Introducing Lacan

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Revision as of 11:52, 15 November 2006 by Riot Hero (talk | contribs) (The Case of Aimée)
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Family

Born on 13 April 1901, Jacques Marie Émile Lacan was the first child of Charles Marie Alfred Lacan and Émilie Philippine Marie Baudry. Alfred Lacan was the Paris sales representative of a large provincial firm. The family lived in comfortable conditions in the Boulevard du Beaumarchais before moving to the Montparnasse area where Jacques entered the prestigious Catholic school, the Collège Stanislas.

Education

An outstanding pupil, he excelled in religious studies and Latin. As a teenager, Jacques Lacan developed a passion for philosophy, adorning the walls of his bedroom with a plan of the structure of Spinoza's Ethics, a text which would always remain dear to him and which he would quote at the start of his doctoral dissertation in medicine.

The Surrealist Movement

Lacan took up the study of medicine in 1920 and specialized in psychiatry from 1926. During this period, he was active in the busy Parisian world of the writers, artists and intellectuals who made up the surrealist movement.

He frequented Adirenne Monnier's booshop on the Left Bank, along with the lies of AndrE Gide and Paul Claudel and, at the age of seventeen, met James Joyce.

A friend of André Breton and Salvador Dali, he was to become Picasso's personal physician and a contributor to several Surrealist publications from the early 1930s.

(Three years later he was present at he first public reaing of Joyce's Ulysses in the legendary bookshop, Shakespeare & Co.)

Beginnings in Psychiatry

His internship at St-Anne hospital, starting in 1926, and at the Infirmerie Spéciale des Aliénés de la Préfecture de Police, in 1928, gave Lacan a particular interest in the study of paranoia.

Later he would say that "My only real master in psychiatry was Gaëtan Gatian de Clérambault."

Lacan singled out his concept of "mental automatism". This brought together many seemingly disparate phnomena of madness under the common motif of something being imposed from 'outside': the echo of thoughts or a commentary on one's actions, for example.

The form of a particular psychosis would then be determined by how one made sense of these elements which lacked an initial content. Lacan would say that this concept was the closest that contemporary French psychiatry got to a structural analysis, with its emphasis on the imposition of formal elements beyond the "conscious" control of the subject.

Paranoia

In 1932, Lacan completed his doctoral thesis on paranoia, Paranoid Psychosis and its Relation to the Personality, a study which had a great influence on many of the Surrealists.

The Case of Aimée

The thesis contains a detailed analysis of a woman, named Aimée after the heroine of one of her unpublished novels, who had attempted to stab a well-known Parisian acctress, Huguette Duflos. The case was widely reported in the press at the time, and Lacan tried gradually to piece together the logic behind her apparently irrational act. His thesis introduced a new concept into the psychiatric milieu, that of "self-punishment paranoia". Lacan argued that, in striking the actress, Aimée was in fact striking herself: Duflos represented a woman with freedom and social prestige, exactly the sort of woman that Aimée aspired to become.

In her ideas of persecution, it was this figure that she saw as the source of threats to her and her young son. The ideal image was thus both the object of her hate and of her aspiration. Lacan was especially interested here in this complex relation to images and the ideas of identity to be found in paranoia. In her subsequent arrest and confinement, she found the punishment which was a real source of the act itself. She understood, at a certain level, that she was herself the object of punishment.

Lacan's analysis of the case shows many of the feautres which would later become central to his work: narcissism, the image, the ideal, and how the [[personality] could extend beyond the limits of the body and be constituted within a complex social network. The actress represented a part of Aimée herself, indicating how the identity of a human being could include elements well outside the biological boundaries of the body. In a sense, Aimée's identity was literally outside of herself.

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