HurlyrBurly - Lacanian Works Exchange

HurlyrBurly

No. 2Novembe r 2009

rrates"

I

trr$lants and the Empire

lur:: Fortrait of the Artist

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t '

)eparture-

ry-First Century",va.26-27 June 201 0

rps and When lt Does Not Stop"

or a Denouement?"

gainst the Subject

It Hotds Up In and 0f ltsetf"

Where lt Coutd Have Begun"

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Luc Vander Vennet, "lnterpreting the Sitence"

Epaminondas Theodoridis "'Homosexuat': A Delusionat ldentity"

GiI Caroz, "The Trace of the Mother Tongue"

Mikaft Strakhov, "Where is the Enigma?"

'Wishing One's Life AwaY"'

Jean-Pierre Ktotz, "on some ways to 'stop and Go'with Anatytic

Treatment"

Jacques-Atain Mitl.er, "The Warsaw Lecture"

Pawe Dybet, "Truth in Psychoanalysis"

Reginatd B[anchet, "simone Weit: Writing Disbeing"

Adrian Price, "On Lacan's Remarks on Chinese Poetry in SeminarMlV'

Hypermodern TimesJean-Claude Malevat, "why is the Depression Bubbte Bursting?"

Jean-Luc Monnier, "Chemical Atert!" '.

ReadingsJeanne Joucta, "The Cinema is a Truth Machine"

NathaLie Georges-Lambrichs, "Mr K, Seque['

ln MemoriamPierre-Gittes Gu6g uen, "Thetma Sowley"

Anne Lecroart, "The Love of Words"

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123

133

139

StudiesSarah Goutd, "Sam Francis - Making Colour Matter" 147

Vincente Patomera, "when Freud's cures stopped, The Rat Man,153

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167

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195

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[dit*rialfvent-WAPfvent-NL$Tne CouchWorkshopStudlesHypermodern TimesReadingsln Memorian'l

Adrian Price

On Lasan's Remarks on Ghinese poelry\

in Seminar XXIV \

"...it is hard atone to wring song fromH. Kenner in lhe Pound Era,1

ln Llinsu que sait de l'une-b6vue, c'est I'amouy', Lacan's twenty-fourth Seminar,detivered in 1976-77 foltowing on from the year's Seminar dedicated to Joyce,Lacan makes two successive extended references to the art of poetry, the seconddirectty concerning Chinese poetic writ ing.

Take. a leaf out of this book ,

Chinese Poetic Writingis the titl.e of the study by Lacan's friend Frangois Cheng,publ,ished that same year.2 Cheng recounted the working retationship Lacanforged with him, first in lAne issues 4 and 483, and later in the col.tection Rose-Paute Vinciguerra brought out in 2000: Lacan, (6crit, l'image.a Much as withLacan's tengthy invotvement with Joyce, which woutd come into its own in thevery last period of his teaching, Lacan's interest in Chinese thought is atreadyattested much eartier on, wett prior to the first years of the Seminar. During theoccupation he enrotted at the lnstitut des langues orientales where he sat in onthe lessons of the sinol.ogist Professor Paut Demi6vil.l.e lwhom Lacan catts'his

