Pierre Skriabine presented this text to the Vth World Association of Psychoanalysis’ conference in Rome, held on 13th -16th July 2006

Available at www.LacanianWorksExchange.net /Authors A-Z or Authors by Date

Published as p75-78 of the Vth World Association of Psychoanalysis’ Conference: ‘Scilicet of the name-of-the-father’ English version: Rome: 13th – 16th July, 2006 : Published by www.wapol.com : July 2006

Complete version of these texts translated into English: Available at www.LacanianWorksExchange.net /Authors by Date

References to Jacques Lacan:

1) p77, 19. The fourth element here is nothing else but that which supplements the symbolic in its primary function i.e. nomination (which names the unspeakable real, supplementing thereby the failure of the Other). In addition to the nomination of the symbolic as symptom are added the nomination of the imaginary as inhibition and the nomination of the real as anguish. There we have three primary names-of-the-Father that Lacan delivered at the end of RSI (13th May 1975). And the first figuration of the knot with four that Lacan gave in his lesson of the 14th January 1975 in RSI was precisely that that where the real is supplemented by its nomination: the Oedipus.

See Seminar XXII – R. S. I. (1974-1975) : from 19th November 1974 : Jacques Lacan at this site /4 Jacques Lacan (19741119 or Index of Jacques Lacan’s texts)

2) p78, 20. A mode of repair totally different is deployed by Lacan in his seminar The Sinthôme* that of Joyce. The ego, writing, the works of Joyce, is the name of the Father with which Joyce supports himself in order to exist and make a name for himself. A hand crafted mending which leaves Real and Symbolic intertwined; the epiphanies are the trace of this remainder of the mending.

*See Seminar XXIII The Sinthome or Joyce and the Sinthome (1975-1976) : beginning on 18th November 1975 : Jacques Lacan at this site /4 Jacques Lacan (19751118 or Index of Jacques Lacan’s texts) 17th February 1976, pVII 5 of Cormac Gallagher, Nanrely. at the same time if the Symbolic is freed, as I clearly marked formerly. we have a way of repairing that. which is to make what for the first time I defined as the sinthome. Namely, the something that allows the Symbolic. the Imaginary and the Real, to continue to hold together. even though here no one of

them is held by another, thanks to two errors.

I have allowed myself to define as sinthome not what allows the knot, the knot of three, to still make a knot of three but what it preserves in such a position that it seems to be a knot of three. This is what I put forward very gently the last time. And, I re-evoke it for you incidentally, I thought – you can make what you wish of my thinking – I thought that it was the key to what had happened to Joyce. That Joyce has symptom which starts. Which starts from the fact that his father was lacking (carent): radically lacking. he talks of nothing but that.

I centred the matter around the name, the proper name. And I thought that – make what you wish of this thought – and I thought that it was by wanting a name for himself that Joyce compensated for the paternal lack. This at least is what I said. Because I could say no better. I will try to articulate that in a more precise way. But it is clear that the art of Joyce is something so particular, that the term sinthome is indeed what is, what is appropriate to it.

3) p78, 21. Ready made** supplementation as the Oedipus or hand made and made to measure DIY in Joyce, the name of the Father reconsidered in this way by Lacan at the end of his teaching and articulated within the topology of knots, opens a reformulation of our differential clinic. A task that is now ours, work in progress.

** Ready-made probably refers to the following:

The term readymade was first used by French artist Marcel Duchamp to describe the works of art he made from manufactured objects. It has since often been applied more generally to artworks by other artists made in this way

INTRODUCTION

Duchamp’s earliest readymades included Bicycle Wheel of 1913, a wheel mounted on a wooden stool, and In Advance of the Broken Arm of 1915, a snow shovel inscribed with that title. In 1917 in New York, Duchamp made his most notorious readymade, Fountain, a men’s urinal signed by the artist with a false name and exhibited placed on its back. Later readymades were more elaborate and were referred to by Duchamp as assisted readymades.

For his readymades Duchamp deliberately chose ordinary, functional – and rather dull – objects. His choice was:

‘…based on a reaction of visual indifference, with at the same time a total absence of good or bad taste…’

Duchamp as quoted in The Art of Assemblage: A Symposium, The Museum of Modern Art, New York, October 19, 1961

Quoted from https://www.tate.org.uk/art/art-terms/r/readymade /October 2024

Related Texts

Mario L. Beira : A Brief Note on Lacan’s Presentation on the ‘Names-of-the-Father’ on the establishment of its text and its translation : 7th March 2022 (Miami, Florida, USA). Published www.Freud2Lacan.com /Lacan (7. Lacan’s November 20 1963 Introduction to the Names-of-the-Father (3 translations))

Three names in the inexistent seminar : July 2006: Gil Caroz, see this site /5 Authors A-Z (Caroz or Index of Authors’ texts)

How to recompose the Name-of-the Father : 2004 : Éric Laurent, see this site /5 Authors A-Z (Laurent or Index of Authors’ texts)

The Name-of-the-Father – Psychoanalysis and Democracy : 2003 : Éric Laurent, see this site /5 Authors A-Z (Laurent or Index of Authors’ texts)