Th where we will see how, if it not explicitly examin, it will be found everywhere in filigree in the collection. The elements are there which testify to the desire of the analyst in the direction of the cures as in the constructions of the analyst. It up to the reader to extract it, to duce it, to find h bears there, to take a leaf out of it, in short, to put h own spin on it.
You will dcover them by lten to the first epode of Pierre Naveau’s teach, which takes seminar V as its start point. Where the gap between what she asks for and what she wants? Why want what she doesn’t want?
J.-LM : I have inde set myself the task of study th term of sublimation bas on the proposition of Jacques-Alain Miller in h text
“The Unconscious and the Speak Body”
“The stepladder a transversal concept. It translates Freudian sublimation in a figurative way, but at its intersection with narcsm. And here a connection that properly from the era of the speak be.”
The sublimation “stepladder version” allows us to think of it with the body as a hole. That to say, a body no longer captur mobile database by the image in the mirror and validat by the Other but award by the signify strike on the liv substance.
Nevertheless, the image still summon, but in another way, it emerges and sublimation as a “cross with narcsm” revits the Freudian version of 1915 insofar as narcsm part of a relationship of belief. Lacan add-ons and functionality makes th clear in th quote from the Nice conference: “The Lacanian phenomenon”,
to have represent himself in the mirror . Van Eyck. Dürer. Velasquez in Las Meninas before him paint themselves “in the mirror”. But Rembrandt, Eric Laurent shows in h book, seeks to extract someth else from the image. It no longer the “I am here” of Van Eyck or the “I am me” of Velasquez. Nor he the inventor of the selfie [1] .
There in the self-portraits an intention
a logic? which can be read in particular in the duration and perseverance of the enterpre – nearly 100 self-portraits over more than 40 years . And in the precion of the sular stigmata of life.
Rembrandt tries to grasp that czechia businesses directory which of the body cannot be seen but which the self-portraits bear witness to: enjoyment. And it from th point of view.
If one can say so, by exploit Lacan’s equivocation in Joyce the sinthome, that Rembrandt crosses the mirror and touches on the non-sense.
And it from th same point of view that one can hear the expression “manipulation of the image”: it a question of mak the image say someth of the experience of the body, of what ” felt” [2] .