Uma leitura atenta de Para lá do Princípio de Prazer de Freud sugere que o mecanismo da repetição cega, a oposição a toda a mudança e uma vontade niilista em afirmar o seu próprio poder excessivo caracterizam todas as pulsões. O que distingue as pulsões de morte das outras pulsões deve ser procurado noutra coisa, tal como uma forma particular de prazer ou destruição agressiva. Apesar do seu regresso a Freud, Lacan dá conta de uma nova imagem do mecanismo de (...) repetição. Quer aquilo que se repete seja a expressão de um trauma quer seja de um desejo inconsciente, a repetição ameaça sempre o princípio de prazer e a sua gestão por um ego imaginário. Para Lacan, a repetição descontrolada apela insistentemente à instituição de um sujeito cujo desejo simbolicamente determinado se situa para lá do curso natural de um princípio de prazer. (shrink)

Beyond the Pleasure Principle is Freud's most philosophical and speculative work, exploring profound questions of life and death, pleasure and pain. In it Freud introduces the fundamental concepts of the "repetition compulsion" and the "death drive," according to which a perverse, repetitive, self-destructive impulse opposes and even trumps the creative drive, or Eros. The work is one of Freud's most intensely debated, and raises important questions that have been discussed by philosophers and psychoanalysts since its (...) first publication in 1920. The text is presented here in a contemporary new translation by Gregory C. Richter. Appendices trace the work's antecedents and the many responses to it, including texts by Plato, Friedrich Nietzsche, Melanie Klein, Herbert Marcuse, Jacques Derrida, and Judith Butler, among many others. (shrink)

What is viral law? In order to being my discussion, I note that the last two years have been extremely difficult to understand and that we, meaning those who have lived through the pandemic, have struggled to make sense. Thus, I make the argument that the virus has impacted upon not only the individual’s ability to make sense in a world where every day routines have been upended, but also social and political structures that similarly rely on repetition to (...) continue to function. According to this thesis, Covid-19 is more than simply a biological organism, but also a cultural virus that undermines the organisation of social, political, and economic systems and requires new ways of thinking about how we might move forward into a post-Covid world. In the name of beginning this project of making sense of Covid-19, I track back in history to the comparable reference point of the Spanish flu pandemic of 1918–1920 and, in particular, a reading of Freud’s Beyond the Pleasure Principle, which the founder of psychoanalysis wrote in the shadow of the virus. In reading Freud’s attempt to write a psychology of death in the context of this funereal period of history, I argue that he set out first, a mythological theory of viral law concerned with the death drive, before turning to second, a techno-scientific, biological theory of the same law characterised by microbial immortality. Beyond this exploration of Beyond the Pleasure Principle, in the third part of the article I turn to a reading of Lacan’s interpretation of Freud’s work, where viral law becomes a story of cybernetics and nihilistic mechanisation. Here, perfect mechanisation, and the endless oscillation between message and noise, looks a lot like living death. Finally, I take up Derrida’s critique of Jacob’s molecular biology and, by extension, Freud’s theory of microbial immorality, that he thinks privileges an idea of repetitive sameness and opens up a space for cultural politics concerned with immunity against otherness. Derrida’s key point here is that this biological fantasy ignores the reality of viral sex that enables evolution to happen. What this means is that the other, even in its microbial form, is ever present, and that we must recognise the importance of difference to the possibility of social, political, and economic change. (shrink)

_Beyond the Pleasure Principle_ is Freud’s most philosophical and speculative work, exploring profound questions of life and death, pleasure and pain. In it Freud introduces the fundamental concepts of the “repetition compulsion” and the “death drive,” according to which a perverse, repetitive, self-destructive impulse opposes and even trumps the creative drive, or Eros. The work is one of Freud’s most intensely debated, and raises important questions that have been discussed by philosophers and psychoanalysts since its (...) first publication in 1920. The text is presented here in a contemporary new translation by Gregory C. Richter. Appendices trace the work’s antecedents and the many responses to it, including texts by Plato, Friedrich Nietzsche, Melanie Klein, Herbert Marcuse, Jacques Derrida, and Judith Butler, among many others. (shrink)

This paper considers Freud's 1920 text, Beyond the Pleasure Principle, in light of Jacques Derrida's critical commentary on it in The Post Card. Against the deconstructive reading that highlights the performative aspects of Freud's speculative remarks, David-Ménard reads Freud's theory of the death drive as an epistemological and experimental hypothesis necessary for giving an account of the complexity and diversity of the clinical phenomenon of repetition in psychoanalysis. Though the death drive never appears locatable as such (...) in the various examples given by Freud, it is nonetheless accessible in the constellation of differences produced by traumatic dreams, children's games, etc. (shrink)

Bergson argues in his Creative Evolution that life has to be defined as an élan vital, that is, as a driving force that presses forward incessantly, overcoming obstacles to its progress and exploding in a variety of directions at once. In Beyond the Pleasure Principle, Freud elaborates a critique of such a vitalistic notion of the drives. For him, the drives are not only sources of excitation, but also forces that resist change and that cause the body's movements and (...) activities to stagnate. Freud ascribes a remarkable name to these conservative and stubborn tendencies at work in the body, viz. the death drive. I argue that this drive is to be understood as a force in life that resists life and that, instead of following a course of progression and development, consists in a production of antiproductivity. I show how Freud is led to reconsider a vitalistic conception of the drives by means of a study of phenomena of repetition. One suggestion that Freud makes in Beyond the Pleasure Principle, which I examine in detail, is that the ego-drives are the “myrmidons of death.” To clarify this claim, I consider a remark that he makes on the viscosity of the drives and melancholia in his short essay On Transience. (shrink)

