NO ABSTRACT PRESENT ON DISSERTATION

Cette thèse propose un éclairage sur la réalité de la Fonction analytique, sa physiologie, et les pathologies comportementales qui résultent de son dysfonctionnement. Nous y visitons les travaux de Freud, Jung et Lacan. Par une approche de comparatisme de leurs « écritures respectives », nous découvrons les fondements de la Fonction analytique. Tous trois tiennent leur savoir d’une approche transdisciplinaire (mythologie, alchimie, Taoïsme, linguistique, mathématiques, etc.) Freud précise le rôle indispensable de la pulsion en décrivant ses quatre caractéristiques. Avec son travail sur le «Bloc-notes magique », il énonce les modalités de la gravure psychique. La physiologie analytique comprend deux stades distincts : le premier ou « tronc commun » correspond à la gravure de la trace mnésique (Freud). Ce stade se déroule selon le mode binaire : ça pour Freud, persona pour Jung, imaginaire pour Lacan. Le second, se développe à partir du tronc commun, selon la modalité ternaire : la structure arborescente. C’est le stade du moi de Freud, du moi de Jung, du réel de Lacan. Cette phase, comme celle du brassage inter-chromosomique de la méiose biologique, produit une infinité de combinaisons. Modes binaire et ternaire représentent les phases principales de la Fonction analytique. Mais le mode binaire ne doit pas faire barrage au mode ternaire, en enfermant la psyché dans l’imaginaire (Lacan). La psyché doit se dépasser et faire oeuvre d’artiste. Nous montrons que le déséquilibre de l’archétype anima/animus (Jung) est cause de ces pathologies. Nous y voyons également que « la pensée judéo-chrétienne » joue un rôle de censeur, et fait obstacle à la modélisation ternaire. / The following thesis proposes to shed some light on the reality of Analytical Function, its physiology and the behavioural pathologies that derive from its dysfunction. We revisit the works of Freud, Jung and Lacan. Through a comparativistic approach of their “respective writings”, we discover the very fundamentals of Analytical Function. And all three had gathered their knowledge using a transdisciplinary approach (mythology, alchemy, Taoism, linguistics, mathematics etc…) Freud points out the main role of the drive by describing its four characteristics. In his “Magic Note Pad” he states the modalities of the psychic imprint. Analytical physiology comprises two distinct stages: the first one - “the common trunk”- refers to the imprint or engraving of the mnemonic marking. This stage unfolds according to a binary mode: the “It” for Freud, the “persona” for Jung and the “Imaginary” for Lacan. The second stage stems out of the common trunk on a ternary mode: the arborescent structure. This is the stage of the “I” for Freud, the “Self” for Jung and “the Real” for Lacan. This stage-just like the inter-chromosomal brew of the biological meiosis- produces an infinity of combinations. Binary and ternary modes represent the main phases of Analytical Function. Nevertheless the binary mode must not block out the ternary mode by locking the psyche into Lacan’s “Imaginary”. The psyche must go beyond itself and become its own artist. We show that the disequilibrium of Jung’s anima/animus archetype provokes these pathologies. We also notice that the “Judeo-Christian” way of thinking plays a censorship role and becomes an obstacle for the implementation of the ternary mode.

Love Song is an essay about romance, passion, obsession, attraction, Eros, intoxication, infatuation, to fall in love and love. Love songs, as artworks, are almost always directed towards a nameless “you” and this essay wants to talk to you. The text might be seen as a way to create and rewrite something, a performance to understand other performances, a dwelling on past relationships, a love letter, or just a text for me to vent you with others that have been thinking about you. I would love to hear Elsa von Freytag-Loringhoven, Chris Kraus, Beyoncé, Bell Hooks, Anaïs Nin and Taylor Swift talk to each other about art and romances, but because that is an impossible dream I try to connect them and many other thinkers, artists and singers through language. One of them, Roland Barthes once wrote: "Language is a skin: I rub my language against the other. It is as if I had worlds instead of fingers, or fingers at the tip of my worlds."[1] Love Song is, more than anything else an attempted to touch you, a strategy to better understand the way you made and make me feel.   [1] Roland Barthes, A Lover’s Discourse – Fragments, original: Fragments d’un discours amoureux, 1977, translation from French: Richard Howard, Edition du Seuil, 1978, p. 73.