Contenu du sommaire : Le désir

Taking into account the measure of the difference between the freudian theory on desire which is centered on the economic explanation and Lacan's theory centered on the recognition, we suggest reading this difference from the articulation of the two anthropological registries. Namely, the one (economical) related to the treatment of the value and the one (sociological) related to the treatment of the identity. We show how that difference, which is not recognized as such, generates contradictions in the lacanian corpus as well as in the freudian corpus. We attest the structural logic which articulates these two anthropological determinism in showing it at work in the construction of the reciprocal diagnostic related to the neurosis and the psychosis. This articulation acknowledges the clinical autonomy of the underlying processes and shows as well the link which unites them in the relation between confusion and its symptomatic compensation.

The author studies the dynamics of desire in clinical cases in which suffering, that gets to the point of the feeling of non-being, prevents the working of emotions. From various acting outs and especially basing herself on a clinical study, the author shows how desire combines in a struggle sometimes fatal that opposes Eros to Thanatos. The modalities of the bound to the object that are established in the perceptive and non-representative field intend to provide with the restitution of the lost object. In those pathologies, the logic of hope is replaced by desire, the pursuit of the most singular, the most extreme emotion; all this being the only possibility of liminal pleasure which can be put on equal terms with the pursuit of happiness. Basing herself on the myth of Narcissus, the author reflects on how desire, which always lacks deepness, can only be inscribed in the working of creative illusion whose foundations back on the process of satisfaction and on the experience of internal reflexivity.

Perversion's reality, of which the judicial actuality and the media underline the insistence, leads the reflection. It forces to come back to the impact of what Freud introduced in his Three essays on the sexual theory, by articulating human desire in its polymorphie to perversion. Taking into account these thesis drives to question ourself on the endings of an analytical therapy that can't elude the question of sexuation, sexual narcissism and castration.

By way of a psychoanalytic conception of desire and of depression (Freud, Lacan, Bowlby...) we attempt to demonstrate that pathological depression is the reversed truth of desire. Moreover, it appears that the movement of desire signals the resolution of mourning, whereas pathological depression is evidence of its failure. All mourning is a collective process. It presupposes an elaboration that too collective, and that will lead to its closure through the psychic murder of the object. All these notions have been articulated in clinical examples, notably in accounts of “family cure”.

After having presented the setting of interlocution in which her posture of therapist is spread, the author returns account here of a whole clinical route undertaken with a foreign female patient, exiled more from her desire than from her country, through which are analyzed the hindrances, the identity and transference motions. While aiming at releasing the word, this work undertaken constituted the place of starting a process of symbolization, which opened to the patient possibility of going beyond its obstinacy to want a child for her own, by questioning the enigma posed by the symptom (sterility), enigma which returns her to his own birth and to the dead ends of handing on, which one results in being exiled from her desire, as well as from her history. Taking into account of her culture did not consisted in reducing her to her own culture, but in giving her capability of introducing her voice and her subjectivity there, to find her own language which is not the language of an ethnic mass.

The Pinocchio's story is a process where the Pinocchio-child realises mother's desire. The progress of this accomplishment, which followes phases of structure of mother's desire according to Lacan, goes to pair with the gradual change of Pinocchio. So, Pinocchio's Aventures are a myth because they illustred synchronic structure of Oedipus.

The aim of this article is to tackle the wish of having a child in its connections with our unconscious wishes. As far as a girl is concerned, such a wish results from her identification with the pre-oedipal mother and from the dream of having a child with her father. Some authors insist on the importance of this pre-genital link in the feminine filiations. And in the discourse of infertile women, this link is strongly put in evidence. This theoretical material will be illustrated by the clinical story of Valérie which infertility comes maybe like a metaphor showing us something of these unconscious wishes.

It is through some motherhoods, leading to the abandon of the child at birth, that we question the child desire and non-desire. First of all, in order to transcend the vivid reactions evoked by these situations, we draw a profiling from the comparison between our assumptions and some statistics. This brings to light the fact that there are situations for which the social and economical reasons are insufficient to explain such an act. Then, the clinical experience of some professionals leads our interest towards various psychic mechanisms such as the denial of pregnancy and the ambivalence. The denial protects the child and the pregnancy beyond the I.V.G. delay, and this implies that the child would live but, perhaps also, that something of the mother would live. As for the ambivalence, it allows to question the place of third person, for some of these women, influencing the experiencing of the delivery and of the abandon on the side of the separation or on the side of the rupture. Finally, an impossible place for a man and an impossible separation between mother and girl are as many observations having led us to question the place of the third person and of the symbolism for these women, through the idea of debt and of offering.

The survival of the father is a condition of possibility for the emergence of a singular desire. The figure of the symbolic father often prevents from taking the concrete real father into account. This article tries to set up some points which emphasize how important is the real father's singularity. This viewpoint implies to outline a psychanalytic theory, so as to assess the impact of the paternal particularities. The authors endeavour to link those particularities with the differences which form the human identity and the fundamentals which organise the psyche.

As one of the finest works of man, the artistic creation has always been a major source of interest for psychologists. Several authors now consider that this process can be understood as a transitional space that metaphorizes the primary maternal relationship, first object of desire, first inkling of Desire. They regard the maternal relationship as an envelope which will later on serve as a projective screen for enabling the emergence of artistic productions. The purpose of our presentation is to further explore the functions associated with the artistic productions of 7 professional painters, as well as to better define the relationship they have developed with their art work. The results are discussed in the context of the « Moi-peau » model developed by the French psychoanalyst, Didier Anzieu (1985), in terms of the following functions : maintenance, containment, protective-shield, individuation, consensuality, sexual stimulation support, libidinal reloading, and trace recording. Overall, they indicate that the process of artistic creation is intimately linked with the artist's ability to elaborate the following tensions : body vs. mind, archaism vs. representation, and sensoriality vs. mentalization. The artist is a « person » who articulates the psychic processes coming from the inkling of desire (maternal function), as much as those arising from of the Desire (paternal function).

The energy of desire, in artistic creation (in this case, a literary one), would be carried out in a narcissistic gap which goes from the subject to the object of creation. The narcissistic core, common to all artists, would be found in the different functionings analysed through TAT accounts.