Édito My Way n°24
In the argument towards the forthcoming PIPOL Congress, Director, Patricia Bosquin-Caroz encourages us to think in a non-standard way.
She states clearly that psychoanalysis, in order to “bring about the intimate incomparable letter of the parlêtre”, bets on the encounter. Psychoanalysis and its ethics of the well spoken, invites the subject, in order to advance his difference, not to normalize him or herself, rather to bring forth his or her singularity, that mark of language which traumatizes his or her body. In France, at the time of my writing these words, this difference of each one has managed to find a pathway such that existence may continue without making an indelible mark towards a certain death. To the contrary, this difference, this singular, intimate, private mark has gathered against hatred more than two thirds of those who voted. The death drive did not take the path of the expression of Hate, but its opposite, love, and notably, last Sunday the 7th of May the other side of Eros, which defies the link with the Other, silenced Thanatos, a scattering (Cf. the intervention of J.-A. Miller “Enfants violents” at the fourth study day of the l’Institut de l’Enfant, unpublished).
This Eros is found in the erotic, in erotism, where the link to the other in the act of love as Evagelia Tsoni shows, “is of poetry”. Poetry also creates language, “our language is living and under constant construction”, as Katty Langelez-Stevens indicates, in reference to Seminar XXIII, The Sinthome: “a language is alive to the extent that is created in each instant”. In order to defend “against the real which the subject encounters”, – as Marie Laurent shows us – by artistic creation, literary creation, or subjective creation by means of a sinthome, the subject tinkers a ”doing-with” a supplementary knot, a supplement where the link with the Other, such as in addictions “which aim at a jouissance which is not linked to the laws of language”, is defeated; such is the wonderful articulation of Vic Everaert.
Translated by Raphael Montague