On Lacan's Remarks on Chinese Poetry in Seminar XXIV

"good mentor" in Seminar X, and whose "ctodhoppers" we meet in Seminar VtLacan's wi fe having met them in a hotel corr idor in LondonJ.t By the sevent iesLacan woutd be referring back to this wartime period to ctaim that, "perhaps I 'r-onty Lacanian because I d id some Chinese back in the day."oJacques-Al.ain Mil.ter has noted that Lacan takes up Joyce's hand as he lets g:of Freud's. Joyce pl.ays Virgil. to Lacan's Dante. And where Dante winds his wa.down through the circtes of hel.l. and upward around the cornices of purgatro^Lacan navigates his course atong Finnegans Wake's "commodius v icus : 'recircutation" that brings us back to best, the finest, says Lacan, of what may c:expected at the end of anatysis: the opaque jouissance of the symptom.I t is not just Freud's hand that Lacan has let go of . Levi-StraussT and Roma-Jakobsons, the two great piltars of structuratism, have atso fatten by the waysrc=lndeed as Mit ter reminded us in March 2007 , dur ing his address at a Study D:,at the University of Paris Vll l in Saint Denis devoted to Lacan's forays into otf ': 'f ietds of knowtedge that over the dedades have informed psychoanatysis, the ta:=Lacan ended up severing att of these ties that the early Lacan hadjol.Lowed Fre-:in so pat ient ty for t i fy ing. By the end of the sevent ies, at l interdiscipt inary bon:-have been broken. AtL bar one: the f ine and rarety exptored Link that La:=-maintains wi th Chinese poetry.So, it was Frangois Cheng's hand that Lacan ctasped in the seventieg to re-visrt :-rancient Chinese texts he had studied, by his own admissro4 !n d;one fashion a-:with an ass's ears, back in the forties. Cheng exptains that the work had :... ' :phases. A first period from 1969 up untit 197t+was dedicated, with a few exceptrc -

'to studying the Dao te Ching by Laozi;the teachings of Mencius that Lacan crtes -

Seminar Wll/; and Shitao's Remarks 0n the Art of Bitter-Pumpkin the Monk. i- .Laurent pursues these references from the first period in depth in his pape: :."The Purloined Letter" and the Dao of the psychoanalyst.e Cheng broke off :-, iretationship to turn to researching the book that woutd become Chinese Poe:,:Writing, leaving Lacan to exclaim, "what wi[[ become of me?" Looking back, ,ttmight say today that the Joyce Seminar provides the answer to that questionThe first edition of Chinese Poetic Writing was published earty in 1977. Th--days after the lesson f rom 1B ApriL of.that year, Lacan wrote to Cheng sayincmentioned your book at my last seminar, saying that interpretation - ] ' tdr-r'? ,what the anatyst must do - has to be poetrc."10 They resumed working toget'" 'for a second per iod, though on a less regutar basis, wi th the speci f ic arr : rstudying the poems inctuded in the anthology at the end of the book. Che-, :informs us that the 1996 edition of his text boasts new passages drawn dire:' ' .from these exchanges with Lacan.Lacan's use of Chinese poetry in Seminar XXlVis modest but sotid and prec,self you are a psychoanatyst, then "take a leaf out of this book" he urges. Hithe-:Lacan's references to art tended to be specific to an author and generatty :: :particular work. I fancy this is the first t ime Lacan entarges his scope not srrlr

196 Studies - Adr ian Pr ice

:todhoppers" we meet in SeminarVtt,lrridor in Londonl.t By the seventies,me per iod to ctaim that, "perhaps I 'mback in the day."a

r takes up Joyce's hand as he lets gonte. And where Dante winds his wayrrd around the cornices of purgation,,gans Wake's "commodius vicus ofhe f inest, says Lacan, of what may bel . ;ouissance of the symptom.tet go of. L6vi-StraussT and Roman

rtrsm, have also fatten by the wayside.17, during his address at a Study Daydevoted to Lacan's forays into other

lve informed psychoanatysis, the tatert the earty Lacan had fottowed Freud;eventies, at[ interdisciptinary bondsrnd rarety exptored tink that Lacan

cl.asped in the seventies to re-visit theown admission in drone fashion and

rng exptains that the work had twowas dedicated, with a fewexceptions,rchings of Mencius that Lacan cites inArt of Bitter-Pumpkin the Monk.Ericfirst period in depth in his paper on

psychoanatyst.e Cheng broke off ther that woutd become Chinese PoeticI become of me?" Looking back, weides the answer to that question.was pubtished early in 1977. Three:ar, Lacan wrote to Cheng saying, "l

;aying that interpretation - namety,."rc They resumed working togetherr tar basis, wi th the speci f ic a im oflogy at the end of the book. Chengpasts new passages drawn directty

(/Vis modest but solid and precise.l 'out of this book" he urges. Hitherto:if ic to an author and generatty to a-acan entarges his scope not simpty

subject . The seminar ends with the quest ion, "when \

symptom is reat, which schema are we deating with exactl:

to a movement or school, but to an entire tradition, and indeed one that stretchesback some two miltennia at that.

