Le nom de Freud, toujours vivace, est ins parable de sa d couverte: l'inconscient, et des cons quences qu'il en tire: la psychanalyse. Ce livre reprend avec force et limpidit les enjeux d gag s par Freud pour en clairer les points cruciaux. Il d montre en quoi et comment la vexation que la psychanalyse fait subir l'amour-propre de l'humanit est toujours actuelle. Comprendre Freud, c'est entrer sur la sc ne de l'alt rit nous ne sommes ni notre seul cerveau, ni notre seul corps, ni notre seule famille... Notre sp cificit est d' tre des sujets qui parlent, assujettis au langage que le d sir lib re.
Freud's name is inseparable from his discovery of the unconscious and the consequences he drew from it: psychoanalysis. This book takes up the issues raised by Freud with force and clarity, and sheds light on the crucial points. It shows how psychoanalysis' assault on humanity's self-esteem is still relevant today. To understand Freud is to enter the stage of otherness: we are not our only brain, nor our only body, nor our only family... Our specificity is to be subjects who speak, subject to the language that desire liberates.
This book examines the many facets of the work of Pierre Klossowski (1905–2001). Klossowski first established himself as a writer and was known and admired by peers such as Bataille, Blanchot, Gide, Foucault, Deleuze and Lacan. But in 1972 he gave up writing to devote himself to his ‘mutism’: painting made up of large coloured drawings. In time he became as famous a painter as he had been a writer and theorist. Klossowski now has two separate groups of commentators: those concerned with his writings and those with his painting, with little overlap between the two. Here, this separation is explicitly removed. Klossowski’s entire œuvre revolved around the concept of the gaze. Rarely has the gaze been so radically interpreted – as an active, mobile, evanescent object that breaks down the connections between representation and the visible. How is one to see the invisible divinity? This question plagued Klossowski, and he displaced it onto pornographic rituals. The pantomime of spirits is the scene, fixed in silence, where bodies meet – a knotting of desiring body and dogmatic theology. A creator of simulacra, Klossowski attempted to exorcise the ‘obsessive constraint of the phantasm’ that subjugated him in all these scenes. Translated from the French by Adrian Price in collaboration with Pamela King.
