To have dismantled love in order to become capable of a greater loving. To have dismantled one’s self in order finally to be alone and meet the true double at the other end of the line. A clandestine passenger on a motionless voyage… –– Deleuze and Guattari, A Thousand Plateaus, 197
According to Lacan a psychoanalysable subject’s drama is an outcome of the conflict between nature and culture. As Claude Lévi-Strauss put it, this conflict arises from the incest taboo, which is a result of the prohibition of marriage among family members who are tied to one another by blood.
It is modern structuralism that has brought this out best, by showing that it is at the level of matrimonial alliance, as opposed to natural generation, to biological lineal descent—at the level therefore of the signifier—that the fundamental exchanges take place and it is there that we find once again that the most elementary structures of social functioning are inscribed in the terms of a combinatory.
From the perspective of structuralism the incest taboo produces the cultural family and separates it from the natural family. The incest taboo is the effect and the cause of the conflict between nature and culture. Oedipus delivers the subject’s role in society and hence gives the subject its cultural and sexual identity. This separates the subject from its non-identity and forms the basis for the conscious desires to flourish. All that is repressed in this process gives birth to the unconscious. But the unconscious is not a pool in which the repressed waste material is accumulated; rather, it is a theoretical construct to explain what happens to the repressed material but which nevertheless has discernible effects in everyday life and behaviour.
For Freud, with the resolution of the Oedipus conflict the period of primary narcissism comes to an end. All that the subject wants is to get back what it had lost upon entry into the symbolic order through Oedipus. The subject loses the sense of omnipotence and is in pursuit of a narcissistic sense of oneness. Each time the subject steps it tries to step towards the pleasures of narcissistic satisfaction of the first step, and yet with each step moves further away from it. Lacan’s narcissistic period, the mirror stage, is the period after the period of an unmediated relationship between the child and the mother and it is in the mirror stage that the child identifies himself with his whole image on the mirror to become what his mother wants him to be. Identification with the mother turns into identification with the self’s whole image on the mirror which is assumed to be the object of mother’s desire. Since the child cannot yet make a distinction between the me and the not-me, and sees himself as one, the child is as yet a mere (subject), that is to say a subject that is not a subject of culture.
The child exits the order of nature and enters the order of culture through symbols. It is a symbolic entry to the world of symbols in which a subject becomes the subject. A symbol fills the space in-between the child and the mother and is the third world, the imaginary world between the symbolic and the real, which takes the place of the unmediated relationship between the other two.
The reflection on the mirror sets in motion the numberless introjective-projective processes that the subject will experience throughout his/her life. Seeing the whole image of self on the mirror helps the subject to develop a self-consciousness as a separate being neither in-itself nor for itself. The awareness of selfness brings with it the awareness of otherness. The subject distinguishes between the me and the not-me. This situation cuts the subject in two halves; one half is the omnipotent exhibitionist and the other half is the object of the gaze of others. Realizing that the subject is not only the observer but also the observed produces a self-conscious consciousness; being conscious of self as that which can never be fully conscious of itself.
The subject is produced in and through language. When the subject says I the symbol becomes the mediator between the internal and the external worlds, which means that language splits the subject and the object as it unites them. Following the mirror stage The Name of the Father completely ends the unmediated relationship between the child and the mother and establishes its own laws and institutions. The symbolic father is he who has what the mother lacks and to whom the mother is subject. The father deprives the mother and the child of their unmediated relationship and deprives the mother of the phallus. For Lacan, the civilizing castration, the castration that turns the human child into a cultural subject, does that by directing the child from being to having. Rather than being the phallus the child begins to want to have the phallus. It is the absence of the phallus that is established rather than the phallus itself. In pursuit of the phallus as a substitute for the unattainable mother, the subject obeys the father’s law. The constitution of the phallus as a lack opens a gap between the subject and the object. It is this gap, this lack, this absence that is the unconscious and renders the conscious subject possible. What man lacks is a mythological totality symbolized by the phallus. And this lack is a condition of the subject. The subject and its unconscious are produced at the same time. Language turns the human child into a non-subject, it gives him his sexual identity, at the same time produces unconscious drives and situates the subject in the symbolic order and induces pain.
Oedipal discourse forms the basis for the deliverance of the subject’s sexual identity and is the discourse of the other, the unconscious. For the subject to be able to use language, first he has to acquire language. In the learning process the unconscious manifests itself in and through slips of the tongue, jokes, and dreams. Slips of the tongue and jokes reveal the real of the speaking subject’s desire. The unconscious is the condition of conscious discourse.
For Lacan, language is the condition of the unconscious. The symbolic order constitutes the unconscious drives. That which the subject wants is the unmediated experience of existence lost upon entry into the symbolic order. The rupture between being and non-being opens with language and in the unconscious the symbol of the fullness of being, completeness of the subject, is the phallus. And the phallus is that which the subject had lost upon entry into the symbolic order. But since the subject has to use language to attain the lost object, his striving for wholeness is in vain, which renders him tragic and exhilarating. For as I said earlier on, as the subject thinks that he is stepping towards the real of the desired object he is in fact moving further away from it with each word he adds to his vocabulary.