The aim of this paper is to provide a close reading of Deleuze's complex account of Freud's Beyond the Pleasure Principle in Difference and Repetition. The first part provides a reading of Beyond the Pleasure Principle itself, showing why Freud feels the need to develop a transcendental account of repetition. In the second, I show the limitations of Freud's account, drawing on the work of Weismann to argue that Freud's transcendental model mischaracterises repetition. In the (...) third part, I show how Freud's account of the death drive is shadowed by Deleuze's own non-representational transcendental account. (shrink)

The objective of this article is to explore the value of psychoanalysis in the early twenty-first century through reference to Freud, Lacan, and Stiegler’s work on computational madness. In the first section of the article I consider the original objectives of psychoanalysis through reference to what I call Freud’s ‘normalisation project’, before exploring the critique of this discourse concerned with the defence of oedipal law through a discussion of the post-modern ‘individualisation project’ set out by Deleuze and Guattari and others. (...) Tracking the development of ‘the individualisation project’ in history, I consider its connections with the cybernetic theories of Wiener and Shannon in the psycho-cyber-utopianism of the 1990s, before moving on to consider the other side of the psychoanalytic-cybernetic interaction through a discussion of Jacques Lacan’s rereading of Freud’s Beyond the Pleasure Principle in the second section of the article. In reading Lacan’s seminar on Freudian drive in terms of the cybernetic repression of death, I set up the conclusion to the article which involves a discussion of Bernard Stiegler’s ‘survival project’ that relies on a recognition of the limit of death in order to produce human significance and oppose the madness of our contemporary computational reality. (shrink)

Because he introduces a nonplastic element in his definition of the plasticity of mental life—that is, elasticity—Freud ruins the possibility of thinking what he precisely wishes to think, the plastic coincidence between creation and destruction of form. The characterization of the death drive as “elastic” deprives it of its plastic power and of its capacity to resist the pleasure principle. If we are not able to prove that the destruction of form has and is a form, if form (...) is always on the side of Eros and of pleasure, it becomes impossible to prove that there is anything beyond the pleasure principle. (shrink)

This essay explores Derrida's work on repetition in psychoanalysis and what Freud, in Beyond the Pleasure Principle, called the ‘compulsion to repeat’. Revising the model of the psyche that had to that point dominated his theory, Freud began in 1920 to ascribe greater significance to experiences of trauma and unpleasure, and to their recurrence in the analytic treatment. This type of repeated repetition ultimately suggested to Freud the existence of a ‘death drive’ antithetical to life. I (...) examine here how Derrida re-reads Beyond in The Post Card, analysing the way uncontrollable effects of repetition repeatedly undo Freud's efforts to make any progress on what lies beyond the pleasure principle. Another ‘logic’ of repetition, other than the one Freud invokes, inhabits Freud's text, threatening the fundamental opposition between the life drives and the death drive. But in reading Freud in this way, Derrida himself cannot quite ‘do justice to’ Freud, to the ambivalence at work in Freud's text. At certain key moments in his reading of Beyond the Pleasure Principle, I show, Derrida seems to restrict an ambiguity in Freud's thinking around the relation between life and death. What Derrida's reading makes legible in part, then, is Derrida's resistance to psychoanalysis, the tension inhabiting Derrida's dealings with Freud in The Post Card and beyond. (shrink)

This essay will concentrate, somewhat voyeuristically, on a particular and very special textual encounter. For if there is one text in the psychoanalytic tradition that will have caused Derrida to spill more ink than any other – it's Freud's Beyond the Pleasure Principle (1920). For ten years, from 1970–1980, Derrida returns not once but three times, on three separate occasions, in three different contexts, to Freud's text on repetition compulsion and the death drive, each time devoting more (...) time and energy – that is to say, more pages – to it. As we will see in this essay, what emerges from this textual encounter is not only a new kind of pleasure; it is also a chance event of repetition that brings with it something strikingly new. (shrink)

Many commentators have remarked upon the striking points of correspondence that can be found in the works of Freud and Nietzsche. However, this essay argues that on the subject of desire their work presents us with a radical choice: Freud or Nietzsche. I first argue that Freud’s theory of desire is grounded in the principle of inertia, a principle that is incompatible with his later theory of Eros and the life drive. Furthermore, the principle of inertia is not essentially distinct (...) from his later theory of the death drive. Consequently, Freud’s theory of desire can only be interpreted consistently as a monism of the death drive. I then analyze Nietzsche’s attempt to ground his theory of desire in the concept of the will to power. I argue that Nietzsche’s view of desire is fundamentally opposed to the key elements of Freud’s theory of desire: the principle of constancy, the Freudian definition of the drive, and the pleasure principle. Next, I explicate the stakes of this opposition by analyzing the social consequences of each view for morality and justice. I argue that the Freudian subject seeks to dominate the social other, and that there is an insurmountable conflict between the satisfaction of desire and the demands of social life. Consequently, Freud’s view allows only for a negative conception of the social good in which morality is defined as the intrinsically impossible task of eliminating evil, and justice can be achieved only through the equal distribution of instinctual frustration. Finally, I argue that in Nietzsche’s theory of desire there is no essential conflict between individual desire and social life. The Nietzschean subject desires to manifest power in the form of activity that is independent of external agents, not to dominate the other. Consequently, Nietzsche’s view allows for the possibility of a positively defined concept of the social good in which morality is the affirmation and enhancement of every subject’s happiness, and justice can be achieved through the promotion and protection of an equality of power among subjects. (shrink)

