The conception of the mirror stage that I introduced [. . .] has since become more or less established in the practice of the French [psychoanalytic] group. However, I think it worthwhile to bring it again to your attention, especially today, for the light it sheds on the formation of the <i>I</i> as we experience it in psychoanalysis. It is an experience that leads us to oppose any philosophy directly issuing from the <i>Cogito</i> [reference is to the tradition stemming from Descartes : I think, therefore I am etc. ]
Some of you may recall that this conception originated in a feature of human behavior illuminated by a fact of comparative psychology. The child, at an age when he is for a time, however short, outdone by the chimpanzee in instrumental intelligence, can nevertheless already recognize as such his own image in a mirror. [. . . ]
act, far from exhausting itself, as in the case of the monkey, once the image has been mastered and found empty, immediately rebounds in the case of the child in a series of gestures in which he experiences in play the relation between the movements assumed in the image and the reflected environment, and between this virtual complex and the reality it reduplicates --the child's own body, and the persons and things around him.
This event can take place [. . .] from the age of six months, and its repetition has often made me reflect upon the startling spectacle of the infant in front of the mirror. Unable as yet to walk, or even to stand up, and held tightly as he is by some support, human or artificial [. . .], he nevertheless overcomes, in a flutter of jubilant activity, the obstructions of his support and, fixing his attitude I a slightly leaning-forward position, in order to hold it in his gaze, brings back an instantaneous aspect of the image.
For me, this activity retains the meaning I have given it up to the age of eighteen months. This meaning discloses a libidinal dynamism, which has hitherto remained problematic, as well as an ontological structure of the human world that accords with my reflections on paranoiac knowledge.
We have only to understand the mirror stage <i>as an identification</i>, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image - whose predestination to this phase-effect is sufficiently indicated by the use, in analytic theory, of the ancient term <i>imago</i> [this is also a term from Jungian psychology].
jubilant assumption of his specular image by the child at the <i> infans</i> stage, still sunk in his motor incapacity and nursling dependence, would seem to exhibit in an exemplary situation the symbolic matrix in which the <i> I</i> is precipitated in a primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.
This form would have to be called the Ideal-I [. . .]. But the important point is that this form situates the agency of the ego, before its social determination, in a fictional direction, which will always remain irreducible for the individual alone, or rather, which will only rejoin the coming-into-being of the subject asymptotically, whatever the success of the dialectical syntheses by which he must resolve as <i>I</i> his discordance with his own reality.
The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is given to him only as
<i>Gestalt </i> [an image of a whole], that is to say , in an exteriority in which this form is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size that fixes it and in a symmetry that inverts it , in contrast with the turbulent movements that the subject feels are animating him. Thus, this <i>Gestalt </i> -- whose pregnancy should be regarded as bound up with the species, though its motor style remains scarcely recognizable - by these two aspects of its appearance, symbolizes the mental permanence of the <i>I </i>, at the same time as it prefigures its alienating destination; it is still pregnant with the correspondences that unite the <i>I </i> with the statue in which man projects himself, with the phantoms that dominate him, or with the automation in which, in an ambiguous relation, the world of his own making tends to find completion.
[. . . T]he mirror-image would seem to be the threshold of the visible world, if we go by the mirror disposition that the <i>imago of one's own body </i> presents in hallucinations or dreams [. . .] or if we observe the role of the mirror apparatus in the appearances of the <i>double </i>, in which the psychical realities, however heterogeneous, are manifested.
<i>Gestalt </i> should be capable of formative effects in the organism is attested by a piece of biological experimentation that is itself so alien to the idea of psychical causality that it cannot bring itself to formulate its results in these terms. It nevertheless recognizes that it is a necessary condition for the maturation of the gonad of the female pigeon that it should see another member of its species, of either sex : so sufficient in itself is this condition that the desired effect may be obtained merely by placing the individual [pigeon] within reach of the field of reflection of a mirror. Similarly, in the case of the migratory locust, the transition within a generation from the solitary to the gregarious form can be obtained by exposing the individual, at a certain stage, to the exclusively visual action of a similar image, provided it is animated by movements of a style sufficiently close to that characteristic of the species. Such facts are inscribed in an order of homeomorphic identification that would itself fall within the larger question of the meaning of beauty as both formative and erogenic.
the fact of mimicry are no less instructive when conceived as cases of heteromorphic identification, in as much as they raise the problem of the signification of space for the living organism - psychological concepts hardly seem less appropriate for shedding light on these matters than ridiculous attempts to reduce them to the supposedly supreme law of adaptation. [. . . ]
I am led, therefore, to regard the function of the mirror- stage as a particular case of the function of the <i>imago</i>, which is to establish a relation between the organism and its reality - or, as they say, between the <i>Innenwelt</i> [interior world] and the <i>Umwelt</i> [exterior world].