The imaginarily symbolic

ln the lesson of 15 March 1977, Lacan says that poetry "appears to stem from thesignifier's retation to the signified." This teads him to approach poetry in termsof the imaginarily symbolic. To ctarify this, we may refer to what Jacques-AtainMitter has devetoped on the symbolically real and the really symbolic, likewiseintroduced by Lacan in this same [esson.Mit ter touches on this at the c lose of the 1996 Barcelona Seminar. Thesymbolically real is the presence of the reaI in the symbotic. When this reaI

appears in the symbotic it appears as anxiety. Anxiety is the name of the real in

the symbotic.To say that something appears in the symbotic does not mean simpty that thereis an intrusion, a breakthrough, though of course anxiety does possess thesecharacteristics, it atso means that it appears framed. Lacan insists on this in theAnxiety Seminar. Anxiety is framed and in this sense, for a[[ its affective force, itconforms to some extent to the symbotic. That is why it can be taken as a sign.

A sign of desire for example.0n the other hand there is the really symbolic. This bears the name of the [ie.The symbot ic in the rea[, t ike the real in the symbot ic, means the symbot ic inconformitywith the reat. What can this "in conformity" mean here? lt cannot bein conformitywith the laws of the reat, because at this period in Lacan's teachingthe real is being defined as [awtess. lt is the symbotic in conformity with the realin the sense that it atways comes back to the same place, to employ a definit ionof the reaI that comes from an earlier period of Lacan's teaching. fhe really

symbolic is thus the tie that atways comes back to the same ptace. Hence itsprofound affinity with the symptom.ln 1996, MiLter acknowledges that th is is far f rom bei the last word on the

symptom [ies, whereas anxiety, according to the Seminar def in i t ion, is what

can says that the0n one hand, the

can be dissotved

his lesson of 21interpretation in

does not deceive. 0n the other hand, the symptom is reat, anin the real by psychoanalysis.Mil. l.er comes back to the distinction in much greater detait iMarch 2007 with some very imgortant considerations onLacan's very last teachingl2. This t\n", Mitter accentuates a r observation ofLacan's from this tesson, that the sVobol.ic in the real i reaI that maintains a"meaning effect". MitLer specifies that thi faits to give an accountof the rea[, and in this respect, with regard td reaI it is but a [ie.

On Lacan's Remarks on Chinese Poetrv in Seminar XXIV

As for Ihe symboltcally real, MiIter is more categoricaI here in2007 in situa:the symptom on this s ide, but whi te st i l | ' maintaining the aspect of a necess-connect ion which t ransports meaning into the reat." l t is on th is basis" says Mi l ter , that Lacan " t r ies to s i tuate what a renewed cor-of interpretation shou|.d be, touching the symptom." 0n the side of Ihe realLy symcinterpretat ion rs also a l ie, one that operates on the semblants but is powertessregard to the real. 0n the side of the symboltcally reaL, the interpretation touche.a new mode, a new existence of the s igni f ier : one that does not entai tany mea'As Milter points out, this is where Lacan's reference to poetry comes in.MiLfer situates poetry between the symboLicaLly real and Ihe reaLLy symbc.the extent that poetry is "doub[y art icuLated". l t produces the meaning ef fethe side of the real ly symbol ic, and another k ind of ef fect , which we shat[ con.betow, on the side of the symbolically real.Lacan's pl .acing of poetry in the register of the imaginar iLy symboLic doestand in contradict ion wi th th is. Rather i t foregrounds another aspect of :that shouLd be considered in terms of ef fect : the t ruth-ef fect . More vdn.:ver i te, i t is not the t ruth as such, but an ef fect , one amonqst others, that me.between meaning and the symbolically real.Lacan introduces the reference to Chinese poet ic wr i t ing in his Seminar t ' -thp nrrest inn of t ruth. "Does truth awaken or does i t l r r l l tn s lppn?" ' ' .| | v t uvvJ tL (u(( (v Jtvuv.