Here I would like to tell the most known of the Oedipus myths, but at the same time the one that is least known as an Oedipus myth, the story of Adam and Eve. We shall listen to Adam and Eve’s story as though it is our own story. For man perpetually runs after his dreams, and as he does this he moves on through disappointments. I shall therefore stress the significance of disappointment and frustration in psychoanalytic discourse.
Adam eats the forbidden apple given to him by Eve. Counter to what Genesis andMiltonsay, I think the relationship between male and female is built on a prohibition. Adam eats the apple. Adam is expelled from paradise for doing that which shouldn’t have been done. He is banned from the heaven on earth (Eden) and is nailed to pain and suffering. And he is promised paradise after death. But why is an apple prohibited in paradise? Because as a cultural fantasy, paradise is the other of something forbidden, it is the product of this forbidding. If the law, the symbolic, is removed from the scene, all symbolic meaning collapses. And since it is law that produces the unlawful, since it is repression that forms the unconscious, there can be no symbolic order without the fantasy supporting it and keeping the unconscious drives at bay.
It is the sense of primary Narcissism that is the desired object of fantasy, a sense of oneness with the world, omnipotence, and completeness. So life doesn’t end with death, it reaches its most complete form in the womb, it begins with a death. Life is a striving for a death oscillating between a forbidden death and a promised death. Death pulls the subject towards itself with all the attraction of its staticity, or stasis. Eros and Thanatos are twin brothers.
Expulsion of Narcissism is a condition of cultural life. Narcissus, this beautiful man, falls in love with his own image on the water. His love for himself prevents him from seeing the love presented to him by culture–Echo’s love. Narcissus leans forward to touch his image and leans so much that he falls and drowns in the water, dies in his own image.
This period of primary Narcissism is what Lacan calls the mirror stage. At this stage there is a conflict between the Ideal-I and the I as the object of the other’s desire. It is this that splits the subject. In other words every individual re-experiences the tragedy of Narcissus at the back of his/her mind throughout life. And it is this regressive re-experiencing that produces and is produced by the real of the subject’s desire.
The father’s law forbids identification with the mother and promotes identification with the object of the mother’s desire. The father’s law is the law of the culture. If the child doesn’t obey the father’s law, that is, when the child refuses to leave the mirror stage behind, the child cannot move on to the next stage and distinguish itself from the others; it resists codification. This is what a schizophrenic is. To be locked in the mirror stage is to be a schizophrenic. Here the subject experiences existence as an illusory reality. He can do nothing to act upon the world for he doesn’t know what use the objects surrounding him have. The schizophrenic who refuses to pass from father’s civilizing castration, is he who escapes cultural codification. And culture locks away the mad into a cell with mirrors on all walls that hide the secrets. A chain of identifications with the objects of others’ desires begins when and if the subject passes through the fantasy world of the mirror stage and becomes rational. It all ends with an idealized war culture, when and if culture is built on and through the Name of the Father.
 Jacques Lacan, Seminar XII, The For Fundamental Concepts of Psychoanalysis, 150
 Sigmund Freud, On Narcissism: An Introduction, trans. Strachey J. (London: Hogarth Press, 1964)
Jacques Lacan, “The Mirror Stage,” Ecrits: A Selection, trans. Alan Sheridan (London: The Hogarth Press and the Institute of Psychoanalysis, 1977
 Maurice Blanchot, The Writing of The Disaster, trans. Ann Smock (The University of Nebraska Press: Lincoln and London, 1995), 126-27-28 “The Greek myths do not, generally, say anything; they are seductive because of a concealed, oracular wisdom which elicits the infinite process of divining. What we call meaning, or indeed sign, is foreign to them: they signal without signifying; they show, or they hide, but they always are clear, for they always speak the transparent mystery, the mystery of transparence. Thus all commentary is ponderous and uselessly verbose—all the more so if it employs the narrative mode, and expands the mysterious story intelligently into explanatory episodes which in turn imply a fleeting clarity. If Ovid, perhaps prolonging a tradition, introduces into the fable of Narcissus the fate—which one might call telling—of the nymph Echo, it is surely in order to tempt us to discover there a lesson about language which we ourselves add, after the fact. Nevertheless, the following is instructive: since it is said that Echo loves Narcissus by staying out of sight, we might suppose that Narcissus is summoned to encounter a voice without body, a voice condemned always to repeat the last word and nothing else—a sort of nondialogue: not the language whence the Other would have approached him, but only the mimetic, rhyming alliteration of a semblance of language. Narcissus is said to be solitary, but it is not because he is excessively present to itself; it is rather because he lacks, by decree (you shall not see yourself), that reflected presence—identity, the self-same—the basis upon which a living relation with life, which is other, can be ventured. He is supposed to be silent: he has no language save the repetitive sound of a voice which always says to him the self-same thing, and this is a self-sameness which he cannot attribute to himself. And this voice is narcissistic precisely in the sense that he does not love it—in the sense that it gives him nothing other to love. Such is the fate of the child one thinks is repeating the last words spoken, when in fact he belongs to the rustling murmur which is not language, but enchantment. And such is the fate of lovers who touch each other with words, whose contact with each other is made of words, and who can thus repeat themselves without end, marvelling at the utterly banal, because their speech is not a language but an idiom they share with no other, and because each gazes at himself in the other’s gaze in a redoubling which goes from mirage to admiration.”
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