In Logique du Fantasme, Lacan argues that the compulsion to repeat does not obey the same discharge logic as homeostatic processes. Repetition installs a realm that is categorically different from the one related to homeostatic pleasure seeking, a properly subjective one, one in which the mark “stands for,” “takes the place of,” what we have ventured to call “an event,” and what only in the movement of return, in what Lacan calls a “thinking of repetition,” confirms and (...) ever reconfirms this point of no return, which is also a qualitative cut and a structural loss. The kind of “standing for” Lacan intends here with the concept of repetition is certainly not something like an image or a faithful description. No, what Lacan wishes to stress is that this mark is situated at another level, at another place, it is “entstellt,” and as such, it is punctually impinging upon the bodily dynamics without rendering the event, without having an external meta-point of view, but cutting across registers according to a logics that is not the homeostatic memory logics. This paper elaborates on this distinction on the basis of a confrontation with what Freud says about the pleasure principle and its beyond in Beyond the Pleasure Principle, and also takes inspiration from Freud’s Project for a Scientific Psychology. We argue that Lacan’s theory of enjoyment takes up and generalizes what Freud was after in Beyond the Pleasure Principle with the Wiederholungszwang, and pushes Freud’s thoughts to a more articulated point: to the point where a subject is considered to speak only when it has allowed the other, through discourse, to have impacted and cut into his bodily pleasure dynamics. (shrink)

This paper addresses the questions raised by the evidence presented that many cardinal psycho-analytic notions bear a strong resemblance to the ideas of Schopenhauer and Nietzsche. In the process, the author considers not only that the 19th century Zeitgeist, given its preoccupation with the unconscious, created a fertile ground for the birth of psychoanalysis, but the influence on the Weltanschauung of Freud, Schopenhauer and Nietzsche of their common German cultural heritage, their shared admiration for Shakespeare and love of Hellenic culture, (...) and the meteoric rise of science. Although influence may not be sharply separated from confluence, the parallels between Freud's concepts and those of Schopenhauer and Nietzsche are too specific to be coincidental. And yet, Freud vehemently denied ever having read these philosophers’ works until “very late in life”. It is suggested that an unconscious sense of guilt may have induced that denial.This study adopts a cross-sectional approach that juxtaposes Freud's cardinal concepts with the ideas of Schopenhauer and Nietzsche. Its tripartite structure has the advantage of observing similarities and differences not only between Freud and the two philosophers, but also between Nietzsche and Schopenhauer. The focal concepts include: the unconscious; ego, id and superego; libido; drives; repression; sublimation; dreams; catharsis; free association; primary and secondary process thinking; Oedipus complex; repetition compulsion; the pleasure principle; mourning and melancholia; a criminal from a sense of guilt; and the death instinct. (shrink)

Freud introduces his dualistic theory of the life and death drives in Beyond the Pleasure Principle. Much of that essay is devoted to the justification of the death drive, while little is said in defense of the introduction of “life drives” and “Eros,” which he claims are simply an extension of his libido theory from the psychological into the biological realm. In this essay, I argue that Eros is, on the contrary, fundamentally incompatible with Freud’s metapsychology. I (...) first show that Freud’s theory of society permits the production and preservation of social bonds only through the restraint of sexual aims rather than, as the theory of Eros would require, through the satisfaction of sexual drives. I then demonstrate that Eros is incompatible with three key elements of Freud’s metapsychology: the theories of the drives, the pleasure principle, and the principle of constancy. Finally, I argue that the death drive is indistinguishable from the early and late theories of the principle of constancy. Consequently, it is the death drive, and not Eros, that is merely an extension of the original libido theory. Because Eros is incompatible with the very foundations of Freud’s metapsychology, his drive theory can only consistently be interpreted as a monism of the death drive. (shrink)

In this article the author explores Jacques Derrida’s reading in The Purveyor of Truth of Edgar Allan Poe’s The Purloined Letter. In his essay, Derrida proposes a reading which differs markedly from the interpretation proposed by Lacan in his Seminar on ‘The Purloined Letter’. To appreciate Derrida’s reading, which is not hermeneutic-semantic in nature like that of Lacan, it is necessary to look at the relation of Derrida’s essay to his other texts on psychoanalysis, more specifically insofar as the Freudian (...) death drive is concerned. The present article explores this ‘notion’ as elaborated on by Freud in Beyond the Pleasure Principle as well as Derrida’s reading of this text. It also investigates the importance of the ‘notion’ of the death drive as well as the significance of Derrida’s reading of The Purloined Letter for constitutional interpretation. (shrink)

This article examines an enigma at the heart of Freud's work on trauma: the surprising emergence, from within the theory of the death drive, of the drive to life, a form of survival that both witnesses and turns away from the trauma in which it originates. I analyse in particular the striking juxtaposition, in Freud's founding work Beyond the Pleasure Principle, of his two primary examples of trauma: the repetitive nightmares of battle suffered by the soldiers of World (...) War I, and the game of the child, faced with the loss of its mother, who plays fort and da (there and here) with his spool. My own understanding of Freud's insight did not emerge, however, simply through a reading of his text but began, in fact, in my encounter with a real child in Atlanta, a child whose best friend was murdered in the street and who is interviewed by the friend's mother. I thus read together the language of the nightmare and the language of the child in Freud's text, and then attempt to understand how Freud's text and the language of the real child shed light upon each other. (shrink)

Introduction For Freud, beyond the explanatory limits of the pleasure principle lay the repetition compulsion, the death drive, and trauma with its ...

After Roe v. Wade was overturned by the Supreme Court, pregnant people lost their Constitutional protection of abortion. The new, visible politics of susceptibility have invited a revisitation to the psychoanalytic work of Sigmund Freud. This article examines the trauma narrative of Freud’s Beyond the Pleasure Principle and the theory of the death drive in elaborating the enduring cultural investment in protecting fetal life while examining its implications for pregnant subjects.

