{"id":20578,"date":"2003-06-06T17:15:00","date_gmt":"2003-06-06T15:15:00","guid":{"rendered":"https:\/\/www.disparates.org\/iota\/?p=20578"},"modified":"2023-02-07T18:28:18","modified_gmt":"2023-02-07T17:28:18","slug":"ai-no-korrida-2","status":"publish","type":"post","link":"https:\/\/www.disparates.org\/iota\/2003\/06\/ai-no-korrida-2\/","title":{"rendered":"ai no korrida"},"content":{"rendered":"\n<div class=\"wp-block-columns alignwide has-background tw-gutter-no is-layout-flex wp-container-core-columns-is-layout-d0b3c9c8 wp-block-columns-is-layout-flex\" style=\"background-color:#070745\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<div id=\"AiNoKorrida\" style=\"position: relative; z-index: 20; visibility: visible; background-color: #070745; layer-background-color: #070745; border: 1px none #000000;\"><iframe src=\"https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm\" name=\"AiAiNoKorrida\" width=\"100%\" height=\"690\" frameborder=\"10\" marginwidth=\"10\" marginheight=\"10\" scrolling=\"auto\"><\/iframe><\/div>\n<\/div>\n<\/div>\n\n\n\n<p><a href=\"https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm\">https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm<\/a><\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-pullquote is-style-tw-minimal has-dark-gray-color has-text-color\" style=\"border-width:2px\"><blockquote><p>code, as art, as love, as war, as death. as image, as text.<br>code as movie. as move me. as the image you once gave me.<br>as the letters you once wrote to me.<br>code as sex. code as hidden.<br>code as hidden texts.<br>as love letters.<\/p><cite>&#8211;<\/cite><\/blockquote><\/figure>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-d0b3c9c8 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column has-extra-small-font-size is-layout-flow wp-block-column-is-layout-flow\">\n<pre id=\"code1\" class=\"wp-block-preformatted lightbluea maxheight has-black-background-color has-background\" style=\"font-size:13px\">&lt;title&gt;Ai no Korrida&lt;\/title&gt;\n&lt;style type=\"<a>text\/css<\/a>\"&gt;\n&lt;!--\n.movexy {\n\tborder: 1px solid #999999;\n\tcursor: move;\n}\n--&gt;\n&lt;\/style&gt;\n&lt;\/HEAD&gt;\n&lt;BODY bgcolor=\"<a>#4B4B4B<\/a>\"\nbackground=<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/lacinkbackgrV2.gif\">Ai_no_Korrida\/lacinkbackgrV2.gif<\/a> text=<a>#f7e1c1<\/a> link=<a>#ffffff<\/a> vLink=<a>#ffffff<\/a> aLink=<a>#070745<\/a> onLoad=\"<a>MM_dragLayer('Layer3','',0,0,0,0,true,false,-1,-1,-1,-1,false,false,0,'',false,'')<\/a>\"&gt;\n&lt;TABLE border=<a>0<\/a> cellPadding=<a>0<\/a> cellSpacing=<a>0<\/a> background=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aino.jpg\">Ai_no_Korrida\/aino.jpg<\/a>\"&gt;\n\n&lt;TBODY&gt;\n\n&lt;TR&gt;\n\n&lt;TD&gt;&lt;IMG hspace=<a>4<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;&lt;\/TD&gt;\n&lt;TD&gt;&lt;IMG hspace=<a>20<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=\"<a>right<\/a>\" style=\"<a>line-height: 1.2pt;\tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);\n\tfont-family: 'Courier New', Courier, mono;\tfont-size: 11px;<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"&gt;&lt;I&gt;Ai no\n      Korrida:&lt;\/I&gt;&lt;BR&gt;\nthe Cutting Edge of&lt;BR&gt;\nFeminine Eroticism&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD vAlign=<a>center<\/a> align=<a>right<\/a>&gt;&amp;nbsp;&lt;\/TD&gt;\n&lt;TD&gt;&lt;IMG hspace=<a>30<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;&lt;\/TD&gt;\n&lt;\/TR&gt;\n\n&lt;TR&gt;\n\n&lt;TD&gt;&lt;\/TD&gt;\n&lt;TD&gt;&lt;\/TD&gt;\n&lt;TD colSpan=<a>10<\/a> style=\"<a>line-height: 1.2pt;\tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);&gt;&lt;A