In man, however, this relation to nature is altered by a certain dehiscence at the heart of the organism, a primordial Discord betrayed by the signs of uneasiness and motor uncoordination of the neo-natal months. The objective notion of the anatomical incompleteness [of humans[ and likewise the presence of certain humoral residues of the maternal organism confirm the view I have formulated as the fact of a real <i>specific prematurity of birth</i> in man.
It is worth noting, incidentally, that this is in fact recognized as such by embryologists, by the term <i>foetalization</i> [. . . . ]
This development is experienced as a temporal dialectic that decisively projects the formation of the individual into history. The <i>mirror stage</i> is a drama whose internal thrust is precipitated from insufficiency to anticipation - and which manufactures for the subject, caught up in the lure of spatial identification, the succession of phantasies that extends from a fragmented body- image to a form of its totality that I shall call orthopaedic - and , lastly, to the assumption of the armour of an alienating identity, which will mark with its rigid structure the subject's entire mental development. Thus, to break out of the circle of the <i>Innenwelt</i> into the <i>Umwelt</i> generates the inexhaustible quadrature of the ego's verifications.
fragmented body - which terms I have also introduced into our system of theoretical references - usually manifests itself in dreams when the movement of the analysis encounters a certain level of aggressive disintegration in the individual. It then appears in the form of disjointed limbs, or of those organs represented in exoscopy, growing wings and taking up arms for intestinal persecutions - the very same that the visionary Hieronymus Bosch has fixed, for all time, in painting, in their ascent (p. 5) from the fifteenth century to the imaginary zenith of modern man. But this form is even tangibly revealed at the organic level, in the lines of ' fragilization' that define the anatomy of phantasy, as exhibited in the schizoid and spasmodic symptoms of hysteria.
Correlatively, the formation of the <i>I</i> is symbolized in dreams by a fortress, or a stadium - its inner arena and enclosure, surrounded by marshes and rubbish-tips, dividing it into two opposed fields of contest where the subject flounders in quest of the lefty, remote inner castle whose form (sometimes juxtaposed in the same scenario) symbolizes the id in a quite startling way. Similarly, on the mental plane, we find realized the structures of fortified works, the metaphor of which arises spontaneously, as if issuing from the symptoms themselves, to designate the mechanisms of obsessional neurosis - inversion, isolation, reduplication, cancellation and displacement.
But if we were to build on these subjective givens alone - however little we free them from the condition of experience that makes us see them as partaking of the nature of a linguistic technique - our theoretical attempts would remain exposed to the charge of projecting themselves into the unthinkable of an absolute subject. This is why I have sought in the present hypothesis, grounded in a conjunction of objective data, the guiding grid for a method of symbolic reduction.
It establishes in the defenses of the ego a genetic order [. . . ] and situates (as against a frequently expressed prejudice) hysterical repression and its returns at a more archaic stage than obsessional inversion and its isolating processes, and the latter in turn as preliminary to paranoiac alienation, which dates from the deflection of the specular I into the social I.
This moment in which the mirror stage comes to an end inaugurates by the identification with the imago of the counterpart and the drama of primordial jealousy (so well brought out by the school of Charlotte Bühler in the phenomenon of infantile transitivism), the dialectic that will henceforth link the I to socially elaborated situations.
is this moment that decisively tips the whole of human knowledge into mediatization through the desire of the other, constitutes its objects in an abstract equivalence by the co-operation of others, and turns the I into that apparatus for which every instinctual thrust constitutes a danger, even though it should correspond to a natural maturation - the very normalization of this maturation being henceforth dependent, in man, on a cultural mediation as exemplified, in the case of the sexual object, by the Oedipus complex.
[. . .] We can thus understand the inertia characteristic of the formations of the I, and find there the most extensive definition of neurosis - just as the captation of the subject by the situation gives us the most general formula for madness, not only the madness that lies behind the walls of asylums, but also the madness that deafens the world with its sound and fury.
The sufferings of neurosis and psychosis are for us a schooling in the passions of the soul, just as the beam of the psychoanalytic scales, when we calculate the tilt of its threat to entire communities, provides us with an indication of the deadening of the passions in society.
At this junction of nature and culture, so persistently examined by modern anthropology, psychoanalysis alone recognizes this knot of imaginary servitude that love must always undo again, or sever.
For such a task, we place no trust in altruistic feeling, we who lay bare the aggressivity that underlies the activity of the philanthropist, the idealist, the pedagogue, and even the reformer.
In the recourse of subject to subject
that we preserver, psychoanalysis may accompany the patient to the ecstatic limit of the "Thous art that " in which is revealed to him the cipher of his mortal destiny, but it is not in our mere power as practitioners to bring him to that point where the real journey beings.
[[Category:Works by Jacques Lacan]]