필자의 논의는 우리 인간에게 있어서의 “모든 충동은 죽음의 충동”이라는 라캉의 주장에 대한 동의에서 출발한다. ｢쾌락 원칙을 넘어서｣에서 프로이트가 죽음 충동 개념을 도입한 이래로 죽음 충동에 관한 많은 유의미한 논의들이 있어왔다. 그러한 논의 중에는 엄밀성에 있어서 가치 있는 연구들도 있었고 삶의 가치를 풍요롭게 해 줄 연구들도 있었다. 개념 자체에 관한 논의들은 프로이트의 기획의 본 의도를 더욱 명확하게 해 준 것들도 있었고, 그의 논의가 가진 맹점을 날카롭게 비판한 것들도 있었다. 개념의 엄밀성을 보다 정교하게 해 줄 연구들은 지금도 여전히 풍부하게 진행 중일 것이다. (...) 그래서 필자의 연구는 그와는 다소 다른 관점에서 기획됐다. 필자는 오늘날 우리에게 가장 절실한 것으로서 삶에 대한 보다 건강하고 건전한 이해를 도울 수 있는 설명을 꼽는다. 그리고 그러한 설명이 다름 아닌 철학함이고, 철학 실천이라고 이해하고 있다. 본 연구는 철학에 관한 필자의 그와 같은 기본적 이해 혹은 신념의 바탕에서 출발한 것으로 필자는 본고에서 죽음 충동 개념을 통해 새로운 철학적 전망을 제시하고자 한다. 필자는 “말하는 주체”로서 우리가 처한 구조적 현실에서의 여러 고통들은 상징과 실재를 등가화하려는 시도 속에서 발생한다고 본다. 결코 등가화될 수 없는 불가능한 것들 사이에서 끊임없이 시도되는 실재의 상징화는 또 다른 불가능으로 치달을 수밖에 없지만, 그러한 충동들은 그 과정에서 우리에게 ‘너머의 쾌’를 제공해주기도 한다. 또한 충동하는 주체에게는 상징의 무한 부정을 통해 자유롭게 삶을 새롭게 해석해낼 수 있는 자유가 허락된다. 필자는 그런 종류의 충동들을 다름 아닌 “호모 루덴스”의 “죽음 충동”으로 해석하고 있으며, 이것이 고통을 넘어서는 고양된 삶에 이바지 한다고 주장하고자 한다. (shrink)

As a drive to the inorganic, the death drive is fundamentally opposed to sensuality and, specifically, to pleasure and pain. This is why Gilles Deleuze understands Freud’s account of the death drive as the “beyond of the pleasure principle” not in terms of the transgression of a boundary or limit (going beyond pleasure into something painful or traumatic), but rather as a foray into speculative philosophy, an attempt to identify the transcendent principle or higher law (...) of the pleasure principle, the supersensual law of its sensual manifestations. This paper explores the construction of the supersensual reality of the death drive in masochistic fantasy and in fetishistic disavowal, exploring their affinity not only with art and aesthetics but with mathematical and formal constructions. Both help to elucidate Freud’s early insight that the death drive is more mathematical than physical, a purely immanent energy with no sensual manifestation. (shrink)

This article begins with the question, is mind prefigured in life? Andreas Webber and Francisco Varela argue that the autopoietic model in combination with Jonas's theory of metabolism provide a more robust model than Kant's account of natural teleology in the third critique, and thus it is able to make a claim to, at least, a pre-figuration of human freedom. I argue that Freud's illustration of the death drive via the analogy of the cell in Beyond the Pleasure (...) Principle provides a valuable counter-example to Jonas's conception of metabolism and exposes the type of metaphysical assumptions that the Kantian project was so averse to. My intention here is not to reify either Jonas or Freud's claims on the determinative nature of natural causation; rather it is to argue that each exists as valuable heuristic tools. Any causal determinative judgment on the nature of natural teleology must be exercised with nothing less than a Kantian level of caution as the implication of placing the value of the coherence of our conceptual structures over the actual mechanical processes of the natural world confronts us with the direct risk of misrecognition on a massive scale. (shrink)

A WOUND ON POETRY: A READING OF PASOLINI’S TEOREMA Through analyzing Pasolini’s Teorema, the intention of the paper is to suggest that besides a sublimated effervescence that, according to Durkheim, blends people together, there is also another force that does not let itself be sublimated and for this reason checkmates the Symbolic order of society. This force is the death drive, namely the drive that, according to Freud, is beyond the pleasure principle and works against the flourishing of (...) the individual inside society. (shrink)