Spoken poetry tends towards the sopor i f ic . Poet ic wr i t ing on the other ha - ;get to the dimension of what anaLytrc interpretat ion might be." And cor.-" l t 's in so far as a correct interpretat ion puts paid to a symptom thatspeci f ied as being poet ic."

Two metaphors in a relation of metonymy

Consider ing the interpretat ion in these terms marks an advance wrth i . .the concept ion of the interpretat ion as a purely symbot ic operat ion thal - -the f igures of metaphor and metonymy to achieve dia[ect icaI ef fects :

Cheng, cur ious as to the status of t f rese rhetor icaLf igures in poetry, asf . '=how he def ined them. " l 'm carefuI not to", was the repLythis enquiry ̂"The important thrng" Lacan added, " is to observe the Link betwee-f igures in their functrontng." '3 This is direct ty in I ine wi th what he puts ' -Seminar XXIV: "Metaphor and metonymy onty have any impact wrthinterpretat ion in so far as they are capab|.e of making something eLse -

and this something etse is precisety that through which sound anc '

come to be t ight ty uni ted."ra At th is point in the conversat ion wi th Che'picks up Cheng's book, turns to the anthotogy of T 'ang dynasty poems . 'into French at the end, and af ter thumbing through and pausing;,examptes, picks out a poem by the eighth century poet Wang Wei, t i t le:

1 9B Studies - Adr ian Pr ice

lre categorical here in 2007 in situatingmarntaining the aspect of a necessaryto the reat.-tnes to situate what a renewed conceptnptom." 0n the side of the reallysymbolic,s on the sembtants but is powerlesswithiltcally real, the interpretation touches onlF: ooe that does not entail any meaning.eference to poetry comes in.olically real and the really symbolic,Io:ed". lt produces the meaning effect onr kind of effect, which we shat[ considerl l .'of the imaginarily symbolic does notforegrounds another aspect of poetry

fect: the truth-effect. More varitethanect, one amongst others, that mediateseal.e poet ic wr i t ing in his Seminar through;en or does i t tut t to steep?" he asks.:. Poetic writ ing on the other hand, "can

lrpretation might be." And conversety,puts paid to a symptom that t ruth is

metonymy

rms marks an advance with regard toure[y symbotic operation that emptoyso achieve diatectical effects. Frangoisretorical f igures in poetry, asked Lacan'. was the repty this enquiry met with.to observe the tink between the two:tty in line with what he puts fonl,rard inr only have any impact with regard toe of making something etse funct ion,t through which sound and meaningn the conversation with Cheng, Lacanogy of T'ang dynasty poems transtatedr ing through and pausing over a fewentury poet Wang Wei, t itted "Lake Yi".

Wang Wei is one of the most ittustrious poets from the second period of the T'angdynasty when poetic creation had reached what is largety considered to be itsapogee of subtte vigour and intricacy. Wang Wei's mother was a fervent Buddhist,an adept of Ch'an Buddhism and a major inf tuence over his t i fe. When she died,he obtained author isat ion to convert part of the Wheet-Rim River Vi t ta into amonastery, where he wou[d spend much of h is later [ i fe. He is said to haveexcetted as a music ian and a painter, and his br i t t iant studies led to severaIappointments in the civiI service cu|.minating with his appointment as secretaryof state. Like many of the poets of the ctassic era, he ted a Life that brought himinto contact with the ful.l. strata of society at [arge, travetting widety throughout theempire.The poem "Lake Yi" is the eteventh from a set of twenty quatrains Ijue-jul knownas the "Wang-ch'uan Sequence" inspired by scenic spots on Wang-Wei's estate.There are var ious t ranstat ions of th is poem in Engl . ish, the fo[ [owing one f i tsctosest to the Chinese, at least for my purposes herel5:

