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Co-author of East of Tiffany's, 13 short stories of a Latino immigrant's success in USA; a journey from West Harlem to Sutton Place and Park Avenue. Check out the reviews in Amazon.com and in Barnes and Noble.

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Read it in contemporary English -- No Thous, Thees, or King James' Bible language. Transliterated into easy language for enjoyable reading pleasure. Because The Lazarillo of Tormes pointed a new direction, European and American literature benefited with titles that today are considered classics: Cervantes’ Rinconete and Cortadillo; Daniel Defoe’s Moll Flanders, Henry Fielding’s Tom Jones and Joseph Andrews; Tobias Smollett’s Roderick Random, and Peregrine Pickle; Voltaire’s Candide; Charles Dickens’ David Copperfield. And many others to include American works ranging from Mark Twain to Saul Bellow.

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The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art. According to Ortega, the arts don't have to tell a human story; art should deal with its own forms—and not with the human form.

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With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality. While business terminology is interwoven throughout these short stories, it's not business lessons that I take away with me, but life lessons. The circumstances and the characters' profound humanity are relatable despite their zip code . "Luke, Postmodern Man" offers a new vista into faith, suffering, and love of neighbor. Way after you read this book you'll find yourself thinking about the various characters throughout the series of stories and will find solace in their unwavering faith. The narrators' ability to reflect on their hardships with such serenity is inspiring.



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After I purchased Mary's e-book I started to get 'A's in my essays and term papers! Every page is filled with great writing tips, training lessons, and wonderful useful writing skills! Not only do I write essays for college, but also short stories!
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All my books are now in KINDLE


Ideas About the Novel by Ortega y Gasset - my translation $0.99
Torquemada at the Stake by Perez Galdos- my translation $0.99
Lazarillo of Tormes - my translation $0.99
Dehumanization of Art by Ortega y Gasset - my translation $0.99
Sentence Openers
East of Tiffany's - bestseller $5


The most beloved short story from Spanish literature
All my books are in NOOK $0.99 or in Amazon KINDLE $0.99








All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.
Ideas About the Novel by Ortega y Gasset - my translation $0.99

Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers!
--Ivonnie Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK





Available in KINDLE $0.99


Available in KINDLE $0.99

Saturday, October 1, 2011

Lacan - The Mirror Stage

Drawing. Jacques Lacan, french psychoanalyst.Image via Wikipedia

"The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience"
Jacques Lacan
The conception of the mirror stage that I introduced at our last congress, thirteen years ago, has since become more or less established in the practice of the French group. However, I think it worthwhile to bring it again to your attention, especially today, for the light it sheds on the formation of the I as we experience it in psychoanalysis. It is an experience that leads us to oppose any philosophy directly issuing from the Cogito.
Some of you may recall that this conception originated in a feature of human behavior illuminated by a fact of comparative psychology. The child, at an age when he is for a time, however short, outdone by the chimpanzee in instrumental intelligence, can nevertheless already recognize as such his own image in a mirror. This recognition is indicated in the illuminative mimicry of the Aha- Er/ebnis, which Kohler sees as the expression of situational apperception, an essential stage of the act of intelligence.
This act, far from exhausting itself, as in the case of the monkey, once the image has been mastered and found empty, immediately rebounds in the case of the child in a series of gestures in which he experiences in play the relation between the movements assumed in the image and the reflected environment, and between this virtual complex and the reality it reduplicates - the child's own body, and the persons and things, around him.