href=<\/a>\"http:\/\/lacan.com\/biosB.htm#tremeau\"\n      target=<a>_top<\/a>&gt;&lt;FONT color=\"<a>#ff2100<\/a>\" size=<a>+1<\/a>&gt;F&lt;FONT\n      color=\"<a>#ff2100<\/a>\" size=<a>-1<\/a>&gt;ABIEN&lt;FONT color=<a>#ff1200<\/a>\n      size=<a>+1<\/a>&gt; T&lt;FONT color=\"<a>#ff2100<\/a>\" size=<a>-1<\/a>&gt;R\u00c9MEAU&lt;\/A&gt;\n&lt;\/TD&gt;\n&lt;TD&gt;&lt;\/TD&gt;\n&lt;\/TR&gt;\n\n&lt;TR&gt;\n\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\"&gt;&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\"&gt;&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" bgcolor=\"<a>#082908<\/a>\" style=\"<a>line-height: 1.2pt; Filter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20); color: 'f7e1c1';\tfont-family: 'Courier New', Courier, mono; font-size: '13px';<\/a>\"&gt;&lt;A \n      href=\"<a href=\"view-source:http:\/\/www.kinoaero.cz\/archiv\/content\/detail-filmuF_cont.phtml?id=135\">http:\/\/www.kinoaero.cz\/archiv\/content\/detail-filmuF_cont.phtml?id=135<\/a>\"\n      target=<a>_top<\/a>&gt;&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aino.jpg\">Ai_no_Korrida\/aino.jpg<\/a>\" width=\"<a>200<\/a>\" height=\"<a>108<\/a>\" border=<a>0<\/a> align=<a>left<\/a>&gt;&lt;\/A&gt;\n      &lt;I&gt;Ai no korrida&lt;\/I&gt; is the Japanese title of the movie, &lt;I&gt;In the Realm\n      of the Senses&lt;\/I&gt;, by Oshima Nagisa. Even though Oshima preferred the\n      French title &lt;I&gt;L'Empire des sens&lt;\/I&gt;, for its closeness to the title of\n      Roland Barthes' book &lt;I&gt;L'Empire des signes&lt;\/I&gt;, we think that the\n      Japanese title deserves more attention. &lt;I&gt;Ai no korrida&lt;\/I&gt;, whose\n      translation is &lt;I&gt;Corrida of love&lt;\/I&gt;, contains the idea of kill; the kill\n      of what? the kill of the hero, of course; yet why not the kill of\n      love?&lt;BR&gt;\n&lt;IMG hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;&lt;I&gt;In\n      the Realm of the Senses&lt;\/I&gt; became famous for its last scene \u2014 a scene of\n      castration \u2014, but I regard the turning point as the killing of the hero,\n      Kichiso, leading the heroine to what Lacan calls the feminine\n      &lt;I&gt;jouissance&lt;\/I&gt;.&lt;BR&gt;\n&lt;IMG hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\"\n      border=<a>0<\/a>&gt;This article intends to show how Lacan's teaching can elucidate\n      the movie's framework and conversely, perhaps above all, but also, how the\n      movie illustrates some of Lacan's ideas about &lt;I&gt;jouissance&lt;\/I&gt;,\n      especially those developed in the Seminar XX \u2014 &lt;I&gt;Encore&lt;\/I&gt; (1972-73). So\n      far no other films have achieved this lacanian uniqueness.\n\n&lt;br&gt;\n&lt;br&gt;\n&lt;br&gt;\n&lt;br&gt;\nAt the movie's end, Kichi, after all their feats, lies completely\n      exhausted; Sada, with her same appetite, is on the watch.&lt;BR&gt;\n&lt;IMG\n      hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;The strangulation\n      that occurred during their sexual intercourses has brought them close to\n      death. Then, Kichi gives Sada this specific order regarding strangulation:\n      \"If you start, don't stop in the middle, it hurts too much afterwards.\"\n      One can recognize the expression of the super-ego, \"&lt;I&gt;jouis&lt;\/I&gt;!