Breath into ftute, reaching far shore,Sundown seeing husband off.Out on the [ake, gtancing back once,Green mount wrapping white ctoud.

A farewetl scene according to Cheng, retayed by a woman accompanying herhusband to the edge of the lake white ptaying her ftute. As the man drifts awayin his boat, she remains on the bank. The third verse may be taken to mean that,

of what is abruptty consotidated in the final verse: " mount wrapping whitectoud." Cheng proposes that the two spouses, having to\sight of one another inthe fait ing l ight, see themselves again in the image of the mountain and the

green mountainwhite ctoud reflected in the [ake. "Two metaphors" saysand white ctoud, in a retation of metonymy."'At the first degree" says Cheng, "the mountain, stable and f igures the onewho remains there on the shore, the woman; whi tst the symbol ofwander ing, f igures the one sai t ing away, the man." Here t lTb image is puremetaphor, devoid of attusion. But Cheng goesaq "ln th99llrnese imagination,the mountain has always stemmed from the Yang,Mthe cloud from the Yin. Inth is case, the mountain designates the man and the ctoud the woman." He goesfarther stit l , stating that, "according to the Chinese, ctoud is born in the depthsof the mountain, in i t iat ty in the form of steam, which as i t r ises to the skycondenses into cloud. lt can drift a whil.e in the sky as it pteases, but comes back

at one moment, the man, now far off ir lthe middte of the | 'ake, turns hrs headback, though the absence of any persona\onoun atso permits of reading thisbackward gtance as hers. There is thus \ equivocation, suggestive of areciprocity, but one in which the two subjects tak\econd ptace to the apparit ion

199

to the mountain to wrap i tset f around i t . " To quote Cheng again: 'At th is degreeof int imacy, nothing is stat ic anymore, no rote is f ixed. The woman on the shoreseems to murmur: ' l am the c[oud that dr i f ts and that wi [ | ' wrap around youwithout end' ; the man on the lake ptedges: ' l am the mountain that remains andthat shatl. carry you without fatter'."16The ftuidity is compounded by the word "juan ', which as a verb can be both activeand passive, at once "wrapped" and "wrapping around". As a noun, i t indicatessomething [ ike "nostatgia", or " tonging". This equivocat ion encapsutates theent i rety of the equivocat ion in the subject-object b inary, atong with theequivocation at the [eve[ introduced by the coded attusion where the metonymicshift operates at the [eve[ of the man-woman binary.

Apophant ic

Why, having devoted so much to the structure of metaphor and metonymy, is Lacanhere ptaying down their importance? Laying the emphasis on the rhetorical f iguresin interpretat ion amounts to foregrounding the technical aspect of the anatyt icintervention to the detriment of its functionataspect. As opposed to a standardisingtechnique, Lacan is devetoping functional. principl.es of anatytic interpretation.In contrast to a dialect icaI version of interpretat ion grounded in the symbot ic,Lacan argues in "Uetourdit" for an "apophantic" version of anatytic interpretationThis Ar istotet ian term, resurrected by Husser l and Heidegger, descr ibes theexaminat ion of an ent i ty in i tset f as opposed to through comparison, indicat ingthe shift away from appearance to ex-sistence. The efficiency of the equivocatiorin analyt ic interpretat ion amounts to th is raised f inger pointed towards ex-sistence. In Ch'an Buddhism, we meet a l ike concept in the mechanism of tzu-jan.which as David Hinton exptains transtates titeratty as "setf-abtaze" adding that r:may be understood as something [ike "occurrence appearing of itself "17.

