Wit(h)nessing trauma and the matrixial gaze: From phantasm to trauma, from phallic structure to matrixial sphere

Parallax

Volumn 7, Issue 4, 2001, Pages 89-114

  Ettinger, Bracha Lichtenberg ^a  

^a NONE

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EID: 61349120770     PISSN: 13534645     EISSN: 1460700X     Source Type: Journal    
DOI: 10.1080/13534640110089276     Document Type: Review

References (23)

1. All the small quotes that will follow, unless otherwise marked, are from Lacan's 1966 and 1967 unpublished seminars, translated by Bracha Lichtenberg Ettinger. This essay was first published in the catalogue, The Fascinating Faces of Flanders (Lisbon: Centro Cultural de Belem and Antwerp: Hessenhuis, 1998).
2. Jacques Lacan, La logique du fantasme, Unpublished seminar, 1966-1967, 16 November 1966.
3. Jacques Lacan, La logique du fantasme, 16 November 1966.
4. Jacques Lacan, L'objet de la psychanalyse, Unpublished seminar, 1965-1966, 30 March 1966.
5. Jacques Lacan, L'objet de la psychanalyse, 8 June 1966.
6. Jacques Lacan, La logique du fantasme, 15 February 1967.
7. Jacques Lacan (1964), 'Le Seminaire de Jacques Lacan', Livre XI. Les quatre concepts fondamentaux de la psychanalyse, Jacques-Alain Miller (ed.) (Paris: Seuil, 1973),
8. trans. Alan Sheridan as The Four Fundamental Concepts of Psycho-Analysis (New York: Norton, 1981 [1964] ), pp.103, 72-73.
9. Jacques Lacan (1964), 'Le Seminaire de Jacques Lacan', pp.73, 88.
10. Jacques Lacan, 'Le Seminaire de Jacques Lacan', p.101.
11. Jacques Lacan, Problèmes cruciaux pour la psychanalyse. Unpublished seminar, 1964-1965, 6 January 1965 (my emphasis).
12. This analysis appears in the seminar 1965-1966. Las Meninas, or The Royal Family is an oil painting from 1656, now at the Prado, Madrid.
13. In his book Discours/Figure (Paris: Klincksieck, 1971), Jean-Francois Lyotard offers an excellent explanation to the way libidinal action disturbs the visual.
14. See B. Lichtenberg-Ettinger, 'Matrix and Metramorphosis', Differences vol.4 no. 3, 1992, pp.176-208,
15. and 'Metramorphic Borderlinks and Matrixial Borderspace', Rethinking Borders, John Welchman (ed.) (London: Macmillan, 1996), pp.125-159.
16. Jacques Lacan (1972), 'L'étourdit', Scilicet 4 (Paris: Seuil, 1973), p.30.
17. This expression from my notes on painting (Matrix. Halal(a) - Lapsus. Notes on Painting, 1985-1992. Oxford: MoMA, 1993) is elaborated by Jean-François Lyotard (1995) in 'L'anamnèse', Doctor and Patient, Marketta Seppala (ed.) (Pori Art Museum Publications, 1997).
18. On painting as a Benjaminian gauze veil, see: Christine Buci-Glucksmann, Images of Absence in the Inner Space of Painting, in Inside the Visible, Catherine de Zegher (ed.) (Boston: MIT Press, 1996).
19. Jacques Lacan (1959-60), Le Séminaire, Livre VII: L'éthique de la psychanalyse, J. A. Miller (ed.) (Paris: Seuil, 1986);
20. The Ethics of Psycho-Analysis, trans. Denis Porter (London: Routeledge, 1992).
21. The question of the possibility of such a transmission of traces via art, and particularly women's art, is a major theme in Griselda Pollock's recent writings. See for example 'Gleaning in history or coming after/behind the reapers', in Generations and Geographies in the Visual Arts, G. Pollock (ed.) (London: Routledge, 1996),
22. and 'Abandoned at the Mouth of Hell', in Doctor and Patient, Marketta Seppala (ed.) (Pori Art Museum Publications, 1997),
23. reprinted in G. Pollock, Looking back to the Future (B&G Art, 2001).