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{{SeminarsSeminarsNavBar|RightPrevLink=Seminar XII|RightPrevText=Seminar XII|RightNextLink=Seminar XIV|RightNextText=Seminar XIV}}
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| style="width:100px;text-align:left; line-height:2.0em; padding-left:10px;"| 1956 - 1957| style="width:100px;text-align:left; line-height:2.0em; padding-left:10px;"| [[{{Y}}|1965 - 1966Seminar XIII]]| style="width:300px;text-align:left; line-height:2.0em; padding-left:10px;"| ''[[Seminar XIII|L'objet de la psychanalyse]]''<BR><big>[[Seminar XIII|The Object of Psychoanalysis]]</big>
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[[Image:L’objet_de_la_psychanalyse_Lacan.jpg|border|350px|right]]
The theme of the [[subject]] [[divided]] between [[knowledge]] and [[truth]] is raised throughout the [[seminar]]. [[Lacan]] responds to the alternative between the [[mathematical]] [[model]] and [[metaphor]] by [[stating]] that "[[topology]] is not a metaphor, but a rigorous <i>montage</i> with the <i>[[objet a]]</i>." Thus the use of four [[mathemes]]: the disk with a [[hole]], the Moebius [[strip]], the [[torus]] and the [[Klein]] bottle. "The hole of the [[lack]] of the <i>objet a</i> would be located at the intersection of the fields of truth and knowledge": such is the conribution of [[psychoanalysis]]. It can therefore question [[science]] as to the truth whose [[contingency]] is missed or forgotten; the same happens with [[religion]]. Lacan both splits and unites his audience in two [[categories]]: "those who use my [[word]] for [[analytic]] purposes," and "those who prove that it can be followed in all its [[coherence]] and rigor, that it fits in a [[structure]] valid even [[outside]] its [[present]] [[practice]]." He also distinguishes between the [[analyst]] who at the [[moment]] of knowledge is divided (and he [[knows]] it), and the status of the subject-supposed-to-[[know]] (the subject of science) who restores the prestige of <i>mé[[connaissance]]</i> by [[thinking]] that he is uniting knowledge and subject.<br>
Lacan goes to the [[Graph]] of [[Desire]] and relates [[them]] to his topology. The <i>objet a</i> is situated on four sides:<br>
1. the [[demand]] of the [[Other]] (<i>objet a</i> is [[feces]])<br>
2. the demand on the part of the Other (<i>objet a</i> is the [[breast]])<br>
3. desire on the part of the Other (<i>objet a</i> is the [[gaze]])<br>
4. desire of the Other (<i>objet a</i> is the [[voice]])<br>
In this perspective he gives an account of his lectures in the [[United States]], organized by Roman [[Jakobson]], notably "Of Structure as an Inmixing of an [[Otherness]] Prerequisite to Any Subject Whatever," at Johns Hopkins [[University]]. Michel [[Foucault]] talks [[about]] Velasquez's <i>Las Meninas</i>. His address allows Lacan to conjure his [[theory]] of the painting as "a trap for the gaze," a gaze in which what falls is <i>objet a</i>. The little [[girl]] is the slit in the perspective and the vanishing point, the hidden center of the painting, and "in this gap, <i>béance</i> where there is [[nothing]] to see, it is [[impossible]] to recognize the structure of the <i>objets a</i>: underneath the Infanta's dresses, 'it looks at me,' while the eye is made not to see..." Georges [[Bataille]]'s <i>Histoire de l'oeil</i> is quoted as a [[text]] that establishes a connection among all the <i>objets a</i> in their rapport to the [[feminine]] [[sexual]] [[organ]]. Therefore, the [[phallus]] is the [[sign]] that occupies the [[place]] of this gap, the impossible or untenable [[real]]. This entails a reshaping of the [[unconscious]] around [[language]] and the gaze (excluded by [[Freud]]). Lacan goes back to to the [[Freudian]] [[dimension]] of desire and of the subject whose foundation is [[castration]]. The vagina, the feminine sexual organ, becomes the <i>objet a</i>, which fascinates and leads to ruin unless there is the [[screen]] of the phallus, even under the [[form]] of - </font><font face="[[Symbol]]" size="3">F</font><font face="BOOKMAN" size="3">. In the end, the [[penis]], as a manifestation that is seen, hardly hides the [[presence]] of an <i>objet a</i> that would be an enigmatic - <i>a</i>.<br>
The gaze, it should be noted, is not found on the side of the subject, but on that of the [[object]]. "It marks the point in the object (the picture) from which the viewing subject is already gazed at" ([[Slavoj Zizek]]). The gaze is a spot in the picture, which does not warrant the presence of the subject and by blurring its visibility, introduces a [[split]] in the rapport between the object and the subject: the latter cannot see the picture at the point from which it is gazing at him. Zizek brings out <i>[[Psycho]]</i>, where Norman Bates' house is rendered [[uncanny]] because Hitchcok's viewpoint switches from the house coming closer (as seen by the approaching [[woman]]) to the same woman coming closer (as seen from the house), giving the anxious impression that the house is gazing at her.