In Wang Wei 's poem, the mountain wrapped i \ctoud in the ref tect ion on thesurface of the [ake is rendered enigmat ic an\t tusive by the s igni f ier sequivocat ion. Appearance and equivocat ion e.rner$q. s imuttaneousty, wrtrimaginary morphotogy disturbed by the amorphotog). .of [anguage. Thrsequivocat ion rescinds the subject , to use Lacan's expressi \ in "L6tourdrt , '

opening up the space of the enunciat ion.

Grammatical equivocation and allusive value

We are at the levetof interpretation as an equivocation "seconded by grammareven i f , in Chinese, and especiat ty in Chinese poet ic wr i t ing, the grammaticaaspects are, as Frangois Jut t ien notes, "part icularty inconsistent" ls. Standar:

200 I StuOies - Adrian PriceIII

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To quote Cheng again: 'At this degreerole is f ixed. The woman on the shoredrifts and that witl wrap around you;: ' l am the mountain that remains and

ran', which as a verb can be both activepprng around". As a noun, it indicates. This equivocat ion encapsutates theblect-object binary, atong with the: coded atlusion where the metonymicnan binary.

re of metaphorand metonymy, is Lacan; the emphasis on the rhetorical figuresrg the technica[ aspect of the anatyticr[ aspect. As opposed to a standardisingrrinciples of anatytic i nterpretation.rpretation grounded in the symbotic,rntic" version of anatytic interpretation.. rsser l and Heidegger, descr ibes the,ed to through comparison, indicatingnce. The efficiency of the equivocations raised finger pointed towards ex-e concept in the mechanism of tzu-jan,titeratty as "setf-abtaze" adding that iturrence appearing of itsetf"l7.ped in cloud in the reftection on theat ic and at tusive by the s igni f ier 'sltron emerge simuttaneousty, withe amorphotogy of [anguage. Thisl Lacan's expression in "L6tourdi t , "

l lusive value

quivocation "seconded by grammar",ese poet ic wr i t ing, the grammaticalarticutarly inconsistent" 18. Standard

punctuation too is entirety absent: nothing that woutd approximate a futt-stop, acoton, a comma; no equivatent to the capital letter. lrving Yucheng Lo points outin his introduction to Sunflower Splendour that "the non-inftectionaI nature ofChinese and the terseness it permits are matters of [ inguistic convention ratherthan poetics: readers shoutd not assume that poetry l ies in brevity atone."1e Thuspoetic invention too ties at the functionat, and not technica[ levet.Take for exampte the l ine break, this most discreet of l i terary devices, a kind ofcontra-punctual qui t t ing point , at once a marker for breath and the potent ia lctose of a unit of signification. In "Lake Yi", each line break coincides with a newpossibit ity for a change of grammatical subject. ln the first verse, most ofteninterpreted as imptying an "1", the woman accompanying her husband, no "1" ismentioned. Indeed, the subject may be the breath itsetf, moving through the ftute,reaching the far shore. The tine-break between first and second verse renews thepossibit ity. This time, most often interpreted as the wife again, it coutd equatty bethe setting sun which is seeing her husband off. The next [ ine break - frequenttyrendered as a futl-stop in transtation - is most often figured as a move from thewoman's perspective to the man's, though the poem does no more than indicate:"on the [ake, a backward gtance". A gtance that coutd equatty be hers. Finatty, thelast [ ine break indicates the point beyond which neither one nor the other of thetwo spouses can be grammaticaI subject, and their continued presence dependson metaphoricaI interpretation.The poem does not aim at an isomorphic interpretation of a reatity, it is resotutetyattusive, and at each moment appeats to the reader's responsibil. i ty ofinterpretation, invit ing one to associate, as Jutl. ien puts it, "one's own subjectivitywith the poetic textuality in the most intimate way."zo We interpret in the wake ofthe poem, [ike the anatysand or the anatyst interpret in the wake of theunconscious.ln privil.eging [ine-break over punctuation, the imptied subject of enunciation overthe grammaticaI subject of the statement, compression over expansion, poetry,Chinese poetry especialty, foregrounds thq gap between the written, with itscapacity to shake up the reader, and writ ing s)steqrs or orthography, which aimat smoothing out language. Chinese poetic writ in\no [ess grammaticatlycorrect, but it accommodates the violence of Language\d demonstrates adetermined handting of what Juttien catts "altusive va[ue" \ tta,