\"\n      addressed to Sada, where exactly it is only implied. There are three times\n      in Kichi's imperative: the beginning, the middle, and \"afterwards,\" which\n      is in fact the final cause &lt;I&gt;a contrario&lt;\/I&gt; (the reason why she should\n      not stop). Death and &lt;I&gt;jouissance&lt;\/I&gt; are indisputably present in this\n      sentence. At the same time, their temporality, the very end of the act, is\n      missing. In the following scene of Kichi's death, Sada is initiated to a\n      new kind of &lt;I&gt;jouissance&lt;\/I&gt;. This is the only instance when Sada obtains\n      &lt;I&gt;jouissance&lt;\/I&gt; detached from any sexual act; whereas previously, Sada\n      strangulates Kichi during their love making, she now shows a complete\n      disinterest in his penis. Initially the next scene appears enigmatic: Sada\n      lies naked amid the benches of an open-air theater; a little girl running\n      after an old man, playing hide-and-seek keeps asking: \"Are you ready?\" The\n      old man answers: \"Not yet,\" until he suddenly disappears. This scene may\n      be understood as Sada's fantasy \u2014 the death, the killing of her\n      father.&lt;BR&gt;\n&lt;div id=\"<a>Layer2<\/a>\" style=\"<a>position:absolute; width:100%; z-index:2; filter:invert; background-color: #F7E1C1; layer-background-color: #F7E1C1; border: 1px none #000000;<\/a>\"&gt;&amp;nbsp;&lt;br&gt;\n&lt;br&gt;\n&lt;br&gt;\n&lt;br&gt;\n&lt;\/div&gt;\n\n&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" style=\"<a>line-height: 1.5pt;\tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=40, Strength=20);font-family: 'Courier New', Courier, mono;\tfont-size: 12px;<\/a>\"&gt;[...]\n\n&lt;IMG hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\"\n      border=<a>0<\/a>&gt;These scenes correlate with what Lacan taught about fantasy as\n      the last defense against &lt;I&gt;jouissance&lt;\/I&gt;. Sada's fundamental fantasy\n      arises at the same time it is passed over (one may refer to the\n      &lt;I&gt;Aufhebung&lt;\/I&gt; here), leading her to a &lt;I&gt;jouissance&lt;\/I&gt; one should no\n      longer call sexual, but rather \"a glance at feminine &lt;I&gt;jouissance&lt;\/I&gt;.\"\n      In the following scene Sada castrates Kichi's corpse. As Lacan points out,\n      this scene conveys a certain strangeness and questions the psychoanalytic\n      concept of castration: \"Here we see clearly that castration is not a\n      fantasy. Castration cannot be placed so easily in the function that it has\n      in psychoanalysis, since it may be fantasized.\"&lt;A\n      href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#footnote\">#footnote<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"\n      size=<a>-2<\/a>&gt;&lt;SUP&gt;1&lt;\/SUP&gt;&lt;\/FONT&gt;&lt;\/A&gt;&lt;A name=<a>1<\/a>&gt;&lt;BR&gt;\n&lt;\/TD&gt;\n&lt;TD valign=\"<a>top<\/a>\" style=\"<a>line-height: 1.2pt;\tfont-size:18px;Filter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);font-family: 'Courier New', Courier, mono;<\/a>\"&gt;&lt;IMG\n      hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;She cuts his penis\n      first, then his testicles. No question, her knife follows the anatomic\n      section; she cuts the anatomic male organ. What value does it acquire\n      then, far away from its sexual use? The emasculated corpse of Kichi, in\n      its connection with the Other, the father of the fantasy, represents the\n      barred Other (&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\"&gt;) and the useless\n      genital organ she now possesses is the signifier of this &lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\"&gt;: S(&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\"\n      border=<a>0<\/a>&gt;). Sada reaches the other &lt;I&gt;jouissance&lt;\/I&gt;, the feminine\n      &lt;I&gt;jouissance&lt;\/I&gt;, specified by its relation with S(&lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;). \n&lt;div