==French==
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<!-- 1965-1966
<b>Le séminaire, Livre XIII: L'[[objet]] de la [[psychanalyse]].</b><br>
[[French]]: unpublished.<br>
[[English]]: unpublished. The theme of the [[subject]] [[divided]] between [[knowledge]] and [[truth]] is raised throughout the [[seminar]]. [[Lacan]] responds to the alternative between the [[mathematical]] [[model]] and [[metaphor]] by [[stating]] that "[[topology]] is not a metaphor, but a rigorous <i>montage</i> with the <i>[[objet a]]</i>." Thus the use of four [[mathemes]]: the disk with a [[hole]], the Moebius [[strip]], the [[torus]] and the [[Klein]] bottle. "The hole of the [[lack]] of the <i>objet a</i> would be located at the intersection of the fields of truth and knowledge": such is the conribution of [[psychoanalysis]]. It can therefore question [[science]] as to the truth whose [[contingency]] is missed or forgotten; the same happens with [[religion]]. Lacan both splits and unites his audience in two [[categories]]: "those who use my [[word]] for [[analytic]] purposes," and "those who prove that it can be followed in all its [[coherence]] and rigor, that it fits in a [[structure]] valid even [[outside]] its [[present]] [[practice]]." He also distinguishes between the [[analyst]] who at the [[moment]] of knowledge is divided (and he [[knows]] it), and the status of the subject-supposed-to-[[know]] (the subject of science) who restores the prestige of <i>mé[[connaissance]]</i> by [[thinking]] that he is uniting knowledge and subject.<br> Lacan goes to the [[Graph]] of [[Desire]] and relates [[them]] to his topology. The <i>objet a</i> is situated on four sides:<br>1. the [[demand]] of the [[Other]] (<i>objet a</i> is [[feces]])<br>2. the demand on the part of the Other (<i>objet a</i> is the [[breast]])<br>3. desire on the part of the Other (<i>objet a</i> is the [[gaze]])<br> 4. desire of the Other (<i>objet a</i> is the [[voice]])<br>In this perspective he gives an account of his lectures in the [[United States]], organized by Roman [[Jakobson]], notably "Of Structure as an Inmixing of an [[Otherness]] Prerequisite to Any Subject Whatever," at Johns Hopkins [[University]]. Michel [[Foucault]] talks [[about]] Velasquez's <i>Las Meninas</i>. His address allows Lacan to conjure his [[theory]] of the painting as "a trap for the gaze," a gaze in which what falls is <i>objet a</i>. The little [[girl]] is the slit in the perspective and the vanishing point, the hidden center of the painting, and "in this gap, <i>béance</i> where there is [[nothing]] to see, it is [[impossible]] to recognize the structure of the <i>objets a</i>: underneath the Infanta's dresses, 'it looks at me,' while the eye is made not to see..." Georges [[Bataille]]'s <i>Histoire de l'oeil</i> is quoted as a [[text]] that establishes a connection among all the <i>objets a</i> in their rapport to the [[feminine]] [[sexual]] [[organ]]. Therefore, the [[phallus]] is the [[sign]] that occupies the [[place]] of this gap, the impossible or untenable [[real]]. This entails a reshaping of the [[unconscious]] around [[language]] and the gaze (excluded by [[Freud]]). Lacan goes back to to the [[Freudian]] [[dimension]] of desire and of the subject whose foundation is [[castration]]. The vagina, the feminine sexual organ, becomes the <i>objet a</i>, which fascinates and leads to ruin unless there is the [[screen]] of the phallus, even under the [[form]] of - </font><font face="[[Symbol]]" size="3">F</font><font face="BOOKMAN" size="3">. In the end, the [[penis]], as a manifestation that is seen, hardly hides the [[presence]] of an <i>objet a</i> that would be an enigmatic - <i>a</i>.<br> The gaze, it should be noted, is not found on the side of the subject, but on that of the [[object]]. "It marks the point in the object (the picture) from which the viewing subject is already gazed at" (Slavoj [[Zizek]]). The gaze is a spot in the picture, which does not warrant the presence of the subject and by blurring its visibility, introduces a [[split]] in the rapport between the object and the subject: the latter cannot see the picture at the point from which it is gazing at him. Zizek brings out <i>[[Psycho]]</i>, where Norman Bates' house is rendered [[uncanny]] because Hitchcok's viewpoint switches from the house coming closer (as seen by the approaching [[woman]]) to the same woman coming closer (as seen from the house), giving the anxious impression that the house is gazing at her.
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