This paper analyses the idea that Frege and Lacan can be connected through a transcendental line of thought. From this viewpoint Frege’s development of modern formal logic is considered as a moment in modernity that shows that the challenge of formalization or mathematization is in fact a challenge of identification of both subject and object. Lacan’s thinking is in accord with this endeavour, but it articulates more explicitly and symbolically the connection between formalization and identification. A crucial point in our argument is that a transcendental viewpoint is not necessarily incompatible with a lacanian viewpoint, to the extent, namely, that attention is paid to the idea that subject and object are first and foremost of the order of writing or the symbolic.
The death-drive runs as a red thread through a reading of Lacan. Starting from a clinic of suicide, Lacan proposes a theory whih is based on a split that is present at every level of the human structure: the real (biological), the imaginary (narcissistic), the symbolic (linguistic), up to and including the fantasma (primordial masochism). We attempt to draw a lesson from this concerning the cure and the problematic field of mental health.
This article begins by analyzing Lacan’s famous formula from the seminar The ethics of psychoanalysis: sublimation “elevates an object to the dignity of the Thing” (Lacan, 1986 [1959-1960]: 133). Our hypothesis is that this operation has a logical sequence. We will demonstrate that Gothic architecture can account for the logic of sublimation and we will articulate the difference between “primitive sublimation” and sublimation as “elevation”: the former describes a sublimation that works without the imaginary – we shall refer to this as the creation of “holy (sacred) void” of architecture – the latter works with the imaginary but through a symbolic elevation that puts us in an indirect relationship with the real.
The Turn of the Screw (1898) is one of the most Gothic short stories ever written by modernist author Henry James. Its effect on the reader can be quite unnerving, uncanny even. Though Sigmund Freud’s essay on The Uncanny (1919a) has often been used by scholars of Gothic literature to define and explain certain thematic aspects of these stories (the double, castration anxiety, repetition compulsion, and so on), the uncanny in The Turn of the Screw goes further than the usual suspects. Rather then confining it to the eerie appearance of ghosts or the declining mental state of the tale’s female narrator, the uncanny in James’s complex story can be traced back to something more fundamental that is both tangible and elusive at the same time: the actual text supporting the story – or failing to do so. Reconsidering Freud’s notion of the uncanny from a basic Lacanian perspective will help to explore a dark, distressing dimension of textual language that can otherwise be easily overlooked.