Summary: It is not by chance that in Seminar Encore Lacan criticizes the reduction of the mystical jouissance to a substitute of the phallic relation. Indeed, what is aimed at in mysticism, in Lacan’s reading, is not the reduction of the Other to the One. It is rather a matter of knotting the phallic One to the real Other, which is outside the symbolic, but in such a way that the Other of language finds itself barred.
In showing us (rather than demonstrating it to us) that, beyond all that is, there is an ex- sistence, without name and without attributes, an ex-sistence in the face of which all that is, is devaluated, even erased, and which the mystics call God, mystical writing compel us to take up, with Lacan, the question of knowing to what kind of the real this relation to a being that cannot be known opens access.
Summary: This paper sets out to analyse victimhood as an identity marker after experiences of sexual victimization. Experiences of victimization do not necessarily entail a sense of victimhood. In reference to Lacan’s allegory of the robbery, it is argued that the constitution of subjectivity in relation to the Other is structurally preceded by an instant of victimization. The difference between structural and accidental victimization is then described. For victimization to develop into victimhood, two psychic processes play a role. First, victimhood is the outcome of a process of symbolico-imaginary identification that is fed by contemporary trauma discourses and cultural representations of victimhood. Second, victimhood is the result of a process of identification with (the object of jouissance of) the aggressor as described by Ferenczi. Finally, a distinction is made between victimhood in the hysteric subject and in the perverse subject. These two types of victimhood are illustrated with vignettes of sexual abuse.
Many psychoanalysts argue that clinicians have a lot to learn from literature. They share the deep-rooted conviction that artists are sensitive to clinical phenomena and that they make visible what is often overlooked by clinicians. Freud, for example, relies on Sophocles’ Oedipus Rex and Shakespeare’s Hamlet. Half a century later, the assumption of Freud’s literary clinic has been taken up by the French philosopher Gilles Deleuze in his study Présentation de Sacher-Masoch. Deleuze reads Sade’s and Sacher-Masoch’s literary novels from the same perspective as Freud. Sade and Sacher-Masoch, Deleuze argues, are first of all great symptomatologists. Their novels explore the sadistic and masochistic universe thoroughly. In his essay, the author discusses Deleuze’s reading of Sade and Sacher-Masoch. Deleuze argues that his study, whilst sharing Freud’s basic assumptions, is a critique of his conception of sadism and masochism.
In 1905 Freud published Three essays on the theory of sexuality and Jokes and their relation to the unconscious. He wrote these two works simultaneously. According to Ernest Jones, “Freud kept the manuscript of each on two adjoining tables and wrote now on one and now on the other as the mood took him” (Jones, 1964: 315). But, while Three essays has become one of the classics of psychoanalysis, Jokes has often been considered as a philosophical diversion in the margin of Freud’s serious work. Freud himself seems to have been of this opinion because, while he added new insights and revised many passages in all the later editions of Three essays and the other early classics, The interpretation of dreams (1900) and Psychopathology of everyday life (1901), there are no important additions or changes in the later editions of Jokes. These different vicissitudes have obscured the thematic affinities between Jokes and the first edition of Three essays. Therefore, a combined reading of Jokes and Three essays may shed new light on Freud’s early theory of sexuality.
In this paper the author revisits Mishima’s L’école de la chair (1993) through an explorative questioning of the Japanese writer with respect to the structure of perversion. Rather than starting from an a priori formulated theory on perversion, Mishima’s work is read in an open way that results in a series of themes. In addition to the opposites characteristic of Mishima’s oeuvre, the following themes emerge: the educational drive; the psychological insight; the knowledge and the use of this knowledge in eroticism and love; homosexual eroticism; the contract; the jouissance; contempt and humiliation; and fantasy. L’ecole de la chair teaches us about perversion, especially with respect to the educational drive, that is when the latter serves other than strictly educational aims, such as humiliation. Finally, the author considers some aspects of C. Millot’s Gide, Genet, Mishima, Intelligence de la perversion (1996).