The article brings together a Charles Bronson false western and Jacques Lacan’s theory of the four discourses in order to illustrate the excessive symbolization of the hysteric jouissance, in its manifestation as a quest against satisfaction, a quest for the perfect Other. Employing Freud’s concepts of death drive and repetition compulsion, the hysteric position is further distinguished from both the obsessional subject and non-hysteric woman, which has access to a non-phallic, supplementary jouissance. A thief that stole a widow’s (...) heart is believed dead, and she uses his death to raise their short relation to a perfect, ideal level. When the thief returns, he is rejected, so that she can maintain the absolute, symbolic love for his dead-perfect alter ego. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sine Fine: Vergil’s MasterplotRobin N. Mitchell-BoyaskKent: Is this the promised end? Edgar: Or image of that horror?—King Lear, Act 5 scene 3... the raging and incredulous recounting (which enables man to bear with living)...—Faulkner, Absalom, Absalom! 161Psychoanalysis has not been brought to the bear on the study of Roman culture as thoroughly as it has engaged Hellenic studies, and to date most work has consisted of the psychoanalytic literary (...) study of symbolism or character, as witnessed recently by the Vergilian studies of Gillis (Eros), Putnam (“Possessiveness”), and Mitchell (“Violence”). 1 These studies have often yielded important insights into the Aeneid, and while they provide a foundation for the present examination, I believe that we can now further develop this line of thought by engaging such approaches as the psychoanalytic dynamics of reading, or the function of language in the unconscious, areas outlined in the important collection edited by Felman (Literature and Psychoanalysis) which presents Peter Brooks’ preliminary version of a Freudian practice of reading narrative. 2 In this paper I shall investigate Vergil’s narrative project in the light of [End Page 289] the model proposed more completely by Brooks in Reading for the Plot, whose focus on issues central to reading the Aeneid, such as the desire for the end and the function of repetition, could further our understanding of how the Aeneid works and why, in particular, its ending is so disturbing. 3 I intend this study as a contribution to the larger discussion of closure in classical texts that Don Fowler initiated recently in a more general survey of the prospects for such endeavors. 4 The Aeneid, I submit, problematizes the idea of an end through its deployment of the word finis, and then frustrates the reader’s desire for diegetic closure by merely stopping, not ending, the narrative, despite clear signals of its completion. 5 This inquiry thus engages the techniques of traditional literary formalism in the service of a text-centered psychoanalytic theory of narrative in the belief that the older forms of literary formalism and psychoanalysis are occasionally deficient in their rigidity, their reductiveness, their lack of concern with the relationship between text and reader, and simply because the older forms of psychoanalytic literary theory have been at times, in Brooks’ words (Psychoanalysis and Storytelling 20), “something of an embarrassment.”Far from the idea that a plot is a static self-sufficient entity, Brooks sees narrative emplotment as “a form of desire that carries us forward, onward through the text” (Reading for the Plot 37) in pursuit of meaning, a pursuit that gives pleasure. Stemming from the Freudian Eros of Beyond the Pleasure Principle, this desire seeks, as Brooks quotes Freud (37), “to combine organic substances into ever greater unities.” Our need for coherence, for knowledge, drives us continually toward discovering the “Masterplot” of the origins, unfoldings and ends of the plots of our lives and our stories. A plot’s beginning arouses certain desires and expectations that carry the reader to the end. “The sense of a beginning” [End Page 290] is “determined by the sense of an ending,” and present moments have “narrative meaning only because we read them in anticipation of the structuring power of those endings that will retrospectively give them the order and significance of plot” (94). Repetition, one of the most powerful narrative tools for the pleasurable ordering of the plot, can also be a disruptive, painful force; Brooks recalls Freud’s account of the child’s game of throwing and returning a toy, an activity designed to master the unpleasant, regular disappearance of the mother. Similarly, neurotic patients, in narrating dreams, repeat distressing trauma, attempting to move from passivity to mastery. The pleasure principle thus conflicts with, and often yields to, the repetition compulsion. Narrative repetition both advances the plot and returns it to its origins, or it is a return of some repressed material. Repetition functions as a “binding of textual energies that allows them to be mastered by putting them into serviceable form” (94). Plot, like organic life, striving to “restore an earlier state of things” (Brooks quoting Freud, 102), thus aims at quiescence—the plot’s end... (shrink)

Although the desire to be free from God springs from humanity’s wish to enjoy pleasure without restraint, Lacan observes that humans remain neurotic and unhappy. That is because the prevailing “dead of God” form of atheism relies on the denial of a father/god, a negation that inadvertently replicates the logic of religion. Lacan, by contrast, grounds his atheism in a theory of pleasure that recognizes the role of “unpleasure” in breaking the tedium of easy, unlimited gratification. Turning to (...) Greek tragedy, Lacan shows how the ancient world used the gods as creators of “unpleasure” to generate human _jouissance_. The figure of Antigone, in particular, shows how the divine function can fulfill “the true formula of atheism,” which is not “God is dead,” but rather, Lacan affirms, that “_God is unconscious_.”. (shrink)

Postmodern critical assessments of Freud’s theory of mourning disavow the idea of grief’s conclusiveness, insisting that mourning is an interminable process or even a transcendental structure of experience. However, such assessments presuppose an ontological orientation toward finitude that avoids the profound speculative implications of the non-finite status of death in the unconscious. In consequence, mourning comes to assume an indefinite, generic status as a condition of experience instead of a resolutely speculative confrontation with the impossible real of infinitude. Freud’s (...) writings evidence his difficulties with this unconscious disjunction of mourning from finitude, but can be elucidated by turning to Hegel’s critical discussion of “infinite grief,” the melancholy apprehension of finitude as a spurious infinity. Hegel’s analysis in turn anticipates Lacan’s elaboration of the death drive as a concept of unconscious transmission. Here, what begins to emerge is a theory of mourning that concerns the speculative inheritance of an immortal object. (shrink)

The immensely influential work of Jacques Lacan challenges readers both for the difficulty of its style and for the wide range of intellectual references that frame its innovations. Lacan’s work is challenging too, for the way it recentres psychoanalysis on one of the most controversial points of Freud’s theory – the concept of a self-destructive drive or ‘death instinct’. Originally published in 1991, _Death and Desire_ presents in Lacanian terms a new integration of psychoanalytic theory in which the battery (...) of key Freudian concepts – from the dynamics of the Oedipus complex to the topography of ego, id, and superego – are seen to intersect in Freud’s most far-reaching and speculative formulation of a drive toward death. Boothby argues that Lacan repositioned the theme of death in psychoanalysis in relation to Freud’s main concern – the nature and fate of desire. In doing so, Lacan rediscovered Freud’s essential insights in a manner so nuanced and penetrating that prevailing assessments of the death instinct may well have to be re-examined. Although the death instinct is usually regarded as the most obscure concept in Freud’s metapsychology, and Lacan to be the most perplexing psychoanalytic theorist, Richard Boothby’s straightforward style makes both accessible. He illustrates the coherence of Lacanian thought and shows how Lacan’s work comprises a ‘return to Freud’ along new and different angles of approach. Written with an eye to the conceptual structure of psychoanalytic theory, _Death and Desire_ will appeal to psychoanalysts and philosophers alike. (shrink)