This event can take place, as We have known since Baldwin, from the age of six months, and its r~ has often made me reflect upon the startling spectacle of the infant in fronTo["the mirror. Unable as yet to walk, or even to stand up, and held tightly as he is by some support, human or artificial (what, in France, we call a "trotte-hebe"), he nevertheless overcomes, in a flutter of jubilant activity, the obstructions of his support and, fixing his attitude in a slightly leaning-forward position, in order to hold it in his gaze, brings back an instantaneous aspect of the image.
For me, this activity retains the meaning I have given it up to the age of eighteen months. This meaning discloses a libidinal dynamism, which has hitherto remained problematic, as well as an ontological structure of the human world that accords with my reflections on paranoiac knowledge.
We have 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 its 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,' if we wished to incorporate it into our usual register, in the sense that it will also be the source of secondary identifications, under which term I would place the functions of libidinal normalization. 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 (Ie devenir) 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, 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 (un relief de stature) 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 automaton in which, in an ambiguous relation, the world of his own making tends to find completion.
Indeed, for the imagos whose veiled faces it is our privilege to see in outline in our daily experience and in the penumbra of symbolic efficacy - the mirror ­image would seem to be the threshold of the visible world, if we go by the mirror disposition that the imago of one's own body presents in hallucinations or dreams, whether it concerns its individual features, or even its infirmities, or its object ­projections; or if we observe the role of the mirror apparatus in the appearances of the double, in which psychical realities, however heterogeneous, are manifested.
That a Gestalt should be capable of formative effects in the organism is attested by a piece of biological experimentation that is itself so alien to the idea of psychical causality that it cannot bring itself to formulate its results in these terms. It nevertheless recognizes that it is a necessary condition for the maturation of the gonad of the female pigeon that it should see another member of its species, of either sex; so sufficient in itself is this condition that the desired effect may be obtained merely by placing the individual within reach of the field of reflection of a mirror. Similarly, in'the case of the migratory locust, the transition within a generation from the solitary to the gregarious form can be obtained by exposing the individual, at a certain stage, to the exclusively visual action of a similar image, provided it is animated by movements of a style sufficiently close to that characteristic of the species. Such facts are inscribed in an order of homeomorphic identification that would itself fall within the larger question of the meaning of beauty as both formative and erogenic.
But the facts of mimicry are no less instructive when conceived as cases of heteromorphic identification, in as much as they raise the problem of the signification of space for the living organism - psychological concepts hardly seem less appropriate for shedding light on these matters than ridiculous attempts to reduce them to the supposedly supreme law of adaptation. We have only to recall how Roger Caillois (who was then very young, and still fresh from his breach with the sociological school in which he was trained) illuminated the subject by using the term "legendary psychasthenia" to classify morphological mimicry as an obsession with space in its derealizing effect.
I have myself shown in the social dialectic that structures human knowledge as paranoiac' why human knowledge has greater autonomy than animal knowledge in relation to the field of force of desire, but also why human knowledge is determined in that "little reality" (cepeu de realitf), which the Surrealists, in their restless way, saw as its limitation. These reflections lead me to recognize in the spatial captation manifested in the mirror stage, even before the social dialectic, the effect in man of an organic insufficiency in his natural reality - in so far as any meaning can be given to the word "nature."
I am led, therefore, to regard the function of the mirror stage as a particular case of the function of the imago, which is to establish a relation between the organism and its reality - or, as they say, between the Innenwelt and the Umwelt.
In man, however, this relation to nature is altered by a certain dehiscence at the heart of the organism, a primordial discord betrayed by the signs of uneasiness and motor uncoordination of the neonatal months. The objective notion of the anatomical incompleteness of the pyramidal system and likewise the presence of certain humoral residues of the maternal organism confirm the view I have formulated as the fact of a real specific prematurity of birth in man.
It is worth noting, incidentally, that this is a fact recognized as such by embryologists, by the term foetalization, which determines the prevalence of the so-called. superior apparatus of the neurax, and especially of the cortex, which psycho-surgical operations lead us to regard as the intraorganic mirror.
This development is experienced as a temporal dialectic that decisively projects the formation of the individual into history. The mirror stage is a drama whose internal thrust is precipitated from insufficiency to anticipation and which manufactures for the subject, caught up in the lure of spatial identification, the succession of phantasies that extends from a fragmented body-image to a form of its totality that I shall call orthopaedic - and, lastly, to the assumption of the armor of an alienating identity which will mark with its rigid structure the subject's entire mental development. Thus, to break out of the circle of the Innenwelt into the Umtoelt generates the inexhaustible quadrature of the ego's verifications.
This fragmented body - which term I have also introduced into our system of theoretical references - usually manifests itself in dreams when the movement of the analysis encounters a certain level of aggressive disintegration in the individual. It then appears in the form of disjointed limbs, or of those organs represented in exoscopy, growing wings and taking up arms for intestinal persecutions - the very same that the visionary Hieronymus Bosch has fixed, for all time, in painting, in their ascent from the fifteenth century to the imaginary zenith of modern man. But this form is even tangibly revealed at the organic level, in the lines of "fragilization" that define the anatomy of phantasy, as exhibited in the schizoid and spasmodic symptoms of hysteria.
