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The immensely influential work of Jacques Lacan challenges readers both for the difficulty of its style and for the wide range of intellectual references that frame its innovations. Lacan’s work is challenging too, for the way it recentres psychoanalysis on one of the most controversial points of Freud’s theory – the concept of a self-destructive drive or ‘death instinct’. Originally published in 1991, Death and Desire presents in Lacanian terms a new integration of psychoanalytic theory in which the battery of key Freudian concepts – from the dynamics of the Oedipus complex to the topography of ego, id, and superego – are seen to intersect in Freud’s most far-reaching and speculative formulation of a drive toward death. Boothby argues that Lacan repositioned the theme of death in psychoanalysis in relation to Freud’s main concern – the nature and fate of desire. In doing so, Lacan rediscovered Freud’s essential insights in a manner so nuanced and penetrating that prevailing assessments of the death instinct may well have to be re-examined. Although the death instinct is usually regarded as the most obscure concept in Freud’s metapsychology, and Lacan to be the most perplexing psychoanalytic theorist, Richard Boothby’s straightforward style makes both accessible. He illustrates the coherence of Lacanian thought and shows how Lacan’s work comprises a ‘return to Freud’ along new and different angles of approach. Written with an eye to the conceptual structure of psychoanalytic theory, Death and Desire will appeal to psychoanalysts and philosophers alike.
Using Jacques Lacan's work as a key, Boothby reassesses Freud's most ambitious-and misunderstood-attempt at a general theory of mental functioning: metapsychology
A convincing critique of the neglect of death in psychoanalytic theory, arguing that death has been a repressed subject in psychoanalysis.
In this major work, leading theorist Samuel Weber provides a much-needed introduction to the thought of Jacques Lacan. Professor Weber approaches his subject from a dual perspective: he reads Lacan in the light of Freud (whose work Lacan is concerned to interpret), and from the perspective of structuralism, above all Saussure, from whom Lacan borrows and develops a distinctive conception of language as 'signifier'. Lacan is shown to contribute crucially to the rethinking of subjectivity that marks much of contemporary literary theory, and his 'return to Freud' - the complex relationship between his work and its Freudian antecedents - is explored extensively. The result, made available here for the first time in English (in a form thoroughly revised, updated, and augmented by the author) is a constantly illuminating work of intellectual enquiry, with important implications for our age.
This bibliography in two volumes, originally published in 1988, lists and describes works by and about Jacques Lacan published in French, English, and seven other languages including Japanese and Russian. It incorporates and corrects where necessary all information from earlier published bibliographies of Lacan’s work. Also included as background works are books and essays that discuss Lacan in the course of a more general study, as well as all relevant items in various bibliographic sources from many fields.
In his famous seminar on ethics, Jacques Lacan uses this question as his departure point for a re-examination of Freud's work and the experience of psychoanalysis in relation to ethics. Delving into the psychoanalyst's inevitable involvement with ethical questions, Lacan clarifies many of his key concepts. During the seminar he discusses the problem of sublimation, the paradox of jouissance, the essence of tragedy, and the tragic dimension of analytical experience. One of the most influential French intellectuals of this century, Lacan is seen here at the height of his powers.
What does Lacan show us? He shows us that desire is not a biological function; that it is not correlated with a natural object; and that its object is fantasized. Because of this, desire is extravagant. It cannot be grasped by those who might try to master it. It plays tricks on them. Yet if it is not recognized, it produces symptoms. In psychoanalysis, the goal is to interpret—that is, to read—the message regarding desire that is harbored within the symptom. Although desire upsets us, it also inspires us to invent artifices that can serve us as a compass. An animal species has a single natural compass. Human beings, on the other hand, have multiple compasses: signifying montages and discourses. They tell you what to do: how to think, how to enjoy, and how to reproduce. Yet each person's fantasy remains irreducible to shared ideals. Up until recently, all of our compasses, no matter how varied, pointed in the same direction: toward the Father. We considered the patriarch to be an anthropological invariant. His decline accelerated owing to increasing equality, the growth of capitalism, and the ever-greater domination of technology. We have reached the end of the Father Age. Another discourse is in the process of taking the former's place. It champions innovation over tradition; networks over hierarchies; the draw of the future over the weight of the past; femininity over virility. Where there had previously been a fixed order, transformational flows constantly push back any and all limits. Freud was a product of the Father Age. He did a great deal to save it. The Catholic Church finally realized this. Lacan followed the way paved by Freud, but it led him to posit that the father is a symptom. He demonstrates that here using Hamlet as an example. What people have latched onto about Lacan's work—his formalization of the Oedipus complex and his emphasis on the Name-of-the-Father—was merely his point of departure. Seminar VI already revises this: the Oedipus complex is not the only solution to desire, it is merely a normalized form thereof; it is, moreover, a pathogenic form; it does not exhaustively explain desire’s course. Hence the eulogy of perversion with which this seminar ends: Lacan views perversion here as a rebellion against the identifications that assure the maintenance of social routines. This Seminar predicted “the revamping of formally established conformisms and even their explosion.” We have reached that point. Lacan is talking about us.
This book sets out to clarify five key Freudian concepts (the pleasure principle, the primary processes, the unconscious, transference, and the reality principle) elaborated early on in Freud’s work but, it is argued, rarely understood—even by psychoanalysts themselves. It examines in turn the post-Freudian paradigms employed in neuropsychoanalysis, Lacan, Zizek, object relations, and psychoanalytic approaches to identity politics, and in doing so reveals the extent to which they have been distorted and repressed in these new contexts. Over the course of the book the author demonstrates how Freud’s unpublished Project for a Scientific Psychology can be seen as a complete system of core concepts that both ground psychoanalysis in neurology and also introduce a vital challenge to the brain sciences. This book will appeal to students and scholars of psychoanalysis, clinical psychology, and psychoanalytic theory.
Focusing on the production and reception of drama during the theatre closures of 1642 to 1660, Heidi Craig shows how the 'death' of contemporary theatre in fact gave birth to English Renaissance drama as a critical field. While the prohibition on playing in many respects killed the English stage, drama thrived in print, with stationers publishing unprecedented numbers of previously unprinted professional plays, vaunting playbooks' ties to the receding theatrical past. Marketed in terms of novelty and nostalgia, plays unprinted before 1642 gained new life. Stationers also anatomized the whole corpus of English drama, printing the first anthologies and comprehensive catalogues of drama. Craig captures this crucial turning-point in English theatre history with chapters on royalist nostalgia, clandestine theatrical revivals, dramatic compendia, and the mysteriously small number of Shakespeare editions issued during the period, as well as a new incisive reading of Beaumont and Fletcher's A King and No King.
Cutting-edge philosophers, psychoanalysts, literary theorists, and scholars use Freud and Lacan to shed light on laughter, humor, and the comic. Bringing together clinic, theory, and scholarship this compilation of essays offers an original mix with powerful interpretive implications.