Download Free The Seminar Of Jacques Lacan The Ego In Freuds Theory And In The Technique Of Psychoanalysis 1954 1955 Book in PDF and EPUB Free Download. You can read online The Seminar Of Jacques Lacan The Ego In Freuds Theory And In The Technique Of Psychoanalysis 1954 1955 and write the review.

A complete translation of the seminar that Jacques Lacan gave in the course of a year's teaching within the training programme of the Société Française de Psychanalyse. The French text was prepared by Jacques-Alain Miller in consultation with Jacques Lacan, from the transcriptions of the seminar.
In this collection of essays, Lacan's early work is first discussed systematically by focusing on his two earliest seminars: Freud's Papers on Technique and The Ego in Freud's Theory and in the Technique of Psychoanalysis. These essays, by some of the finest analysts and writers in the Lacanian psychoanalytic world in Paris today, carefully lay out the background and development of Lacan's thought. In Part I, Jacques-Alain Miller spells out the philosophical and psychiatric origins of Lacan's work in great detail. In Parts II, III, and IV, Colette Soler, Eric Laurent, and others explain in the clearest of fashions the highly influential conceptualization Lacan introduces with the terms "symbolic," "imaginary," and "real." Part V provides the first sustained account in English to date of Lacan's reformulation of psychoanalytic diagnostic categories--neurosis, perversion, psychosis, and their subcategories--their theoretical foundations, and clinical applications (ample case material is provided here.) Parts VI and VII of this collection take us well beyond Seminars I and II, relating Lacan's early work to his later views of the 1960s and 1970s. Slavoj Zizek explores the complex philosophical relations between Hegel and Lacan regarding the subject and the cause. And Lacan's article, "On Freud's 'Trieb' and the Psychoanalyst's Desire"--that appears here for the first time in English and is brilliantly unpacked by Jacques-Alain Miller in his "Commentary on Lacan's Text"--takes a giant step forward to 1965 where we see a crucial reversal in Lacan's perspective: desire is suddenly devalued, the defensive, inhibiting nature of desire coming to the fore. "What then becomes essential is the drive as an activity related to the lost object that produces jouissance."
A complete translation of the seminar that Jacques Lacan gave in the course of a year's teaching within the training programme of the Société Française de Psychanalyse.
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.
This is the first book-length study of the uncanny, an important concept for contemporary thinking and debate across a range of disciplines and discourses, including literature, film, architecture, cultural studies, philosophy, psychoanalysis, and queer theory. Much of this importance can be traced back to Freud's essay of 1919, "The uncanny," where he was perhaps the first to foreground the distinctive nature of the uncanny as a feeling of something not simply weird or mysterious but, more specifically, as something strangely familiar. As a concept and a feeling, however, the uncanny has a complex history going back to at least the Enlightenment. Nicholas Royle offers a detailed historical account of the emergence of the uncanny, together with a series of close readings of different aspects of the topic. Following a major introductory historical and critical overview, there are chapters on the death drive, déjà-vu, "silence, solitude and darkness," the fear of being buried alive, doubles, ghosts, cannibalism, telepathy, and madness, as well as more "applied" readings concerned, for example, with teaching, politics, film, and religion. This is a major critical study that will be welcomed by students and academics but will also be of interest to the general reader.
This book provides 18 lively commentaries on Lacan’s Seminar VIII, Transference (1960-61) that explore its theoretical and philosophical consequences in the clinic, the classroom, and society. Including contributions from clinicians as well as scholars working in philosophy, literature, and culture studies, the commentaries presented here represent a wide-range of disciplinary perspectives on the concept of transference. Some chapters closely follow the structure of the seminar’s sessions, while others take up thematic concerns or related sessions such as the commentary on sessions 19 to 22 which deal with Lacan’s discussion of Claudel’s Coûfontaine trilogy. This book is not a compendium to Lacan’s seminar. Instead it attempts to capture through shorter contributions a spectrum of voices debating, deliberating, and learning with Lacan’s concept. In doing so it can be seen to engage with transference conceptually in a manner that matches the spirit of Lacan’s seminar itself. The book will provide an invaluable new resource for Lacan scholars working across the fields of psychoanalytic theory, clinical psychology, philosophy and cultural studies.
The identity and role of writing has evolved in the age of digital media. But how did writing itself make digital media possible in the first place? Lydia H. Liu offers here the first rigorous study of the political history of digital writing and its fateful entanglement with the Freudian unconscious. Liu’s innovative analysis brings the work of theorists and writers back into conversation with one another to document significant meetings of minds and disciplines. She shows how the earlier avant-garde literary experiments with alphabetical writing and the word-association games of psychoanalysis contributed to the mathematical making of digital media. Such intellectual convergence, she argues, completed the transformation of alphabetical writing into the postphonetic, ideographic system of digital media, which not only altered the threshold of sense and nonsense in communication processes but also compelled a new understanding of human-machine interplay at the level of the unconscious. Ranging across information theory, cybernetics, modernism, literary theory, neurotic machines, and psychoanalysis, The Freudian Robot rewrites the history of digital media and the literary theory of the twentieth century.
Alain Badiou has claimed that Quentin Meillassoux's book After Finitude (Bloomsbury, 2008) “opened up a new path in the history of philosophy.” And so, whether you agree or disagree with the speculative realism movement, it has to be addressed. Lacanian Realism does just that. This book reconstructs Lacanian dogma from the ground up: first, by unearthing a new reading of the Lacanian category of the real; second, by demonstrating the political and cultural ingenuity of Lacan's concept of the real, and by positioning this against the more reductive analyses of the concept by Slavoj Žižek, Alain Badiou, Saul Newman, Todd May, Joan Copjec, Jacques Rancière, and others, and; third, by arguing that the subject exists intimately within the real. Lacanian Realism is an imaginative and timely exploration of the relationship between Lacanian psychoanalysis and contemporary continental philosophy.
Freud’s central theories explained in the context of modern therapy. Often overlooked because he is so easy to mock, ridicule, or just plain misunderstand, Freud introduced many techniques for clinical practice that are still widely employed today. Yet surprisingly, there has never been a clinical introduction to Freud's work that might be of use to students and professionals in their everyday lives and careers. Until now. Bruce Fink, who is his generation's most respected translator of Lacan's work and a profound interpreter of Freud's, has written the definitive clinical introduction to Freud. This book presents Freud in an eminently usable way, providing readers with a plethora of examples from everyday life and clinical practice illustrating the insightfulness and continued applicability of Freud's ideas. The overriding focus is on techniques Freud developed for going directly toward the unconscious, illustrating how we can employ them today and perhaps even improve on them. Fink also lays out many of Freud's fundamental concepts—such as repression, isolation, displacement, anxiety, affect, free association, repetition, obsession, and wish-fulfillment—and situates them in highly applicable clinical contexts. The emphasis throughout is on the myriad techniques developed by Freud that clinicians of all backgrounds and orientations can draw upon to put in their therapy toolbox, whether or not they identify as "Freudians." With references ranging from Star Trek and the Moody Blues to hard drives and unicorns, Bruce Fink's elegant writing brings Freud into sharp focus for clinicians of all backgrounds. To readers who ask with an open mind "Does this approach allow me to see anything that I had not seen before in my clinical work?" this book will offer many new insights.
By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.