\

The "hole effect" \\

We have examined two references to poetry in Seminar )(XtV. There are/others,the last of which I shoutd tike to consider byway of conctusion. In his tetdon from17 May 1977, Lacan repeats that poetry entaits a meaning_effect, byelhis time headds that it atso entaits a "hote effect". Jacques-Al.ain MitteiTurnishes us with the

201

key to reading this remark in his tesson if 21 March 2007. There he integrates the"ho[e effect" into the etements proper to the symbolically real, to explain thatwhat is at stake is "an effect of empging out, of voiding". Rather than a use of thesignifier that ptays on tonatity to absorb meaning, the hote-effect depends on amodulation of counterpoint to force something to ring out, to hum, to resonate.This amounts, says Mitter, to "a use of the [ie, a forcing of the tie, in the sense ofthe real."Uttimatety, as Cheng impties, Wang Wei's poem opens onto the togic of sexuation.The codified symbotism does not exhaust this togic. lt merety invokes, altusivety,what Lacan in "[6tourdit" catts "a kernet of paradoxes" - the term he uses todesignate the logicat equivocations present at atl tevets of the efficient analyticinterpretation.

1 The spetl.ing of the titte here conforms to the one announced by Jacques-Atain Mitter in hisCommuniqu6 from 9 September 2008.

2 Cheng, F., L'Acriturc podtique chinoise, suivi d'une anthologie des poimes des Tang. Paris: SeuiL1977. Hereunder atl references are to the reworked and conected pocket edition pubtished by Seuitin 1996. The first edition of the book was transtated into Engtish by Donatd A. Riggs & Jerome P.Seaton as Chinese Poetic Writing pubtished by Btoomington/lndiana Uni. Press in 1982.

3See Lfne issue 4, February-March 1982 & issue 48, December 1991, < Le docteur Lacan auquotidien >>, interviewwith Judith Mitter, pp.52-54.

4 Cheng, F., < Lacan et [a pens6e chinoise >>,in Lacan, Gcrit, fimage, Paris: Ftammarion,20@, pp. 13]1 53.

5 For a further anecdote on Lacan's education in Chinese, the rcader might carc to look up PatrickMonribot's presentation to the Strasbourg Ctinicat Section in 2001, where he leaks "a scoop thathasn't made ihinto Madame Roudinesco's archives." Monribot, P., "Les psychoses et te trou- inCarnet Cliniques de Strcsboutg, lssue 4,2002, pp.1113-11/..

6 Lacan, J., Le sdminairc, Livre XVll, D'un discours qui ne senit pas du semblant, Paris: Seuil., 2006.p. 36.

7 See for exampte the repty to Question ll in Radiophonie, Autrcs 6cits, Paris: Seuil, 2001, pp. It07-1.15,8 See for example the repty to Question lll in Radiophonie, lbid., pp.415-20.9 Laurent, E., "The Purtoined Lettel and the Tao of the Psychoanatyst" in

especiatty pp.37-tA.The Later Lacan,Suny.

