Return to Freud
Lacan's "return to Freud" emphasizes a renewed attention to the original texts of Freud and a radical critique of Ego psychology and Melanie Klein and Object relations theory. Lacan thought that Freud's ideas of "slips of the tongue," jokes, and the interpretation of dreams all emphasized the agency of language in subjective constitution. In "The Agency of the Letter in the Unconscious, or Reason Since Freud," he argues that "the unconscious is structured like a language." The unconscious is not a primitive or archetypal part of the mind separate from the conscious, linguistic ego, he explained, but rather a formation as complex and structurally-sophisticated as consciousness itself. One consequence of the unconscious being structured like a language is that the self is denied any point of reference to which to be "restored" following trauma or a crisis of identity.
Mirror stage
Lacan's first official contribution to psychoanalysis was the mirror stage, which he described as "formative of the function of the
I as revealed in psychoanalytic experience." By the early 1950s, he came to regard the mirror stage as more than a moment in the life of the infant; instead, it formed part of the permanent structure of subjectivity. In "the Imaginary order," his or her own image permanently catches and captivates the subject. Lacan explains that "the mirror stage is a phenomenon to which I assign a twofold value. In the first place, it has historical value as it marks a decisive turning-point in the mental development of the child. In the second place, it typifies an essential libidinal relationship with the body-image".
As this concept developed further, the stress fell less on its historical value and more on its structural value. In his fourth Seminar, "La relation d'objet," Lacan states that "the mirror stage is far from a mere phenomenon which occurs in the development of the child. It illustrates the conflictual nature of the dual relationship."
The mirror stage describes the formation of the Ego via the process of objectification, the Ego being the result of a conflict between one's perceived visual appearance and one's emotional experience. This identification is what Lacan called alienation. At six months, the baby still lacks physical co-ordination. The child is able to recognize himself or herself in a mirror prior to the attainment of control over his or her bodily movements. The child sees his or her image as a whole and the synthesis of this image produces a sense of contrast with the lack of co-ordination of the body, which is perceived as a fragmented body. The child experiences this contrast initially as a rivalry with his or her own image, because the wholeness of the image threatens the child with fragmentation...thus the mirror stage gives rise to an aggressive tension between the subject and the image. To resolve this aggressive tension, the child identifies with the image: this primary identification with the counterpart forms the Ego. Lacan understands this moment of identification as a moment of jubilation, since it leads to an imaginary sense of mastery; yet when the child compares his or her own precarious sense of mastery with the omnipotence of the mother, a depressive reaction may accompany the jubilation.
Lacan calls the specular image "orthopaedic," since it leads the child to anticipate the overcoming of its "real specific prematurity of birth." The vision of the body as integrated and contained, in opposition to the child's actual experience of motor incapacity and the sense of his or her body as fragmented, induces a movement from "insufficiency to anticipation." In other words, the mirror image initiates and then aids, like a crutch, the process of the formation of an integrated sense of self.
In the mirror stage a "misunderstanding" (
méconnaissance) constitutes the Ego...the "me" (
moi) becomes alienated from itself through the introduction of an imaginary dimension to the subject. The mirror stage also has a significant symbolic dimension, due to the presence of the figure of the adult who carries the infant. Having jubilantly assumed the image as his or her own, the child turns his or her head towards this adult, who represents the big Other, as if to call on the adult to ratify this image.
Other/other
While Freud uses the term "other", referring to
der Andere (the other person) and "das Andere" (otherness), under the influence of Alexandre Kojève, Lacan's use is closer to Hegel's.
Lacan often used an algebraic symbology for his concepts: the big Other is designated A (for French
Autre) and the little other is designated
a (italicized French
autre). He asserts that an awareness of this distinction is fundamental to analytic practice: "the analyst must be imbued with the difference between A and
a, so he can situate himself in the place of Other, and not the other." Dylan Evans explains that:
"1. The little other is the other who is not really other, but a reflection and projection of the Ego. He [autre] is simultaneously the counterpart and the specular image. The little other is thus entirely inscribed in the imaginary order.
2. The big Other designates radical alterity, an other-ness which transcends the illusory otherness of the imaginary because it cannot be assimilated through identification. Lacan equates this radical alterity with language and the law, and hence the big Other is inscribed in the order of the symbolic. Indeed, the big Other is the symbolic insofar as it is particularized for each subject. The Other is thus both another subject, in his radical alterity and unassimilable uniqueness, and also the symbolic order which mediates the relationship with that other subject."