In the essay ‘To Speculate – On “Freud’”, which is published in The Postcards: From Socrates to Freud and Beyond (1980) and draws upon the last part of his unedited lecture course on La Vie la mort (taught in 1975), Jacques Derrida engages a close reading of Sigmund Freud's Beyond the Pleasure Principle. This article focuses on the deconstruction of the Freudian concept of drive (Trieb) that Derrida unfolds across his reading. It traces the analysis of the movement of (...) autotelicity (auto-télie) that, according to Derrida, underpins the drive's relation to itself, and argues that the French philosopher interprets a specific drive evoked (but not thematized) by Freud, the drive to power (Bemächtigungstrieb), as the figure of the deconstruction of that autotelicity. Furthermore, the article suggests that the implications of this argument extend beyond Derrida's early reading of Freud, since they cast a new light on the argument for replacing the concept of sovereignty with that of the drive to power, which Derrida elaborates in his late political analyses. (shrink)

Using Jacques Lacan's work as a key, this groundbreaking work reassesses the philosophical significance of Freud's most ambitious general theory of mental functioning: metapsychology. Richard Boothby forcefully argues that this theory has been misunderstood, and that therefore Freud's impact on philosophy has been unjustly muted. Freud as Philosopher illuminates in a fresh and newly accessible way the central points of Freud's metapsychology-including the guiding metaphor of psychical energy and the final, enigmatic theory of the twin drives of life and (...) class='Hi'>death-through the three cardinal Lacanian categories of the Imaginary, the Symbolic, and the Real. This exciting and brilliant book will have a definitive impact on how psychoanalysis is conceived in relation to philosophy. (shrink)

The first philosophers of the Frankfurt School famously turned to the psychoanalytic theories of Sigmund Freud to supplement their Marxist analyses of ideological subjectification. Since the collapse of their proposed "marriage of Marx and Freud," psychology and social theory have grown apart to the impoverishment of both. Returning to this union, Benjamin Y. Fong reconstructs the psychoanalytic "foundation stone" of critical theory in an effort to once again think together the possibility of psychic and social transformation. Drawing on the work (...) of Hans Loewald and Jacques Lacan, Fong complicates the famous antagonism between Eros and the death drive in reference to a third term: the woefully undertheorized drive to mastery. Rejuvenating Freudian metapsychology through the lens of this pivotal concept, he then provides fresh perspective on Theodor Adorno, Max Horkheimer, and Herbert Marcuse's critiques of psychic life under the influence of modern cultural and technological change. The result is a novel vision of critical theory that rearticulates the nature of subjection in late capitalism and renews an old project of resistance. (shrink)

Whenever the membranes of the egg in which the foetus emerges on its way to becoming a new-born are broken, imagine for a moment that something flies off, and that one can do it with an egg as easily as with a man, namely the hommelette, or the lamella. The lamella is something extra-flat, which moves like the amoeba. It is just a little more complicated. But it goes everywhere. And as it is something - I will tell you shortly (...) why - that is related to what the sexed being loses in sexuality, it is, like the amoeba in relation to sexed beings, immortal - because it survives any division, and scissiparous intervention. And it can turn around. Well! This is not very reassuring. But suppose it comes and envelopes your face while you are quietly asleep... I can't see how we would not join battle with a being capable of these properties. But it would not be a very convenient battle. This lamella, this organ, whose characteristic is not to exist, but which is nevertheless an organ - I can give you more details as to its zoological place - is the libido. It is the libido, qua pure life instinct, that is to say, immortal life, irrepressible life, life that has need of no organ, simplified, indestructible life. It is precisely what is subtracted from the living being by virtue of the fact that it is subject to the cycle of sexed reproduction. And it is of this that all the forms of the objet a that can be enumerated are the representatives, the equivalents. Every word has a weight here, in this deceivingly poetic description of the mythic creature called by Lacan "lamella". Lacan imagines lamella as a version of what Freud called "partial object": a weird organ which is magically autonomized, surviving without a body whose organ it should have been, like a hand that wonders around alone in early Surrealist films, or like the smile in Alice in Wonderland that persists alone, even when the Cheshire cat's body is no longer present: "'All right', said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone. 'Well! I've often seen a cat without a grin', thought Alice; 'but a grin without a cat! It's the most curious thing I ever saw in my life!'" The lamella is an entity of pure surface, without the density of a substance, an infinitely plastic object that can not only incessantly change its form, but can even transpose itself from one to another medium: imagine a "something" that is first heard as a shrilling sound, and then pops up as a monstrously distorted body. A lamella is indivisible, indestructible, and immortal - more precisely, undead in the sense this term has in horror fiction: not the sublime spiritual immortality, but the obscene immortality of the "living dead" which, after every annihilation, re-composes themselves and clumsily goes on. As Lacan puts it in his terms, lamella does not exist, it insists: it is unreal, an entity of pure semblance, a multiplicity of appearances which seem to envelop a central void - its status is purely fantasmatic. This blind indestructible insistence of the libido is what Freud called "death drive," and one should bear in mind that "death drive" is, paradoxically, the Freudian name for its very opposite, for the way immortality appears within psychoanalysis: for an uncanny excess of life, for an "undead" urge which persist beyond the cycle of life and death, of generation and corruption. This is why Freud equates death drive with the so-called "compulsion-to-repeat," an uncanny urge to repeat painful past experiences which seems to outgrow the natural limitations of the organism affected by it and to insist even beyond the organism's death - again, like the living dead in a horror film who just go on. This excess inscribes itself into the human body in the guise of a wound which makes the subject "undead," depriving him of the capacity to die : when this wound is healed, the hero can die in peace. (shrink)

ABSTRACTJacques Lacan studied Chinese classics and received much inspiration from Zhuangzi. This paper concentrates on the comparative study of morality in those two thinkers from three connecting levels, namely, nature as the source of ethical codes, reason as the means to arrive at the ethical state, and pleasure as the ultimate purpose of morality. The investigation into the topic is enlightening for posthuman morality. Zhuangzi’s idea of the poetics of oneness inspires the Lacanian concept of the Real and ushers (...) us into a new territory to rethink animal rights. (shrink)

Discussions around the meaning and validity of Freud’s notion of Todestrieb, as it was introduced in the essay from 1920 Beyond the Pleasure Principle, later...

