One of the ways in which Freud was able to reveal repressed unconscious representations in discourse was through a technique popularly known as “the talking cure”. Coined by “Anna O” – a patient of Josef Breuer, Freud’s family doctor – the talking cure was considered by Freud to be effective in the treatment of hysteria. The technique, not unlike the notion of “free association”, requires the patient to say out loud whatever comes to her/his mind no matter how insignificant or superficial it may seem. By encouraging the patient to concentrate on putting neurotic or psychotic experiences into words, the uninterrupted narrative flow allows the psychoanalyst to reconstruct the patient’s unconscious mind. Focusing on unconscious representations revealed during discourse, the psychoanalyst is able to perceive lapsus or other manifestations of the unconscious which may escape the patient’s field of perception. At the discretion of the psychoanalyst, these unconscious representations are in turn brought to the patient’s attention who will ideally be able to understand the root of an undesired behavior. According to Freud, becoming familiar with the exact nature of these neurotic and psychotic behaviors makes it possible for the patient to suppress them.

The success of the talking cure, also known as the cathartic method, depends on the patient’s ability to put thoughts into words through the free assembly of signifiers. Through extensive research on the connection between the spoken word and the idea it represented, Freud argued that the organization of words, as well as their subsequent verbalization, have a direct link not only with cognition, but also with kinesthetics. In their analysis of the case of “Anna O.” – a patient of Breuer suffering from acute hysteria – both Freud and Breuer recognized the therapeutic benefits of the cathartic method. During the course of her hysteria, the patient essentially repressed the anguish of her father’s death into the unconscious mind, the cathexis of which resurfaced as a series of somatic manifestations. The patient’s symptoms, ranging from partial paralysis to severe coughing, completely disappeared toward the final phases of her treatment, much to the surprise of Freud and Breuer. They later attributed the patient’s cure to her verbalized reenactment of emotionally charged scenes associated with her father’s death, in the same manner as Aristotle remarked on the soothing effects of catharsis.

Further elaborating on Freud’s relationship between thoughts and words, Lacan perceived the unconscious mind. as being comprised of individual signifiers. Combining Saussurian linguistics and Freudian psychoanalysis, Lacan’s perception of the unconscious mind expounded on the ‘word-presentations’ mentioned by Freud in The Ego and the Id. Whereas Freud conceived the unconscious mind as containing “thing-presentations” that could be verbalized in the conscious mind, only by their subsequent passage through the pre-conscious, Lacan demonstrated that these “thing-presentations” already behave like signifiers without first having to filter through the pre-conscious. Lacan points out that the unconscious is manifested not only in speech through unconscious lapsus, but also in dreams, qualified by Freud as “the via regia to the unconscious”.

Because dreams both contain verbal cues and take on characteristics of linguistic tropes such as metaphor and metonymy, Lacan reasons that the unconscious must be structured like a language. To support this theory, he likens metaphor and metonymy to two functions of Freud’s dream-work: condensation and displacement, respectively. According to Lacan, metaphor behaves like condensation in that a signifier belonging to a particular signifying chain can be substituted with a new signifier from a different signifying chain in order to be reassigned a new meaning. Thus, metaphor appears both in narration and in dreams when a signifier-word is attributed a meaning other than that which is normally associated with it. In this way, condensation acts as a censoring agent to protect the ego from images, drives or impulses that it has repressed. Closely related to metonymy, dreams can also be censored through displacement. Instead of compressing images, drives or impulses into a metaphor as is the case with condensation, displacement disguises unconscious representations by replacing a repressed signifier in a signifying chain with another signifier from the same chain. This implies that the signifier that has been replaced in the signifying chain is related to the new signifier, as is the case of metonymy which uses only one part of a thing to describe the whole thing.

It would appear that, like language, the unconscious is governed by the relationship between individual units, in much the same way that words are governed by the rules of grammar and tropes to create meaning. In this respect, not only are unconscious and conscious signifiers similar to one another, but Freud’s cathartic method further corroborates their equivalence. With the assistance of a psychoanalyst, the “talking cure” brings unconscious drives, impulses and the images they create to the conscious realm through psychic discharge, which in the context of psychoanalysis, takes on the form of verbalized discourse. Instead of remaining confined to the unconscious and surfacing in unexpected or undesired ways through psychotic or neurotic behaviors, unconscious cathexes are channeled into language which, as Freud pointed out in “Words and Things”, is closely related to somatic activity. If unconscious cathexes can be converted into speech instead of into debilitating behaviors, then the connection between elements of the unconscious and those of the conscious can be clearly established.

But, for Freud, art is (as is love) an attenuated and inhibited form of sexuality that has a “mildly intoxicating quality of feeling.” The full power of human affects is exhausted and satisfied only in sexuality, “the prototype of all happiness.” For Lacan, the deepest passions are not localized or limited to genital sexuality, but engage the entire corporeal being in many, unpredictable forms of jouissance. Art is a way into jouissance. By doing violence to its own structural and meaning-making properties, art bewilders, perplexes, shocks, or enraptures, causing a “resonating of the body” that the speaking being (‘parlêtre’) wants and enjoys, even at the price of pain or anxiety. It has techniques and ways of making interventions that psychoanalysis can perhaps adapt for producing an encounter in the analysand with his or her own wordless real. By contrast, though Freud praised art for preceding psychoanalysis in understanding our psychic constitution, he did not see it as having any kind of direct application or usefulness for analytic practice. For the late Lacan, psychoanalysis is no longer the Freudian “talking cure” but a search for new paths to accomplish a kind of tuning of the jouissance that underlies all thought and discourse.


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