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The Act
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{{Topp}}[[actacte]] ({{Bottom}}[[French]]Image: ''[[acteKida_a.gif |right|frame]]'')
=Jacques Lacan===Behavior==An "[[Lacanact]] posits a basic distinction between " is not mere '"[[behaviouract|behavior]]" -- such as that of all ''', which all [[animalnature|animals]]s engage in, and ''' -- but a uniquely [[act|''human'' act]]s', which are "since to our [[symbolicknowledge]] there is no [[other]] and which can only be ascribed to [[humanact]] but the [[subjectshuman]]one."<ref>{{S11}} p.50</ref>
==ResponsibilityEthics of Psychoanalysis==A fundamental quality of an The "[[act]] " is that the actor can be held an '''[[responsibleethics|ethical concept]] for it; the concept of ''' insofar as the '''[[actsubject]] is thus an ''' can be held '''[[ethical]] [[conceptresponsibility|responsible]]''' for it.
The [[psychoanalytic]] [[concept ]] of '''[[responsibility]] ''' is complicated in [[psychoanalysis]] by the discovery that, in addition to his [[conscious]] plans, the '''[[subject]] ''' also has '''[[unconscious]] intentions[[intention]]s'''. Hence someone may well commit an [[act]] which he claims was un[[intention]]al, but which [[analysis]] reveals to be the expression of an '''[[unconscious]] [[desire]]'''.
==Analysand==In '''[[psychoanalytic]] [[treatment]]''' the [[subject]] is faced with the '''[[ethical]] [[Freudduty]] called these acts ''' of assuming '''[[parapraxesresponsibility]]', or '' even for the '''[[unconscious]] [bungled actions[desire]]s''' expressed in his '''[[action]]s'''.
Throughout his [[work]] Žižek offers countless examples from [[film]], [[literature]], [[religion]], psychoanalysis and politics to illustrate the Act as this formal opening that changes (retroactively) the [[reality]] from which it arose. Antigone’s [[refusal]] to bury her brother without a proper funeral retroactively provided an opening to posit the [[Good]] [[outside]] the limits of Creon’s law; the [[Christian]] God sacrificed his only son on the cross, which opened the space for [[belief]]; Lacan’s [[dissolution]] of his own École freudienne de Paris in 1979 served to clear the path for a new beginning; Howard Roark, the [[self]]-made architect in Ayn Rand’s ''The Fountainhead'', destroyed one of his own buildings in an act of freedom that illuminated how we are all bound by [[the symbolic]] [[order]]; Sethe in Toni Morrison’s ''[[Beloved]]'' killed her own [[children]] to free [[them]] from a [[life]] of slavery; Keyser Soze’s (Kevin Spacey) Act of killing his [[family]] in the film ''The death drive [[Usual Suspects]]'' set him free from the hold of his pursuers and free to pursue them, just as Mel Gibson’s [[character]] in the film ''Ransom'' did when he turned the tables on his son’s kidnappers. All of these Acts entail a [[logic]] of “striking at oneself”, of sacrificing what one treasures most in order to go beyond the limits of the Law, to act without the [[guarantee]] of an Other. Thus, the authentic Act is thus closely connected with to be distinguished from both the [[hysterical]] “acting out”, staged for an Other, and the ethical domain in Lacan[[psychotic]] ''passsage à l‘acte''s thought, an act of meaningless [[destruction]] that suspends the Other.
==See Also=={{Footer Kid ASee}}||* [[Analyst]]* [[Consciousness]]* [[Death drive]]||* [[Desire]]* [[Desire of the analyst]]* [[End of analysis]]||* [[Ethics]]* [[Inherent transgression]]* [[Law]]||* [[Schelling]]* [[Subject]]* [[Symbolic]]||* [[Treatment]]* [[Unconscious]]{{Also}}{{OK}}[[Category:Practice]][[Category:Treatment]][[Category:Zizek Dictionary]]__FORCETOC__<references />