This article argues that contemporary polemics against critical reading, understood as the enduring legacy of “theory” in the humanities, overlook the unusual and generative concept of critique formulated by one of the literary scholars most closely associated with “theory,” the German-born American literary critic Geoffrey Hartman. For Hartman, critique amounts to a thinking that exposes itself to the alterity of the future and thus risks being wrong. Engaging two of Hartman’s essays from the mid-1980s, “The Struggle for the Text” and (...) “Meaning, Error, Text,” the article specifically argues that Hartman derives this concept of critique as thinking that risks error from rabbinic midrash. However, this does not mean that Hartman seeks to “do midrash” himself. To the contrary, what Hartman learns from midrash is that the very structure of linguistic repetition, citation, or imitation forecloses the possibility of absolute fidelity to tradition. In “The Struggle for the Text,” he demonstrates this lesson through subversive readings of Genesis 32 and a fragment from Sigmund Freud’s Beyond the Pleasure Principle; in “Meaning, Error, Text,” Hartman historicizes his hermeneutic in relation to Christian supersession and the Holocaust, claiming ethical and political significance for his “restitution” of midrash as a model of critique. (shrink)

We establish the thesis that in moral education, particularly in the first years of the child’s development, unreflexive acts or unreflexiveness in certain behaviours of adults is a condition for the development of the personality structure and virtues that enable autonomous ethical reflection and a relation to the Other. With the notion of unreflexiveness we refer to resolvedness in the response of adults when it is necessary to establish a limit, or cut, in the child’s demand for pleasure, as (...) well as to resolvedness as one of the structurally essential elements in behaviours with which the adult subordinates the child to the symbolic order or language. In philosophy, a symptomatic position in this context is represented by Kant’s theory of education. On the basis of the “traditional” concept of “negative education”, and through Freud’s and Lacan’s psychoanalytic concepts, we identify two principles that should, in contemporary times, be an essential part of the moral educational behaviours of adults: the principle of a delimited response to the child’s demand for the satisfaction of pleasure, and the principle of reasoned, reflected, but nevertheless certain, persevering, resolved unreflexiveness in the subordination of the child’s desire to the symbolic order . On the basis of the preceding analysis, we highlight certain consequences of this structure of the subject for the contexts of particular theoretical discussions and for school practice. (shrink)

This essay argues that Zizek’s post-Lacanian critique of contemporary culture stays within the logic of the discourse of the university and often functions to repress psychoanalysis and the unconscious. By looking at how Zizek divides Lacan work into a bad early Symbolic stage and a good late period that promotes the Real, enjoyment, and the death drive, I reveal how this binary and linear reading functions to efface important connections and differences concerning the key concepts of psychoanalysis. In fact, (...) Zizek’s work utilizes the obsessional processes of negation, splitting, fragmenting, and projection in order to absorb analytic practice into a self-consuming Hegelian negative dialectic. Moreover, his use of repetition in his own writings replicates the short-circuit of the death drive that finds enjoyment by returning to the subject in an act of self-negation. In looking closely at how Zizek reads Lacan, I place Zizek’s work within the contemporary backlash against progressive social movements and the social construction of knowledge. Thus, by creating a closed circle between the subject of autonomous repetition and the universal discourse of global nihilism, he represses social Symbolic mediation and reiterates a fundamentalist logic of obscene enjoyment. In fact, we can read his use of humor and popular culture as an effort to bond with his audience by providing enjoyment in exchange for the suspension of criticism and responsibility. In short, I argue that Zizek’s work is structured like a joke. (shrink)

Psychoanalytical theory's main axiom tells that drive does not function in a 'natural', but in a distorted and 'perverted' way. Drive's most basic purpose is not the organism's self-preservation, but its 'pleasure' . That is why life, being natural and biological, is not lived naturally and biologically: the organism takes a'polymorph perverse' distance towards its natural, biological functioning and, in that very distance, 'enjoins' it. On the most fundamental level, it lives from that very 'pleasure'. Lacan's theory of (...) desire is an elaboration of that Freudian thesis on the polymorph perverse pleasure principle. The Lacanian 'ethics of desire', elaborated in his sixth and seventh seminar, is built upon that thesis as well. That is why, at the very end of his sixth seminar , he defines sublimation as 'perverse' and therefore of ethical value: in a non-repressing way, sublimation opens up desire to its polymorph perverse ground. However, in the next seminar , Lacan changes his theory on both sublimation and perversion. Now, sublimation is defined as the cultural gesture by which we put a desired object on the level of 'das Ding' . Here, perversion gets an ethically negative meaning: for, so Lacan argues, when we put ourselves as subject at the position of that Thing, we act like a pervert, and abuse the ethical rule for immoral purposes. The article follows in detail thisshift in Lacan's theory and discusses its important impact on his thesis on ethics. (shrink)

The neuropsychoanalytic approach solves important aspects of how to use our understanding of the brain to treat patients. We describe the neurobiology underlying motivation for healthy behaviors and psychopathology. We have updated Freud’s original concepts of drive and instinct using neuropsychoanalysis in a way that conserves his insights while adding information that is of use in clinical treatment. Drive (Trieb) is a pressure to act on an internal stimulus. It has a motivational energic source, an aim, an object, and is (...) terminated by the satisfaction of a surge of serotonin. An instinct (Instinkt) is an inherited pattern of behavior that varies little from species to species. Drives are created by internal/ventral brain factors. Instincts require input from the outside that arrive through dorsal brain structures. In our model unpleasure is the experience of unsatisfied drives while pleasure if fueled by a propitious human environment. Motivational concepts can be used guide clinical work. Sometimes what had previously described psychoanalytically as, “Internal conflict,” can be characterized neurobiologically as conflicts between different motivational systems. These motivational systems inform treatment of anxiety and depression, addiction in general and specific problems of opioid use disorder. Our description of motivation in addictive illness shows that the term, “reward system,” is incorrect, eliminating a source of stigmatizing addiction by suggesting that it is hedonistic. Understanding that motivational systems that have both psychological and brain correlates can be a basis for treating various disorders. Over many papers the authors have described the biology of drives, instincts, unpleasure and pleasure. We will start with a summary of our work, then show its clinical application. (shrink)

