Collection Résonances
Editor: Anita Izcovich
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Résonances will publish works that put psychoanalysis in relation to sciences and connected fields. Psychoanalysis has had an impact on literary and art theory, as well as philosophy and anthropology. Psychoanalytic theory, while being devoted to the clinic, is always open to other fields that put its concepts to work. Each discourse can be illuminated by what is beyond its limits. Freud himself took advantage of the light that different fields shed on his exploration of concepts such as sublimation, ethics and morality, in order to elucidate the clinic of the symptom in its relation to the fantasy.
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Lacan used other discourses to focus his theory on the edge of language [langue and langage] upon which analytic discourse is founded and which is based on the concepts of the real and jouissance that subtend the clinic and the analytic act. Thus for psychoanalysis there is a necessary recourse to this first alterity of the signifier to allow the irreducible of his theory about what is most foreign in other discourses to resonate. In this way the collection Résonances opens the way to areas of theory and practice yet unexplored and to a possibility of transmitting psychoanalysis.
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Titles published in the collection Résonances
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La malédiction sur le sexe
Anita Izcovich Collection : Résonances ISBN : 9791095543060 14 x 21,5 cm 220 pages 20,00 € |
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Réel de femmes
Nicole Bousseyroux Collection Résonances March 2017 14 x 21,5 cm ISBN : 979-10-95543-04-6 18 € 220 pages |
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La perdi(c)tion de Georges Bataille
A psychoanalytic essay Author : Albert Nguyên Collection : Résonances Octobre 2016 ISBN : 979-10-95543-02-2 248 pages 14 x 21,5 cm 22 € Burning life, a sacrificial death. The laughter of the man from Riom. The burnt firebrand. |
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Georges Bataille, the return, to read between sulphur and suffering.
Bataille current, present, necessary in our time of extremes, of excess and disorder; deaths by the thousands, innumerable people displaced, warlike outbursts, empire of non-knowledge, rejection of the impossible, mad science and religious extremism. Reread Bataille. With psychoanalysis, Lacan brought concepts or notions, some of which are shared by the two authors, and which constitute a valuable aid in the reading of Bataille.
Le sexe en Bataille, Madame Edwarda, Histoire de l’oeil, Le Bleu du ciel, Le mort are raised to the level of concept: atheology [athéologie], heterology, expense, erotism and tears. But life is there, disarmed, opinionated, to be burnt, sacrificed, so that it becomes obscenity, sadness, pain or is shaken by an immense laugh: Bataille: “the horror/laughter [horrire] of knowing”.
The outside-the-limit woman has ruined, exhausted him; the enjoying father has stuck the enigma of this jouissance, with the whites of the eyes rolled up, to his heart and body: Bataille, between perdition and father diction [père diction]: infinite tracking of this hole, of these places of extreme, the limit-point of knowledge.
And yet gentleness and humanity, caring for humanity: to raise the rents in a personal story to the dignity of the Thing, ironically thumbing his nose at transgression. Complexity Bataille, perdition Bataille, trance Bataille, pertaining to a saying of the father of which he was, without doubt, the dupe: “the ironic laugh” [rironique].
Bataille current, present, necessary in our time of extremes, of excess and disorder; deaths by the thousands, innumerable people displaced, warlike outbursts, empire of non-knowledge, rejection of the impossible, mad science and religious extremism. Reread Bataille. With psychoanalysis, Lacan brought concepts or notions, some of which are shared by the two authors, and which constitute a valuable aid in the reading of Bataille.
Le sexe en Bataille, Madame Edwarda, Histoire de l’oeil, Le Bleu du ciel, Le mort are raised to the level of concept: atheology [athéologie], heterology, expense, erotism and tears. But life is there, disarmed, opinionated, to be burnt, sacrificed, so that it becomes obscenity, sadness, pain or is shaken by an immense laugh: Bataille: “the horror/laughter [horrire] of knowing”.
The outside-the-limit woman has ruined, exhausted him; the enjoying father has stuck the enigma of this jouissance, with the whites of the eyes rolled up, to his heart and body: Bataille, between perdition and father diction [père diction]: infinite tracking of this hole, of these places of extreme, the limit-point of knowledge.
And yet gentleness and humanity, caring for humanity: to raise the rents in a personal story to the dignity of the Thing, ironically thumbing his nose at transgression. Complexity Bataille, perdition Bataille, trance Bataille, pertaining to a saying of the father of which he was, without doubt, the dupe: “the ironic laugh” [rironique].
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La femme, la lettre et l’image
A psychoanalytic essay Author : Anita Izcovich Collection : Résonances April 2016 ISBN : 979-10-95543-01-5 391 pages 14 x 21,5 cm Price : 18 € |
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What is a woman? This work approaches this question through the reciprocal perspectives of psychoanalysis and the connected fields that mark civilization, most particularly cosmetic surgery and fashion.
If woman is sometimes brought to lend her body to the surgeon, she lends it to the discourse of fashion also in order that it tell her how to combine her being with her clothing and her subjective fabric. The style of women who have created their own couture houses, whether this be Jeanne Lanvin or Coco Chanel is questioned: how have they given the texture of an image to what cannot be said of woman?
This path leads to the exploration of what constitutes the creative act of the actress in the theatre or in the cinema. Sarah Bernhardt situated the eccentricity of her creation on the border between life and death, for example when she learned her roles in her elegant silver coffin. Maria Casarès produced the splendour of the beauty of her theatrical act in an exiling of herself and in the fissure of semblance. As for Marlene Dietrich, she gave herself the air of a woman in making herself absent to herself. And if Marilyn Monroe gave such power to the image of herself that sprang from the cut of her being, it is in that she incarnated, without doubt, the epitome of the dead letter and the woman who does not exist.
If woman is sometimes brought to lend her body to the surgeon, she lends it to the discourse of fashion also in order that it tell her how to combine her being with her clothing and her subjective fabric. The style of women who have created their own couture houses, whether this be Jeanne Lanvin or Coco Chanel is questioned: how have they given the texture of an image to what cannot be said of woman?
This path leads to the exploration of what constitutes the creative act of the actress in the theatre or in the cinema. Sarah Bernhardt situated the eccentricity of her creation on the border between life and death, for example when she learned her roles in her elegant silver coffin. Maria Casarès produced the splendour of the beauty of her theatrical act in an exiling of herself and in the fissure of semblance. As for Marlene Dietrich, she gave herself the air of a woman in making herself absent to herself. And if Marilyn Monroe gave such power to the image of herself that sprang from the cut of her being, it is in that she incarnated, without doubt, the epitome of the dead letter and the woman who does not exist.