"The Other must first of all be considered a locus," Lacan writes, "the locus in which speech is constituted". We can speak of the Other as a subject in a secondary sense only when a subject occupies this position and thereby embodies the Other for another subject.
In arguing that speech originates not in the Ego nor in the subject but rather in the Other, Lacan stresses that speech and language are beyond the subject's conscious control. They come from another place, outside of consciousness..."the unconscious is the discourse of the Other." When conceiving the Other as a place, Lacan refers to Freud's concept of psychical locality, in which the unconscious is described as "the other scene".
"It is the mother who first occupies the position of the big Other for the child," Dylan Evans explains, "it is she who receives the child's primitive cries and retroactively sanctions them as a particular message". The castration complex is formed when the child discovers that this Other is not complete because there is a "Lack " in the Other. This means that there is always a signifier missing from the trove of signifiers constituted by the Other. Lacan illustrates this incomplete Other graphically by striking a bar through the symbol A; hence another name for the castrated, incomplete Other is the "barred Other."
Feminists thinkers have both utilised and criticised Lacan's concepts of castration and the Phallus. Some feminists have argued that Lacan's phallocentric analysis provides a useful means of understanding gender biases and imposed roles, while other feminist critics, most notably Luce Irigaray, accuse Lacan of maintaining the sexist tradition in psychoanalysis. For Irigaray, the Phallus does not define a single axis of gender by its presence/absence; instead, gender has two positive poles. Like Irigaray, Jacques Derrida, in criticising Lacan's concept of castration, discusses the phallus in a chiasmus with the hymen, as both one and other. Other feminists, such as Judith Butler, Jane Gallop, and Elizabeth Grosz, have interpreted Lacan's work as opening up new possibilities for feminist theory.
The Three Orders
The Imaginary
The Imaginary is the field of images and imagination, and deception. The main illusions of this order are synthesis, autonomy, duality, and similarity. Lacan thought that the relationship created within the mirror stage between the Ego and the reflected image means that the Ego and the Imaginary order itself are places of radical alienation: "alienation is constitutive of the Imaginary order." This relationship is also narcissistic.
In
The Four Fundamental Concepts of Psychoanalysis, Lacan argues that the Symbolic order structures the visual field of the Imaginary, which means that it involves a linguistic dimension. If the signifier is the foundation of the Symbolic, the signified and signification are part of the Imaginary order. Language has Symbolic and Imaginary connotations...in its Imaginary aspect, language is the "wall of language" that inverts and distorts the discourse of the Other. On the other hand, the Imaginary is rooted in the subject's relationship with his or her own body (the image of the body). In
Fetishism: the Symbolic, the Imaginary and the Real, Lacan argues that in the sexual plane the Imaginary appears as sexual display and courtship love.
Insofar as identification with the analyst is the objective of analysis, Lacan accused major psychoanalytic schools of reducing the practice of psychoanalysis to the Imaginary order. Instead, Lacan proposes the use of the Symbolic to dislodge the disabling fixations of the Imaginary...the analyst transforms the images into words. "The use of the Symbolic," he argued, "is the only way for the analytic process to cross the plane of identification."
The Symbolic
In his Seminar IV, "La relation d'objet," Lacan argues that the concepts of "Law" and "Structure" are unthinkable without language...thus the Symbolic is a linguistic dimension. This order is not equivalent to language, however, since language involves the Imaginary and the Real as well. The dimension proper to language in the Symbolic is that of the signifier...that is, a dimension in which elements have no positive existence, but which are constituted by virtue of their mutual differences.
The Symbolic is also the field of radical alterity...that is, the Other; the unconscious is the discourse of this Other. It is the realm of the Law that regulates desire in the Oedipus complex. The Symbolic is the domain of culture as opposed to the Imaginary order of nature. As important elements in the Symbolic, the concepts of death and lack connive to make of the pleasure principle the regulator of the distance from the Thing ("
das Ding an sich") and the death drive that goes "beyond the pleasure principle by means of repetition"..."the death drive is only a mask of the Symbolic order."
By working in the Symbolic order, the analyst is able to produce changes in the subjective position of the analysand. These changes will produce imaginary effects because the Imaginary is structured by the Symbolic.