10 Cheng, F., "Lacan et [a pens6e chinoise", op. cit., p. 151 [A stightty different was given in thcintervierr with J. Mitter, o p. cit., p. 54: "l tetl pu : from norr on, dtt anatytic must be poetic.l

I 'l Al[ references tb: Lacan, J., "Vers un signifiant nouveau" [Lessons of 15 March, 1May 1977lin Ornicar ? lssue 1718, Spring 1979,pp.7-23.

10 May, l7

l6 clM'

17 Hip.

181cI

19 Lip-

20 Jt

12 Mitter, J.-A., "Cours du 21 mars 2007",1-orientation lacanienne lll, 9 [2006-071 LeLacan.

13 Cheng, F., "Lacan et [a pens6e chinoise", op. cit., p. 151.14 Lacan, J., "Vers un signifiant nouveau", op cit., p. 16. The question of metaphor and

Chinese poetry has been tackted by a number of Engtish poets, from Ezra Pound to J. H.for examph the tafter's "lmage and Figure in Twentieth-Century English Transtation of Chinese

l5Compare "Lake Qi" on p. 394 of An Anthology of Chinese Literature, edited andStephen Owen, New York/London: Norton, 1996; 'At Lake Yi" on p. 28 ol Laughing Lost inMountains, Hanover/London: New Engtand Uni, 1991; and "Vagary Lake" on p.64 of Mount*tHome,setected and transtated by David Hinton, London: Anvit,2007.

t dernier

ttrlStudles - Adrian Price

ll March 2007. There he integrates thethe symbolically real, to exptain that

ut. of voiding". Rather than a use of theneaning, the hote-effect depends on a,thing to ring out, to hum, to resonate.l ie, a forcing of the [ie, in the sense of

)oem opens onto the togic of sexuation.this logic. lt merety invokes, altusivety,t of paradoxes" - the term he uses tont at atl levets of the efficient anatytic

le announced by Jacques-Atain MiLter in his

anthologie des podmes des Tang, paris: Seuit,and corrected pocket edition pubtished by Seuitd rnto Engtish by Donatd A. Riggs & Jerome prmrngton/lndiana Uni. press in 1992.48, December 1991, < Le docteur Lacan au

ecnt, l'image, Paris: Ftammarion, 2000, pp. 133-

nese, the reader might care to look up patrick

Section in 2001, where he leaks "a scoop thats.- Monribot, P., "Les psychoses et [e trou" in8-1U.,t ne serait pas du semblant, Paris: Seuit, 2006,

e. Autres 6crits,Paris: Seuit, 2001, pp.40Z-415.nre. lbid., pp.415-20.:he Psychoanatyst" in The Later Lacan, Suny,

l5l [A stightty different version was given in theI now on, att anatytic [anguage must be poetic."Jeau" [Lessons of 15 March, 18 Apr i t , 10 May, 17).7-23.on lacanienne l l l , 9 [2006-071 Le tout dernier

r 5 ' r .5 The question of metaphor and metonymy inbsh poets, from Ezra Pound to J. H. Prynne. Seer-Century Engtish Transtation of Chinese poetry".

Chinese Literature, edited and transtated byAt Lake Yi" on p. 28 ol Laughing Lost in the991; and "Vagary Lake" on p.64 of Mountaintdon: Anvit. 2007.

16 Cheng, F., Entre source et nuage, Voix de podtes dans la Chine d'hier et d'auiourd'hui, Paris: Albin

Michet, 1990, p. 233.

17 Hinton, 0., "lntroduction" to The Setected Poems of Wang Wei, NewYork: New Drrections, 2006,

p. xrv.

1 B Juttien, F., La valeur allusive, Des catdgories originales de t'interprdtation podtique dans Ia tradition

chinoise, Par is: Puf, 1985, PP. 154.

19 Liu, W & Lo, | led.l, Sunflo wer Splendour Three Thousand Years of Chinese Poetry,Indiana: 1975,

P. XV.

20 Juttien, F., La valeur allusive, op. cit., p' 152'

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On Lacan's Remarks on Chinese Poetry in Seminar XXIV