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“self-punishment paranoia”. Lacan argued that, in striking the actress, Aimée was in fact striking herself:
Mastery of one’s motor functions and an entry into the human world of space and movement is thus at the price of a fundamental alienation. Lacan calls the register in which this identification takes place “the imaginary”, emphasizing the importance of the visual field and the specular relation which underlies the child’s captivation in the image.