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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 {| align="center"topology is not a metaphor, but a rigorous montage with the objet a.style=" Thus the use of four mathemeswidth:600px; border:1px solid #aaa;text-align:left; line-height: the disk with a hole, the Moebius strip, the torus and the Klein bottle2. 0em; padding-left:10px;"The hole of the lack of the objet a would be located at the intersection of the fields of truth and knowledge|-| style="width: such is the conribution of psychoanalysis100px;text-align:left; line-height:2. It can therefore question science as to the truth whose contingency is missed or forgotten0em; the same happens with religion. Lacan both splits and unites his audience in two categoriespadding-left: 10px;"those who use my word for analytic purposes,| 1956 - 1957| style=" 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 subjectwidth:100px;text-supposed-toalign:left; line-know (the subject of science) who restores the prestige of méconnaissance by thinking that he is uniting knowledge and subject.Lacan goes to the Graph of Desire and relates them to his topology. The objet a is situated on four sidesheight:1. the demand of the Other (objet a is feces)2. the demand on the part of the Other (objet a is the breast)3. desire on the part of the Other (objet a is the gaze)0em; padding-left:10px;"| [[Seminar XIII]]4. desire of the Other (objet a is the voice)In this perspective he gives an account of his lectures in the United States, organized by Roman Jakobson, notably | style="Of Structure as an Inmixing of an Otherness Prerequisite to Any Subject Whatever," at Johns Hopkins Universitywidth:300px;text-align:left; line-height:2. Michel Foucault talks about Velasquez's Las Meninas. His address allows Lacan to conjure his theory of the painting as 0em; padding-left:10px;"a trap for the gaze," a gaze in which what falls is objet a. The little girl is the slit in the perspective and the vanishing point, the hidden center of the painting, and "in this gap, béance where there is nothing to see, it is impossible to recognize the structure of the objets a: underneath the Infanta| 's dresses, 'it looks at me,[[Seminar XIII|L' while the eye is made not to see..." Georges Batailleobjet de la psychanalyse]]'s Histoire de l'oeil is quoted as a text that establishes a connection among all the objets a 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. <BR><big>[[Seminar XIII|The vagina, the feminine sexual organ, becomes the objet a, which fascinates and leads to ruin unless there is the screen of the phallus, even under the form Object of - F. In the end, the penis, as a manifestation that is seen, hardly hides the presence of an objet a that would be an enigmatic - a.Psychoanalysis]]</big>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 Psycho, 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.|}

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 face="[[Symbol]]" size="3">F</font>. 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. ==English translation==An [[English]] [[translation]] of [[Seminar XXI]], made from unpublished [[French]] transcripts, was made by a [[reading]] group associated with Cormac Gallagher and [http://www.lacaninireland.com ''Jacques Lacan in Ireland''] and arranged in a presentable [[form]] by Tony Hughes.