" ... Lacan refashioned Freudian psychiatry, and suggested that the unconscious was structured like a language, thereby giving a key role to semiotics and dissolving the usual boundaries between the rational and irrational.
Though without foundation, the view supported many aspects of Postmodernism, and is therefore attractive to those fighting repression in western society.
Lacan's theories are difficult to grasp, but extend psychoanalytical thought in several directions. Lacan's unconscious is structured like a language, which gives language a key role in construction our picture of the world, but also allows the unconscious to enter into that understanding and dissolve essential distinctions between fantasy and reality. There are no primordial archetypes (Jung) or entities beyond the reach of language (Freud) or logical-sensorimotor structures (Piaget). As do other psychoanalysts, Lacan sees mental illness as a product of early childhood difficulties (notably imbalance between the Imaginary and the Symbolic) but children progressively gain a self-identity by passing through pre-mirror, mirror and post-mirror stages of development.
More importantly, Lacan's language referred to itself and was to be read by Saussurean semiotics. To the extent that Lacan sees language, and indeed all discourse, as permeated by the unconscious and so lacking in truth or stability, he is a Poststructuralist.
From his first work (De la Psychose Paranoiaque dans ses Rapports avec la Personalité: 1932), Lacan represented psychological illness as something manifested by the whole person rather than as a distinct pathology. Continuing this approach, Lacan adopted a style which resists any neat summary of concepts. His prose may often resemble the speech of his patients: a free association of ideas, meanings that change with context, and an unwillingness to group under broader categories. Lacan's concepts do not condense into doctrines. However confusing, the intention is to draw in and implicate the reader in the suggestions that Lacan is drawing from Freud's work and patient behaviour.
Lacan also had a trinity of his own: the Real, the Imaginary and the Symbolic. The Real is the unnamable, the outside of language. The Imaginary is the undifferentiated early state of the child, a fusion of subject and parent, which remains latent in adult life, manifesting when we falsely identify with others. The Symbolic is the demarcated world of the adult with its enforced distinctions and repressions. The unconscious is not simply reflected in the language we use, but is equally controlled by it. Discourse, including social, public language, shapes and enters into the structure of the unconscious, and is inextricably mixed with the unsatisfied sexual desire that emerges disguised in dreams, jokes and art.
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Lacan replaced Freud's postulated oral, anal and genital stages of child development with his own pre-mirror, mirror and post-mirror stages. During its first six months of existence, the child gradually fills the gap between bodily sensations and its perceptions of the outside world with symbols: fantasies with which its consciousness is merged. Then, over the next year or so, the child begins to recognize the outside as an extension or mirror of its own bodily image, absorbing at the same time an awareness of outside language: the meaning of the Other. But in the next, post-mirror stage, when the child begins to speak for itself, these traces of meaning are repressed because they represent something from the child has separated. But desire remains, hedged about by prohibitions and compromises, into adulthood, and provides the Id with its own logic, language and intentionality. From this early stage too comes any neurosis or psychosis that the adult may subsequently suffer from, these resulting from imbalances between the Imaginary, Symbolic and the Real.
Dreams (and by extension the matters that control art and our emotional processes) form a system of signs which we can read as any other text. We analyze them in Saussure's manner with signified and signifier. We use Jacobson's system of metaphor to understand the frequent combination of dream images, and metonymy to characterize displacement, the process by which images shift laterally in their significance. But whereas for Saussure the sign was culturally fixed, bonding signified and signifier, for Lacan the language of the unconscious (dreams, verbal plays and art) lacked any such stability. Language does not mimic the psychic processes of the unconscious, any reference it makes being entirely arbitrary. Language does not represent the exterior world, moreover, though of course we pretend otherwise. Words as patients use them in Freudian analysis take on multiple meanings, reach back to a plurality of determining factors, and are available permanently for new uses. So is language, our everyday social language. We cannot understand it from the outside, in terms other than language. And we cannot insulate it from the discourse of the unconscious. By its very nature, language forms a web of ever-elusive meaning, a free creation which provides no stability, ground or ultimate truth, even for itself.
But that is not unexpected, thought Lacan. We can hear the polyphony of contexts when we listen to poetry, a discourse where the words or signifiers align vertically and horizontally as musical notes along a score. The overlapping and knotting together of its signifiers provides the reader of that text with an enactment of the unconscious. We cannot ultimately separate them, but poetry and the unconscious do support each other. Lacan had many contacts with Surrealism, and perhaps the exhibitionism, circularity and even charlatanry of his writings witness more truth to the unconscious than are to be found in the sober reflections of his contemporaries. ... "
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