id=\"<a>Layer3<\/a>\" style=\"<a>position:absolute; filter:alpha(opacity=55); left: 413px; top: 218px; background-color: #FFFFFF; layer-background-color: #FFFFFF; border: 1px none #000000;<\/a>\" class=\"<a>movexy<\/a>\"&gt;&lt;IMG width=\"<a>200<\/a>\" height=\"<a>108<\/a>\" src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;&lt;\/div&gt;\n&lt;br&gt;\n&lt;IMG       src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" hspace=<a>10<\/a> border=<a>0<\/a>&gt;The difference between the two\n      &lt;I&gt;jouissances&lt;\/I&gt; is also evoked by the terminology of the script, when a\n      voice-over states that Sada, holding his sex in her hand, roamed the\n      streets of Tokyo for four days with a resplendent face: it is no longer\n      question of happiness (&lt;I&gt;ureshii&lt;\/I&gt;) but of resplendence\n      (&lt;I&gt;hareyakana&lt;\/I&gt;): which in Japanese first refers to a clear, cloudless\n      sky. In that way, Sada approaches certain mystics .&lt;BR&gt;\nIn connection to what has\n      gone before, I would like to make a few comments on Lacan's\n      schema:&lt;A href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#footnote\">#footnote<\/a>\"&gt;&lt;FONT\n      color=\"<a>#ff2100<\/a>\" size=<a>-2<\/a>&gt;&lt;SUP&gt;2&lt;\/SUP&gt;&lt;\/FONT&gt;&lt;\/A&gt;\n\n&lt;br&gt;\n&lt;br&gt;\n\n&lt;CENTER&gt;\n\n&lt;IMG height=<a>172<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ai1.gif\">Ai_no_Korrida\/ai1.gif<\/a>\"\n      width=<a>332<\/a> border=<a>0<\/a> style=\"<a>filter:alpha(opacity:500)<\/a>\"&gt;\n&lt;\/CENTER&gt;\n&lt;br&gt;\n&lt;br&gt;\nThe left side concerns the male inscription, and the right, the female\n      inscription. For Kichi, sexual &lt;I&gt;jouissance&lt;\/I&gt; is associated with the\n      fantasy that he responds to Sada's &lt;I&gt;demande&lt;\/I&gt; by giving himself over\n      to Sada's sexual games.\n&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" background=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aino.jpg\">Ai_no_Korrida\/aino.jpg<\/a>\" style=\"<a>line-height: 1.2pt;\tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);\n\tfont-family: 'Courier New', Courier, mono;\tfont-size: 11px;<\/a>\"&gt;&lt;A name=<a>2<\/a>&gt;&lt;IMG hspace=<a>10<\/a>\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;His fantasy supports his\n      &lt;I&gt;jouissance&lt;\/I&gt;, at the same time his &lt;I&gt;jouissance&lt;\/I&gt; builds up his\n      fantasy. What Kichi grasps of the Other, incorporated in Sada, is his\n      &lt;I&gt;objet a&lt;\/I&gt;: \"It (&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ais.gif\">Ai_no_Korrida\/ais.gif<\/a>\" align=<a>bottom<\/a>\n      border=<a>0<\/a>&gt; in the masculine position) can never reach its sexual partner,\n      which is the Other, except by way of mediation, as the cause of its\n      desire.\"&lt;A href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#footnote\">#footnote<\/a>\"&gt;&lt;FONT\n      color=\"<a>#ff2100<\/a>\" size=<a>-2<\/a>&gt;&lt;SUP&gt;3&lt;\/SUP&gt;&lt;\/FONT&gt;&lt;\/A&gt;&lt;A name=<a>3<\/a>&gt;\n      On the other hand, Sada shows this duality: she has a rapport to the\n      sexual &lt;I&gt;jouissance&lt;\/I&gt;, &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/la.gif\">Ai_no_Korrida\/la.gif<\/a>\" align=<a>bottom<\/a>\n      border=<a>0<\/a>&gt; \u2014&amp;gt; &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/f.gif\">Ai_no_Korrida\/f.gif<\/a>\" align=<a>bottom<\/a> border=<a>0<\/a>&gt;,\n      and, as she is inscribed on the side of the \"&lt;I&gt;pas-toute&lt;\/I&gt;,\" she has\n      rapport to the feminine &lt;I&gt;jouissance&lt;\/I&gt;, demonstrated by the end of