* [http://www.lacaninireland.com/web/wp-content/uploads/2010/06/13-The-Object-of-Psychoanalysis1.pdf Download], [https://mega.nz/#!rXB0kKBa!7SIIazHP8AgzCr_DmwirTx2i0-CK3vZXlW8RIWlxQ00 Mirror #1] {{Center|<pdf width="450px" height="600px">File:13-The-Object-of-Psychoanalysis.pdf</pdf>}} ==English Audio =={{#widget:Iframe|url=https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/42510115&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true|width=100%|height=450|border=0}} ==French=={| class="wikitable floatright" width="250px" cellpadding="4" cellspacing="4" align="center" bgcolor="#ffffff" style="float:right;margin-left:10px;line-height:2.0em; padding-left:30px; background:#ffffff; text-align:center;"| bgcolor="#ffffff" width="200px" style="padding-left:10px" |Date| bgcolor="#ffffff" width="50px" style="padding-left:10px" |PDF|-| bgcolor="#ffffff" style="padding-left:15px" | 01 décembre 1965 | [https://mega.nz/#!WHAQTSYQ!hAq52xSputQLsE-G3cq-N2H8Bk6zRS8VfcnDrWfe1jM link]|-| bgcolor="#ffffff" style="padding-left:15px" | 08 décembre 1965| [https://mega.nz/#!yLBEwYJY!pKyrMIp6zvuneu-bM2O7xVkueUELPyA42talSmkr3m8 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 15 décembre 1965| [https://mega.nz/#!nbA2HKxC!e6QQ_1QGahgDERJlByfgQEkgwFbR777f8yxjvYt4DsY link]|-| bgcolor="#ffffff" style="padding-left:15px" | 22 décembre 1965 | [https://mega.nz/#!PWQCXaIC!wcZ6NIYg5dCzJ9jQJ385j7DSVNo1gETLG7XRNIIwHz4 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 05 janvier 1966| [https://mega.nz/#!2HYEzQLR!HxTxKjjFhJKdCDeH57rIEA5zVi5WFYhOh44SnkTN8HQ link]|-| bgcolor="#ffffff" style="padding-left:15px" | 12 janvier 1966 | [https://mega.nz/#!fOQAnALK!xIu21LhoSfDnunv9Nbm_WBUc1-MdLaK5xfXGx--vczI link]|-| bgcolor="#ffffff" style="padding-left:15px" | 19 janvier 1966 | [https://mega.nz/#!ebBgDa4R!PcuBLw8kXjvUA-sB9u_poik420S0t4VGEgEDklQWFLs link]|-| bgcolor="#ffffff" style="padding-left:15px" | 26 janvier 1966 | [https://mega.nz/#!3CZEGACb!B14ErZ6gXsm73KyWNBm4ffJ1VFEgb2MxcqEKWvdalmw link]|-| bgcolor="#ffffff" style="padding-left:15px" | 02 février 1966| [https://mega.nz/#!iTZQSaRS!H8fyF2N0-QJGqsjL8gvz1R7Cg40a24EpgPYp3wD7bxE link]|-| bgcolor="#ffffff" style="padding-left:15px" | 09 février 1966 | [https://mega.nz/#!THRwTCIC!Hjay6NhZ3KhSXz0e1Pgxq440Nh3ezQgH2TAM8-GslYg link]|-| bgcolor="#ffffff" style="padding-left:15px" | 23 février 1966| [https://mega.nz/#!zWBQRKIA!cvmzuks5RUD-LrQk7pU-26EdsYFFOkuxsl6eSCfha6o link]|-| bgcolor="#ffffff" style="padding-left:15px" | 23 mars 1966| [https://mega.nz/#!WDR0kQQC!imlbW7WuDON_McNHRLAv58st_JLGn9LS9isRyvxREJA link]|-| bgcolor="#ffffff" style="padding-left:15px" | 30 mars 1966| [https://mega.nz/#!3LIQwKZK!jQZYHmoh4chVUWfXtZ0s_vjMbriRD5YVHuyUgIBkbv8 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 20 avril 1966| [https://mega.nz/#!DTJyFQQI!cSWoOnDGiHlPOT3YpFGlu-9tckoDcPlRikF0T1JsDU4 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 27 avril 1966| [https://mega.nz/#!uaR0yKrL!YJCryl57w_AIlW6PYcfCv-uDO5bHqavc7eTzeOZ9qok link]|-| bgcolor="#ffffff" style="padding-left:15px" | 04 mai 1966 | [https://mega.nz/#!SeYGSYyB!aCKvLxTVxGkibdRpmKmbjFTAsMF96bhoI6n7YGF4n00 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 11 mai 1966 | [https://mega.nz/#!aCBAVAAb!EJ5gs-p-UZG4VukjTkZZtszDbwu02kF0y5vV_MY00ME link]|-| bgcolor="#ffffff" style="padding-left:15px" | 18 mai 1966 | [https://mega.nz/#!rDAGHaAD!CbkD2LkMeUzUMrfQ_k3d9K_QKsaDmm9TdGWFSYeLYZw link]|-| bgcolor="#ffffff" style="padding-left:15px" | 25 mai 1966| [https://mega.nz/#!nDJCEATS!cCpfsKyNvi2WyLueF_mRbOVNUXMROMnzW0gwZm0I89g link]|-| bgcolor="#ffffff" style="padding-left:15px" | 01 juin 1966| [https://mega.nz/#!ibJmyK6Z!LTQ0FfkkFPAqnVCph4RdJXZpEctwsH-iwoYulxNod-4 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 08 juin 1966| [https://mega.nz/#!GaIyDCYR!hRHDoMKWeqNtayp9PWwDPE-jadd1tiU3upSznFKUt-U link]|-| bgcolor="#ffffff" style="padding-left:15px" | 15 juin 1966| [https://mega.nz/#!3OJixQ7B!Tpjvy7WX3g88SPdOOeqSk-5cRDQYpwTRbHBB5VxAxO8 link]|-| bgcolor="#ffffff" style="padding-left:15px" | 22 juin 1966| [https://mega.nz/#!neZA3a5T!BOm5_WFlsDSgjhCqd82ontXrTB7KkJ9BzsdhOn5NidI link]|} French versions of [[Jacques Lacan|Lacan's]] [[Seminars]] Source: http://ecole-lacanienne.net* [[:File:Seminaire_13.pdf|Download]]<BR>{{Center|<pdf width="500px" height="600px">File:Seminaire_13.pdf</pdf>}}<!-- 1965-1966<b>Le séminaire, Livre XIII: L'[[objet]] de la [[psychanalyse]].</b><br>[[French]]: unpublished.<br>[[English]]: unpublished. --> [[Category:Seminars]][[Category:Jacques Lacan]]__NOTOC__ __NOAUTOLINKS__