…And Don’t Get Me Started on Lacan
The Mirror Stage and the Imaginary
”We gave only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image – whose predestination to this phase-effect is sufficiently indicated by the use, in analytic theory, of the ancient term imago.
”This jubilant assumption of his specular image by the child at the infans stage, still sunk in his motor incapacity and nursling dependence, would seem to exhibit in an exemplary situation the symbolic matrix in which the I is precipitated in a primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.
”This form would have to be called the Ideal-I.(1) But the important point is that this form situates the agency of the ego, before its social determination, in a fictional direction, which will always remain irreducible for the individual alone, or rather, which will only rejoin the coming-into-being of the subject asymptotically, whatever the success of the dialectical syntheses by which he must resolve as I his discordance with his own reality.
”The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is given to him only as Gestalt [an image of a whole], that is to say, in an exteriority in which this form is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size that fixes it and in a symmetry that inverts it, in contrast with the turbulent movements that the subject feels are animating him. Thus, this Gestalt — whose pregnancy should be regarded as bound up with the species, though its motor style remains scarcely recognizable – by these two aspects of its appearance, symbolizes the mental permanence of the I, at the same time as it prefigures its alienating destination; it is still pregnant with the correspondences that unite the I with the statue in which man projects himself, with the phantoms that dominate him, or with the automation in which, in an ambiguous relation, the world of his own making tends to find completion.”
– Jaques Lacan, Ecrits (p.2-3)
The Law of the Father and the Symbolic Order
The Symbolic Stage or Symbolic Order maps onto Freud’s Oedipal Stage and, for Lacan, marks the subject’s entry into language. Lacan’s conception of language is a diacritical one derived from the linguistic theories of Ferdinand de Saussure which I examine in my essay Problems with Saussure.
Lacan doesn’t have much to say about this.
- Althusser, Louis (1969) For Marx *
- Althusser, Louis (1969) ”Contadiction and Overdetermination” in Althusser, L. (1969) For Marx
- Althusser, Louis (1969) ”Marxism and Humanism” in Althusser, L. (1969) For Marx
- Althusser, Louis (1969) ”Ideology and Ideological State Apparatuses (Notes towards an Investigation)” in Althusser, L (1971) Lenin and Philosophy and other Essays
- Althusser, Louis (1969) ”Freud and Lacan” in Althusser, L (1971) Lenin and Philosophy and other Essays
- Althusser, Louis (1971) Lenin and Philosophy and other Essays
- Bordwell, David & Noël Carroll (1996) Post-Theory: Reconstructing Film Studies
- Carroll, Noël (1988) Mystifying Movies: Fads and Fallacies in Contemporary Film Theory
- Lacan, Jaques (1977) ”The mirror stage as formative function of the I as revealed in psychoanalytic experience” in Lacan, Jaques (1977) Ecrits
- Mulvey, Laura (1975) ”Visual Pleasure and Narrative Cinema” in Mulvey, L. (1989) Visual and Other Pleasures
- Tallis, Raymond (2nd ed. 1995) Not Saussure: A Critique of Post-Saussurean Literary Theory
- Tallis, Raymond (1997) Enemies of Hope: A Critique of Contemporary Pessimism
- Tallis, Raymond (2nd ed. 1998) In Defense of Realism
Red denotes online version. There, saved you some money!