In this paper four conceptual trilogies are discussed as defining Cézanne’s contribution (Picasso called him “the father of all of us”) to modern art: i) the three aspects of the art work: what is seen, what is felt, what is painted, i.e., the three terms that according to Cézanne must correspond; ii) the three registers on which, also according to Cézanne, aesthetics should be established: sense, forms and forces; iii) the three operations by which we are moved and that sustain our art works: antagonism, homology and substitution; and iv) the three changes Cézanne realised: the inversion of space, the inversion of the Gestalt and the fusion of internal and external spaces.
This article explains how packing as a cure affects the subject and her body in a special therapeutic way. The encounter with a young psychotic woman and her suffering, written all over her body, led us to initiate this treatment which takes the body as a privileged route of access for therapy. Packing as a cure is an attempt to create a corporeal development with the aim of reconstructing a psychic envelope and as such providing access to a history that is singular. We will demonstrate how this cure is a process of permanent dialogue with the collective. Using clinical material we will illustrate how the platform of packing and theatre gives this woman the opportunity to become the author of her own personal story.
The evolution of Lacan’s theory of the body in psychosis is presented, starting from his seminar on the sinthome. Some points of rupture can be found retrospectively in Lacan’s theory. From his first conceptualization of the imaginary body, then of the symbolic body and finally of the real body, Lacan comes to the conclusion that the imaginary, the symbolic and the real must be knotted. Lacan’s latest teaching offers novel perspectives on the difficult relation between body, language and jouissance for every speaking being. This is illustrated by means of three short case studies about James Joyce, Antonin Artaud and Michel H.