Lacan for Beginners

Desire

Demand is ultimately a demand for love, and, for this reason, unsatisfiable. If someone asks you if you love them and you say yes, that will not stop them from asking you again and again and again. The impossibility of really proving one's love once and for all is well known. Hence demand is a continuing spiral. But Lacan adds something more. To need and demand, he adds the register of desire. Desire takes up what has been eclipsed at the level of need (the dimension represented by the mythical water) introduces an absolute condition in opposition to the absolutely unconditional nature of demand.

We can see this in cases where human desire literally has an absolute condition, in fetishism. -> I can only reach sexual enjoyment when a particular object or trait is present in my partner, like a ribbon or a certain pair of boots. Enjoyment is determined strictly by the presence of this element.

Lack

Although the example of fetishism is an extreme one, Lacan shows that it is at the horizon of all desire for the man. A man's choice of partner will always contain some reference to inhuman details: the color of the partners hair, her eyes etc There is nothin human about such abstract features. Desire is thus linked to conditions in contrast to the register of demand.

Part of the work of analysis is to try to tease out the subject's desire from his incessant demands. The neurotic is someone who privileges demand, who hides his desire beneath the imposing presence of demand.

If demand is demand for an object, desire has nothing as its object: nothing in the sense of "lack taken as an object". Some clinical structures show the difference clearly. The anorexic, for example, in refusing to eat gives a place to desire beyond demand. To the mother's demand for the child to eat, the latter offers a symbolic refusal, maintaining a desire centering on the "nothing" which is eaten. Into the relation with the mother, a lack is thereby introduced, something which marks out clearly the tension between demand and desire.

Desire and Wish

Desire itself will emerge in little details, and hence Lacan's insistence on hunting it down, on searching for desire in between the lines, where it is least obvious. The emphasis on detail here is fully Freudian. After all, Freud had shown that when an unconscious current is repressed, since it cannot enter consciousness, it displaces itself on to tiny details and it is only in following these derivatives that we will mobilize the rest of the complex in question.

It's important to distinguish what Lacan calls desire from what we would ordinarily call a wish. A wish is something you want consciously. But desire is fundamentally barred from consciousness. Freud had made the distinction earlier in his work on dreams. A dream may represent some obvious wish. Your are freezing and starving in the middle of the North-Pole. You fall asleep and dream of a fine four-poster bed and a bowl of caviar. It would seem that the dream fulfills a wish, to find food and shelter. But this wish is only an alibi: what really matters is why, in your dream, the supposed fulfillment has taken the form of a four-poster bad and a bowl of caviar. Why not just a normal bed and a bowl of soup? Desire is simply equivalent to the process of distortion which has turned the wish for shelter and food into this particular image, these particular details. If you dream of passing an exam in a certain place the night before sitting a real exam, desire is more likely to be found not in the idea of passing the exam (a wish) than in the detail of the place in question (why this place than rather another).

Distortion and Desire

Desire is thus a very peculiar thing. Lacan elaborates a theory of desire as something very strange, very odd: it has nothing to do with wishes, but consists of linguistic mechanisms which twist and distort certain elements into others. A slip of the tongue would provide another example. You say one thing instead of something else and you don not know why. Desire is present because one element has been distorted and modified by another one. We can deduce the presence of desire in clinical work by paying attentino to these processes as they repeat themselves and to the points of rupture, distortion and opacity in a patient's associations.

If language has a capacity to transmit a message, it also has a redundant side. It's the difference between a letter and a telegram. The telegram conveys the minimum information content quickly, whereas the letter may dwell on details, use rhetorical devices and bow to the requirements of etiquette. Now, if we aim to track down desire, Lacan says, we will do best by focusing not on the message, but rather on the points of redundancy, the little details which do not really need to be there. Why a bowl of caviar rather that just caviar?

The Maternal Phallus

If desire ere is a process of distortion, a force at work in between signifiers, ow can we speak about an object of desire? I would seem, on the contrary, as if desire did not have any object. Lacan replies that the object is of a very particular kind: an absent one. It is not any absent object but, for Lacan at this moment in his work, a very precise one: the maternal phallus. Freud and his followers, despite many disagreements, had always stressed the centrality of the castration complex. The key is less the possession by the subject of a phallus, but rather whether the mother has one or not.

The Phallus is not the same thing as the penis: it is the penis plus the idea of lack.

If you think that you might lose your penis and that other people do not have this organ, the idea of loss will become linked to the organ in question. It will never be a penis again. In Freudian theory it will be a penis plus the idea of its absence. Hence what one searches for in the mother cannot be seen: how can one see something which is not there?

Jouissance

Lacan's work in the 1960's became increasingly concerned with trying to formulate a logic of what he called jouissance, a word which is in fact part of English literary heritage, appearing in Edmund Spenser's Faerie Queene and other writing of the 16th century. It may mean enjoyment, as it is usually translated, but in general it is Lacan's way of referring to anything which is too much for the organism to bear. Jouissance is felt 99% of the time as unbearable suffering. It is real, in the Lacanian sense of the word, something outside symbolization and meaning, constant and always returning to the same place to bring you suffering.

Too much excitation, stimulation or, perhaps, much too little, as might be seen in certain inertial states.

The problem is that what we experience as unbearable suffering is experienced by the unconscious drives as, on the contrary, a satisfaction.

Repetition

Freud and his early followers had come to the conclusion by the early 1920's that psychic life was not just reducible to the linguistic formulas and mechanisms of the unconscious. One could interpret a symptom brilliantly, but it would now go away. It refused to budge. After all, it is a fact that people continue making the same mistakes, the same ill-starred decisions throughout their lives which bring them pain and grief.

Freud was led to the idea of the existence of a silent force in the organism which was intent on self-destruction, feeding off the suffering we feel consciously. He linked this to the compulsion humans have to repeat things.

There is no learning from the past for most people, precisely because it is in their very best interests to suffer. Jouissance is thus the real opponent in psychoanalytic practice, and Lacan approached it conceptually in a number of different ways. The field of psychoanalysis was thus by no means occupied only by language. The real has now become central in the form of jouissance, real to the extent that it is outside meaning and signification. A different, deadly and heterogeneous presence was at work - jouissance - showing how Lacan's work cannot be reduced, as it often is, to emphazising the importance of language. It is the relation of language to jouissance that has now become the central research problem.