Correlatively, the formation of the I is symbolized in dreams by a fortress, or a stadium - its inner arena and enclosure, surrounded by marshes and rubbish-tips, dividing it into two opposed fields of contest where the subject flounders in quest of the lofty, remote inner castle whose form (sometimes juxtaposed in the same scenario) symbolizes the id in a quite startling way. Similarly, on the mental plane, we find realized the structures of fortified works, the metaphor of which arises spontaneously, as if issuing from the symptoms themselves, to designate the mechanisms of obsessional neurosis - inversion, isolation, reduplication, cancellation and displacement.
But if we were to build on these subjective givens alone - however little we free them from the condition of experience that makes us see them as partaking of the nature of a linguistic technique - our theoretical attempts would remain exposed to the charge of projecting themselves into the unthinkable of an absolute subject. This is why I have sought in the present hypothesis, grounded in a conjunction of objective data, the guiding grid for a method of symbolic reduction.
It establishes in the defenses of the ego a genetic order, in accordance with the wish formulated by Miss Anna Freud, in the first part of her great work, 'and situates (as against a frequently expressed prejudice) hysterical repression and its returns at a more archaic stage than obsessional inversion and its isolating processes, and the latter in turn as preliminary to paranoia alienation, which dates from the deflection of the specular I into the social I.
This moment in which the mirror stage comes to an end inaugurates, by the identification with the imago of the counterpart and the drama of primordial jealousy (so well brought out by the school of Charlotte Buhler in the phenomenon of infantile transitivism), the dialectic that will henceforth link the I to socially elaborated situations.
It is this moment that decisively tips the whole of human knowledge into mediatization through the desire of the other, constitutes its objects in an "abstract" equivalence by the cooperation of others, and turns the I into that apparatus for which every instinctual thrust constitutes a danger, even though it should correspond to a natural maturation - the very normalization of this maturation being henceforth dependent, in man, on a cultural mediation as exemplified, in the case of the sexual object, by the Oedipus complex.
In the light of this conception, the term primary narcissism, by which analytic doctrine designates the libidinal investment characteristic of that moment, reveals in those who invented it the most profound awareness of semantic latencies. But it also throws light on the dynamic opposition between this libido and the sexual libido, which the first analysts tried to define when they invoked des­tructive and, indeed, death instincts, in order to explain the evident connection between the narcissistic libido and the alienating function of the I, the aggressivity it releases in any relation to the other, even in a relation involving the most Samaritan of aid.
In fact, they were encountering that existential negativity whose reality is so vigorously proclaimed by the contemporary philosophy of being and nothingness.
But unfortunately that philosophy grasps negativity only within the limits of a self-sufficiency of consciousness, which, as one of its premises, links to the meconnaissances [misrecognitions] that constitute the ego, the illusion of autonomy to which it entrusts itself. This flight of fancy, for all that it draws, to an unusual extent, on borrowings from psychoanalytic experience, culminates in the pretention of providing an existential psychoanalysis.
At the culmination of the historical effort of a society to refuse to recognize that it has any function other than the utilitarian one, and in the anxiety of the individual confronting the "concentrational"4 form of the social bond that seems to arise to crown this effort, existentialism must be judged by the explanations it gives of the subjective impasses that have indeed resulted from it; a freedom that is never more authentic than when it is within the walls of a prison; a demand for commitment, expressing the impotence of a pure consciousness to master any situation; a voyeuristic-sadistic idealization of the sexual relation; a personality that realizes itself only in suicide; a consciousness of the other than can be satisfied only by Hegelian murder.
These propositions are opposed by all our experience, in so far as it teaches us not to regard the ego as centered on the perception-consciousness system or as organized by the "reality principle" - a principle that is the expression of a scientific prejudice most hostile to the dialectic of knowledge. Our experience shows that we should start instead from the function of meconnaissance that characterizes the ego in all its structures so markedly articulated by Miss Anna Freud. For, if the Verneinung [denial] represents the patent form of that function, its effects will, for the. most part, remain latent, so long as they are not illuminated by some light reflected on to the level of fatality, which is where the id manifests itself.
We can thus understand the inertia characteristic of the formations of the I, and find there the most extensive definition of neurosis - just as the captation of the subject by the situation gives us the most general formula for madness, not only the madness that lies behind the walls of asylums, but also the madness that deafens the world with its sound and fury.
The sufferings of neurosis and psychosis are for us a schooling in the passions of the soul, just as the beam of the psychoanalytic scales, when we calculate the tilt of its threat to entire communities, provides us with an indication of the deadening of the passions in society.
At this junction of nature and culture, so persistently examined by modern anthropology, psychoanalysis alone recognizes this knot of imaginary servitude that love must always undo again, or sever.
For such a task, we place no trust in altruistic feeling, we who lay bare the aggressivity that underlies the activity of the philanthropist, the idealist, the pedagogue, and even the reformer.
In the recourse of subject to subject that we preserve, psychoanalysts may accompany the patient to the ecstatic limit of the "Thou art that," in which is revealed to him the cipher of his mortal destiny, but it is not in our mere power as practitioners to bring him to that point where the real journey begins.
KEYWORDS: jacques lacan, lacanian, lacan
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