The Real
Lacan's concept of the Real dates back to 1936 and his doctoral thesis on psychosis. It was a term that was popular at the time, particularly with Émile Meyerson, who referred to it as "an ontological absolute, a true being-in-itself". Lacan returned to the theme of the Real in 1953 and continued to develop it until his death. The Real, for Lacan, is not synonymous with reality. Not only opposed to the Imaginary, the Real is also exterior to the Symbolic. Unlike the latter, which is constituted in terms of oppositions (i.e. presence/absence), "there is no absence in the Real." Whereas the Symbolic opposition "presence/absence" implies the possibility that something may be missing from the Symbolic, "the Real is always in its place." If the Symbolic is a set of differentiated elements (signifiers), the Real in itself is undifferentiated...it bears no fissure. The Symbolic introduces "a cut in the real" in the process of signification: "it is the world of words that creates the world of things...things originally confused in the 'here and now' of the all in the process of coming into being." The Real is that which is outside language and that resists symbolization absolutely. In Seminar XI Lacan defines the Real as "the impossible" because it is impossible to imagine, impossible to integrate into the Symbolic, and impossible to attain. It is this resistance to symbolization that lends the Real its traumatic quality. Finally, the Real is the object of anxiety, insofar as it lacks any possible mediation and is "the essential object which is not an object any longer, but this something faced with which all words cease and all categories fail, the object of anxiety par excellence."
Desire
Lacan's conception of desire is central to his theories and follows Freud's concept of
Wunsch. The aim of psychoanalysis is to lead the analysand to uncover the truth about his or her desire, but this is possible only if that desire is articulated. Lacan wrote that "it is only once it is formulated, named in the presence of the other, that desire appears in the full sense of the term." This naming of desire "is not a question of recognizing something which would be entirely given. In naming it, the subject creates, brings forth, a new presence in the world." Psychoanalysis teaches the patient "to bring desire into existence." The truth about desire is somehow present in discourse, although discourse is never able to articulate the entire truth about desire...whenever discourse attempts to articulate desire, there is always a leftover or surplus.
In "The Signification of the Phallus," Lacan distinguishes desire from need and demand. Need is a biological instinct that is articulated in demand, yet demand has a double function: on the one hand, it articulates need, and on the other, acts as a demand for love. Even after the need articulated in demand is satisfied, the demand for love remains unsatisfied. This remainder is desire. For Lacan, "desire is neither the appetite for satisfaction nor the demand for love, but the difference that results from the subtraction of the first from the second." Lacan adds that "desire begins to take shape in the margin in which demand becomes separated from need." Hence desire can never be satisfied, or as Slavoj ?i?ek puts it, "desire's
raison d'être is not to realize its goal, to find full satisfaction, but to reproduce itself as desire."
It is also important to distinguish between desire and the drives. The drives are the partial manifestations of a single force called desire. Lacan's concept of the "
objet petit a" is the object of desire, although this object is not that towards which desire tends, but rather the cause of desire. Desire is not a relation to an object but a relation to a lack .
Drives
Lacan maintains Freud's distinction between drive (
Trieb) and instinct (
Instinkt). Drives differ from biological needs because they can never be satisfied and do not aim at an object but rather circle perpetually around it. The true source of jouissance is the repetition of the movement of this closed circuit. Lacan posits the drives as both cultural and symbolic constructs...to him, "the drive is not a given, something archaic, primordial." He incorporates the four elements of the drives as defined by Freud (the pressure, the end, the object and the source) to his theory of the drive's circuit: the drive originates in the erogenous zone, circles round the object, and returns to the erogenous zone. The three grammatical voices structure this circuit:
- the active voice (to see)
- the reflexive voice (to see oneself)
- the passive voice (to be seen)
The active and reflexive voices are autoerotic...they lack a subject. It is only when the drive completes its circuit with the passive voice that a new subject appears. Despite being the "passive" voice, the drive is essentially active: "to make oneself be seen" rather than "to be seen." The circuit of the drive is the only way for the subject to transgress the pleasure principle.
Lacan identifies four partial drives: the oral drive (the erogenous zones are the lips, the partial object the breast), the anal drive (the anus and the faeces), the scopic drive (the eyes and the gaze) and the invocatory drive (the ears and the voice). The first two relate to demand and the last two to desire. If the drives are closely related to desire, they are the partial aspects in which desire is realized...desire is one and undivided, whereas the drives are its partial manifestations.
Other concepts
- Name of the Father
- Foreclosure
- Lack
- Objet petit a
- The graph of desire
- Sinthome
- The Four discourses