Comment penser la question de la sublimation dans la psychose ?Pour Freud, la sublimation est un des destins possibles pour la pulsion et sa satisfaction. Mais son propos semble s’appliquer au fonctionnement névrotique. Qu’en est-il donc dans la psychose ? Il faut en effet le reconnaître, la créativité n’est pas l’apanage de la névrose. Les productions artistiques des personnes de structure psychotique ne pourraient-elles pas, elles aussi, être pensées comme des sublimations ?Lacan, dans son séminaire de 1975-1976, précise cette modalité singulière de suppléance chez James Joyce avec son œuvre littéraire, qu’il nomme sinthome, mais il ne parle pas de sublimation pour autant. Est-elle à exclure rigoureusement quand le créateur est de structure psychotique ?Ainsi, quelle opportunité y a-t-il à l’emploi du concept de sublimation quand la dynamique pulsionnelle n’est pas spécifiée, que le signifiant du manque dans l’Autre fait défaut à la mise en place du circuit de la pulsion ?
Creation and psychosis, which sublimation ?How is the question of sublimation to be considered in psychosis ?For Freud, sublimation is one of the possible destinies for the drive and its satisfaction. However, he seems to confine his reflections to a neurotic type of functioning. What then is the case in psychosis ? Creativity, it must be admitted, is not just the prerogative of neurosis. Can’t the artistic productions of psychotics also be thought of as sublimations ?Lacan, in his seminar of 1975-1976, specifies this particular mode of suppléance with James Joyce and his literary work, that he names sinthome. He does not however speak of sublimation. Is it to be rigorously excluded when the artist is of a psychotic structure ?Therefore, on what occasion can the concept of sublimation be used when the drive dynamic is not specified, that the signifier of the lack in the Other is missing in the setting up of the drive circuit ?Beyond the conceptual use of the term of sublimation, it is important to locate in the creative force so frequently encountered in psychosis, an attempt to simultaneously circumscribe and inscribe the trace of what is originally and implicitly missing for the psychotic subject, and what at the same time poses a threat for him.The creation process in this structure reveals the subject’s relation to his objects, and their abundance in the Real. But how to explain this permanent effort, this perhaps constant impulse, that insists on expressing itself, on constructing, sometimes so efficiently for us all ? The “ Unglauben” Freud speaks of for psychosis and which Lacan refers to on several occasions, this non-belief in the void from which desire proceeds, would this be at play in creativity ? In this perspective we will also consider the work of Perrine Michel who, with her film Lame de fond, in 2014, gives us, in such a subtle way, an opening to the question of the trace, as much as to the subjective necessity to border it.
