch. Das Ding, as the primordial outside of the subject, is then characterized, with Lacan, as the centre around which the subjective world of the unconscious is organised but from which it is nevertheless excluded. Finally, the implications of this theory for the desiring subject on the one hand and for an articulation of the ethics of psychoanalysis on the other are addressed.
This paper deals with the question of the meaning of technique in analytical treatment. With Freud, it is acknowledged that the term “technique” is all too often interpreted in terms of rules or instructions for the analyst in relation to good direction for the cure. In contrast, Freud underscored another dimension of technique: that of creativity, a dimension that contributes to the emergence of the subject as well as to the creation of additional degrees of freedom for its speaking; the one in which the analyst, having analysed his own freedom (or lack of it), creates the conditions wherein the subject comes to his own, truthful, speech. The tension between technique in the narrow sense, and technique in the sense of the creative manipulation of transference, is illustrated on the basis of a few clinical fragments.