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The "individual-social self" expresses itself through the cartography of a city. It is the support of the identification of belonging and it purpose is to organize the world's representation and to establish the peculiar affection of a society in a specific period of time. While the person is telling his stories, he captures himself and calls himself with an "I", creates an identity, the heterogeneity and the many episodes of his life are put together in a whole called "history". The "I" is a deceiving unification because the person feels like one himself but it is one with others. Never the same there is always a difference. The world and our subjectivity are not identities by themselves. The subjective change produced by an interpretation is based on differences not on similarities. If this difference isn't carried out by the analyzand no subjective change is possible but only repetition of the interpretations and learning of psychoanalysis, which are iatrogenic. Play and mourning are combined in the drawing in order to save the individualsocial self. When the symbolic axis disappears the cartography spoils and become unrecognizable. The horror appears showing the fragility of the person's inclusion in the symbolic representation and distances him from the "abyect". The "Horror" is the affect which comes from the "abyect", it causes nausea, disgust, and it appears when the meaning fades out. It's the place where "I'm not any more" and it is linked to everything that threatens the person's life and that must be kept beyond an imaginary border. [ABSTRACT FROM AUTHOR]

The end of the analysis is asintotic due to transference. The author refers to transference as a game, with neither a fixed beginning nor ending. Should transference arise from an infantile experience of frustration then children analysis wouldn't be possible, but the relationship between parents and child is already a transference relationship. The decision to put an end to analysis refers more to the emergency of a decision which includes a loosening of links than to its results: a compromise with the consequences of that work, which implies the acceptance of what we ignore and of moments of loneliness and solitude. The ending of analysis should avoid idealization and defensive identification with the image of the analyst, the analysand has to overcome his anger and disappointment at what could not be reached, with the idea that he has benefited and enriched his life. If the analyst does not tolerate the fact of being left aside he will not be in conditions to participate in this experience, which implies a future of separation, beginning from a historization work. The analyst must be able to understand the analysand's desire for loneliness, that he may reach that capacity. He will hope that the end of the analysis happens in a favorable time, with the singularity of each analysand: and understand that to speak and listen in session has less value for the analysand than to be left on his own. [ABSTRACT FROM AUTHOR]

The conceptualizations of temporality in classic Greece and the Jewish tradition and the contributions of G Deleuze and G Agamben are developed, applying them to the comprehension of a non-chronological temporality in the psychoanalytic session. The story in the session, the words of the patient must not be thought of as the comment of what happened earlier, but the story is rather the event itself as currently developed in the session while being listened by the analyst who may interpret it and then may present it because something that happens during such analysis leads him to interrogate himself, questioning himself while waiting for a reader or a listener to come. Einstein revolutionized the idea of time relating it to the idea of space and movement thus relativizing the concept. Time is neither constant nor external to us; time stops as speed increases. Regarding time, this epistemological rupture in physics has had significant repercussions in the comprehension of historical time that may no longer be thought of as mere chronology. There is a genetic temporality and a non-genetic temporality, nonsuccessive, non-numerable but rather intensive. Differences are presented between the chronology of the medical act and the intensive temporality of the analytical listening, which intensive temporality cannot be transmitted by a technological verifiable record. The resemblances between game, work of art and historicity of the living being are affirmed. [ABSTRACT FROM AUTHOR]

On pense l'enfance depuis une perspective qui n'est pas temporelle, comme carte, cartographie, hors d'un axe génétique évolutif qui implique la constitution simultanée du sujet et de l'objet et le renoncement à la différenciation absolue entre les deux. La répétition est répétition de quelque chose qui ne se vérifie jamais comme identique. Ce que nous appelons répétition est une émotion qui s'actualise de quelque chose qui n'est jamais pareil mais qui nous permet de nous sentir pareils alors que nous sommes toujours différents. La tradition est comme une racine qui nourrit sans qu'on la voie, qui s'exprime en une manière de sentir sans souvenir. La transmission est une des manières par laquelle se matérialise la tradition, traverse les générations, non comme répétition mais comme création. Ce qui est authentique transcende son origine grâce à la transmission de sa qualité d'irrépétibilité; c'est ce qui se passe dans l'expérience de devenir analyste à travers la propre analyse. Chez les enfants la couleur donne son contour aux objets, de cette manière ces derniers ne restent pas réduits à de simples choses, mais se composent d'un nombre infini de nuances. Les enfants ne se lient pas réflexivement à l'objet mais se limitent à voir et ainsi entrent en contact avec l'aura des objets. L'oeil de l'enfant rompt créativement l'opposition entre le regard et le regardé, entre le sujet et l'objet. [ABSTRACT FROM AUTHOR]

Infancy is thought to be like a map, a cartography that differs from the concept of genetic evolution, in a non-temporal perspective that implies the simultaneous constitution of subject and object, abandoning the absolute differentiation between the two of them. A repetition is the repetition of something that never happens identically. What we call repetition is the actualization of an emotion, something that is not the same but allows us to recognize it as always even if we know we are always different. Tradition is like a root that feeds without being seen, it expresses itself through a way of feeling without memory. Transmission is one of the many ways in which tradition materializes, passes through generations, not as a repetition but as a creation. The authenticity exceeds its origin thanks to transmission and to its quality of uniqueness, it is what happens in the experience, through the analysis, of becoming analyst. The color provides the outline of objects in children, objects are not only things for them, they have an infinite number of nuances. Children don't connect with objects in a reflexive way they see and make contact with the aura of the objects. Children's eyes creatively break the opposition between the sight and what is seen, between subject and object. [ABSTRACT FROM AUTHOR]

This lecture is an actualization of Freud departing from himself. It begin with considerations about the sexual and self presevation instincts. ¿What has instincts theories of speculation and clinical facts? From the relation between narcissism and repression goes into the biological basis of narcissism and later to the concepts of "Beyond the pleasure principle". "Introduction to narcissism" is a transitional development between successive theories. [ABSTRACT FROM AUTHOR]