Changes
The Act
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{{Topp}}[[acte]]{{Bottom}}
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==Behavior==
An "[[act]]" is not mere "[[act|behavior]]" -- such as that of all '''[[nature|animals]]''' -- but a uniquely [[act|''human'' act]], "since to our [[knowledge]] there is no [[other]] [[act]] but the [[human]] one."<ref>{{S11}} p. 50</ref>
==Analyst==The '''[[ethics]] of [[psychoanalysis]]''' enjoin the [[analyst]] must be guided (in these interventions) by an appropriate to assume [[desireresponsibility]], which for his or her [[Lacanact]] calls s (i.e. interventions in the [[desire of the analysttreatment]]).
[[Lacan ]] dedicates a year of his [[seminar ]] to discussing further the [[nature ]] of the [[act|psychoanalytic act]].<ref>[[Lacan|Lacan, Jacques]]. ''[[Seminar XI|Le Séminaire. Livre XV. L'acte psychanalytique, 1967-868]]''. Unpublished.</ref>
==Conclusion==A '''[[bungled action ]]''' is, as has been stated, successful from the point of view of the [[unconscious]].
Nevertheless, this success is only [[partial ]] because the [[unconscious ]] [[desire ]] is expressed in a distorted [[form]].
It follows that, when it is fully and consciously [[conscious]]ly assumed, '"[[suicide ]] is the only completely successful act'."<ref>[[Lacan|Lacan, Jacques]]. ''[[Television|Télévision]]'', [[Paris]]: Seuil, 1973. ''[[Television|Television: A Challenge to the Psychoanalytic Establishment]]'', ed. [[Joan Copjec]], trans. Denis Hollier, Rosalind Krauss and Annette Michelson, 1973aNew York: Norton, 1990]. p.66-7</ref>, since it then expresses completely an intention which is both conscious and unconscious, the conscious assumption of the unconscious death drive (on the other hand, a sudden impulsive suicide attempt is not a true act, but probably a passage to the act).
The [[act]] expresses completely an [[intention]] which is both [[conscious]] and [[unconscious]], the [[conscious]] assumption of the '''[[unconscious]] [[death drive ]]''' (on the other hand, a sudden impulsive suicide attempt is thus closely connected with not a true [[act]], but probably a '''[[passage to the ethical domain in Lacanact]]'''s thought).
An example is Kevin Spacey's shooting authentic Act follows the paradoxical logic of Hegel’s “[[negation]] of his own wife negation” and daughterLacan’s [[formula]] of [[feminine]] [[sexuation]]; that is, an Act does not pose itself against a [[master]]-[[signifier]] or work in opposition to a symbolic order because it [[exists]] totally within it, yet once decided, who are being held hostage by rival gangstersit reveals how this order is [[not-all]], incomplete; it opens up the [[void]] for which [[the Symbolic]] stands in The Usual Suspects.<ref>(Fragile AbsoluteIn order to illustrate the Act as a feminine gesture, 149-50)</ref> Others literary characters, like Žižek refers to Sophocles’ [[Antigone ]] and Sygneoffers two ways to conceive of her refusal to Creon to bury her brother without a proper funeral. Th e first [[reading]] follows Lacan’s [[position]] in ''[[Seminar VII|Seminar VII: The Ethics of Psychoanalysis]]'',<ref>(Enjoy!which sees Antigone’s Act as authentic because she redefines the Good itself outside of Creon’s Law. Žižek’s alternative reading, however, 70ff)</ref>locates Antigone’s Act from within the logic of [[masculine]] ethics, act in such a way are substitutes for when she lists the enigmatic things she is sacrificing (a [[objet petit future]] life with ahusband and children of her own) she does not totally [[identify]] Because desire comes to us from with her Cause, but, instead, presents herself as the exception; she invokes the Other[[Thing]] for which her sacrifice is made, it is her future family; and thus becomes a mistake [[sublime]] [[figure]] that draws our pity (''FA'': 154). Žižek contrasts Antigone to think two other [[women]] in literature who, instead of it as subversive; on sacrificing their Cause for something, sacrifice their Cause in the contrary[[name]] of [[nothing]]: Medea of Greek [[tragedy]] and her contemporary [[counterpart]], it is banal Sethe in Toni Morison’s ''Beloved''. Both of these [[figures]] commit an authentic Act when they [[murder]] their children, the extremeformer to destroy her husband Jason’s precious Thing, and the latter to save her children from slavery (FA: 153).
In his treatment of the Act Žižek eventually follows Lacan’s move away from Antigone’s ethics towards the more silent but no less [[traumatic]] Act illustrated by [[Paul]] Claudel’s character Sygne de Coûfontaine in ''The Hostage''. Whereas Antigone maintained her desire and accepted her Fate by way of protesting against an [[external]] [[prohibition]] (Creon’s Law), Sygne’s Act of taking the bullet meant for her despised husband was rather an Act done according to “the innermost freedom of her being” (''LN'': 81). Th at is, hers is not a tragically sublime Act done for the sake of a higher Cause, but rather a non-response, which short-circuits the dimensions of form and [[content]], meaning and being. When her husband asks his dying wife why she saved him, Sygne does not reply, but rather her [[body]] responds with a tic, a grimace, which signals not a [[sign]] of [[love]], but rather the refusal of an explanation. Sygne’s “No”, according to Žižek, “is not a ‘No’ to a [[particular]] content … but a ‘No as such’, the form-of-No which is in itself the [[whole]] content, behind which there is nothing”. Synge’s tic is thus “ex-timate”, in the Lacanian sense, for it embodies a little piece of the Real, “the excremental [[remainder]] of a disgusting ‘pathological’ tic that sticks out of the symbolic form” (''PV'': 83).
==See Also=={{See}}||* [[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:Kid A In Alphabet LandZizek Dictionary]]__FORCETOC__<references />