While the motif of the double serves a prominent role in Freud’s writings from early on, this essay is an examination of the determinative power of the double in two key texts, texts in which specific, new sets doubles emerge for the first time in Freud’s career. Totem and Taboo features a double that manifests itself primarily in the form of ambivalence. Beyond the Pleasure Principle features a double that manifests itself primarily in the form of a very peculiar (...) conflict that also entails complicity. (shrink)

For Freud, the pleasure principle is a fundamental principle of the psychische Geschehen, holding the same import as the reality principle. Properly speaking, the pleasure principle is the principle par excellence of the psychic processes, for without it, it would not be necessary to promote the recognition of reality to the status of a "principle." [...] it is given in a totally different way, as that principle immediately familiar to everyone, which is designated by the word will. It (...) is easy to understand why this conception of a double experience of the body as will and as representation constitutes a crucial pivotal point in Schopenhauer's metaphysical system. (shrink)

Although many people find fault with Freud, the horse that they flog is not yet dead. I should in fact maintain that we are all still under Freud's long shadow. Last autumn the American press reported a dreadful crime: a young man, egged on by his mother, murdered his father. The newspapers helpfully explained that the young man had a very prominent Oedipus complex. If we dismiss this as just a journalistic excess, we would do well to remember how hard (...) it is to open our own mouths without registering the effect of Freud upon the language. We converse casually about the sexual proclivities of infants, about sibling rivalries, about dependency upon the mother, about sadomasochistic impulses. When we forget things, we suspect ourselves of having wanted to forget them. We may shun the technical vocabulary of Freud, words such as ego, superego, id, the pleasure principle and the reality principle, the anal, oral, and genital stages, yet we are hardly likely to do without such words as aggression, anxiety, compulsion, the unconscious, defense mechanism, narcissism, death wish, erogenous zones, fixation, guilt feeling, sublimation, wish fulfillment. Freud may not have invented most of these words, yet he connected them together and he gave them a special color and shape. And quite apart from terminology, Freud has given us the conviction that a secret life is going on within us that is only partly under our control. (shrink)

This paper praises Martin Hägglund for his general take on Derrida, while objecting to a certain rigidity in the use of the concept of survival. This concept allowed Hägglund to reject the temptation of a ‘religious’ Derrida in Radical Atheism, but in Dying for Time, it leads to a hurried reading of psychoanalysis. My objections revolve around several forms: the role of gods for Plato and Greek thought; the reductive reading of Diotima's speech in the Sympoisum, and an all too (...) rapid rejection of the idea of the Todestrieb in Freud and Lacan. I go back to Derrida's reading of Freud in The Postcard to point out that he too had misread Freud's Beyond the Pleasure Principle. Finally, I argue that there can be something like a non-proper or improper immortality. (shrink)

A consideration of the ethical implications of an aesthetic view of life, _The Question of Value _reintroduces the Nietzschean imperative to weigh the things of the world anew. James S. Hans assumes that we must and do value the world we live in every day. Rejecting the deconstructionist view, which is always willing to defer the question of value because there are no grounds for considering it, he argues that we continue to measure the world in spite of the apparent (...) lack of reason for doing so, and that we ought therefore to give serious thought to the way we make our choices. The book begins with the premise that the major task Nietzsche set for the Western world has yet to be undertaken in its fullest sense and connects this task to Heidegger’s mode of questioning in his later work and to Freud’s reflections on the death instinct and the pleasure principle. The study’s central premise is that Nietzsche was correct in diagnosing the ills of our culture and in prescribing a cure because he came to recognize the essential connection between time and revenge. He saw that the desire for revenge stems from our disgust at being temporal creatures and that a new system of values will only be possible once we overcome that self-loathing and the endless acts of revenge that stem from it. This is the most difficult of human tasks, but it is the only one worth attempting once one is able to see the full consequences of the human desire for revenge. Instead of being a critical discussion of Nietzsche’s, Heidegger’s, or Freud’s work, then, _The Question of Value _is an attempt to think through their ideas and to implement them in our world in a new way. It establishes the necessity to affirm the value of time and seeks to provide a framework through which such an affirmation of temporality can take place on a larger ethical scale. (shrink)

This paper derives from an exploration of the ways in which the letters of Holocaust writer Etty Hillesum, which are seemingly resistant to many of the interests of current trauma theory, can be read in relation to contemporary writing on testimonial. In particular, the three theorists I shall discuss here, Derrida, Caruth and Irigaray, directly address Freud's Beyond the Pleasure Principle, a central text in the current refiguring of trauma. This paper traces the ways in which Hillesum's letters can (...) be read across the theoretical accounts. An interpretation of Hillesum's writing emerges in which the conventional emphasis on the mystical aspect of her texts is reinterpreted in terms of Caruth's emphasis on the life drive. Viewed as forging a creative language of departure, Hillesum's letters are situated in a central relation to the most recent developments in the theoretical discourse around testimony. (shrink)

The drive dynamic -- Aristotle (and Heidegger) on natural movement and the drive force of living beings -- The metaphysics of drive and desire in Leibniz -- Schopenhauer on the drives of bodies and the ambiguities of human desire -- The three stages of Freud's drive theory and Lacan's amendments -- Drives and subjectivity -- Husserl on the pleasures of a bodily and drive-based subject -- The Freudian subject -- Schopenhauer, Nietzsche, and Lacan on a drive subject sublimated by the (...) encounter with art -- Abbreviations -- Notes -- Index. (shrink)