the\n      movie, &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/la.gif\">Ai_no_Korrida\/la.gif<\/a>\" align=<a>bottom<\/a> border=<a>0<\/a>&gt; \u2014&amp;gt;\n      S(&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" align=<a>bottom<\/a> border=<a>0<\/a>&gt;). From this,\n      three points can be raised: 1 \u2014 The position of fantasy is very specific\n      in the case of Sada: it plays the role of a defense against feminine\n      &lt;I&gt;jouissance&lt;\/I&gt;. It would be the bar separating the phallic\n      &lt;I&gt;jouissance&lt;\/I&gt; (for women) from the feminine &lt;I&gt;jouissance&lt;\/I&gt;:&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" background=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aino.jpg\">Ai_no_Korrida\/aino.jpg<\/a>\" style=\"<a>line-height: 1.4pt;\n\tFilter: Wave(Add=0, Freq=2, LightStrength=20, Phase=30, Strength=10);font-family: 'Courier New', Courier, mono;\tfont-size: 13px;<\/a>\"&gt;\n&lt;CENTER&gt;\n\n&lt;div id=\"<a>Layer1<\/a>\" style=\"<a>position:relative; z-index:1<\/a>\"&gt;&lt;IMG height=<a>87<\/a> alt=<a>schema<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ai2.gif\">Ai_no_Korrida\/ai2.gif<\/a>\"\n      width=<a>155<\/a> border=<a>0<\/a>&gt;&lt;\/div&gt;\n&lt;\/CENTER&gt;\n&lt;br&gt;&lt;br&gt;&lt;br&gt;\n&lt;br&gt;\n2 \u2014 The place of castration can be revised. For men, castration is a\n      prerequisite: man can approach woman, because he is castrated; \"...short\n      of castration, that is, short of something which says &lt;I&gt;no&lt;\/I&gt; to the\n      phallic function, man has no chance of enjoying the body of the woman, in\n      other words, of making love.\"&lt;A\n      href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#footnote\">#footnote<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"\n      size=<a>-2<\/a>&gt;&lt;SUP&gt;4&lt;\/SUP&gt;&lt;\/FONT&gt;&lt;\/A&gt;&lt;A name=<a>4<\/a>&gt; Castration is,\n      for man, the ratio of the paternal function, &lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/exfx.gif\">Ai_no_Korrida\/exfx.gif<\/a>\" border=<a>0<\/a>&gt;, with the phallic function,\n      &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/axfx.gif\">Ai_no_Korrida\/axfx.gif<\/a>\" border=<a>0<\/a>&gt;. For Sada, castration\n      comes last, as part of the real that constitutes S (A); and, in that\n      sense, we can consider castration as part of the real that constitutes\n      S(&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;), and in that sense one\n      can say that castration is her \"anti-fantasy.\" Castration allows Sada to\n      rid herself of her fundamental fantasy, &lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ais.gif\">Ai_no_Korrida\/ais.gif<\/a>\" border=<a>0<\/a>&gt; \u2014&amp;gt; a. Thus she reaches the\n      feminine &lt;I&gt;jouissance&lt;\/I&gt;, &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/la.gif\">Ai_no_Korrida\/la.gif<\/a>\" border=<a>0<\/a>&gt;\n      \u2014&amp;gt; S(&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;) In that way,\n      castration can be conceived of as the passing from the \"&lt;I&gt;semblant\n      d'\u00eatre&lt;\/I&gt;\" to S(&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;):&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" style=\"<a>line-height: 1.2pt; \tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);\tfont-family: 'Courier New', Courier, mono;\n\tfont-size: 33px;<\/a>\"&gt;\n&lt;CENTER&gt;\n&lt;IMG height=<a>23<\/a> alt=<a>schema<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ai3.gif\">Ai_no_Korrida\/ai3.gif<\/a>\"\n      width=<a>109<\/a> border=<a>0<\/a>&gt;\n&lt;\/CENTER&gt;\n&lt;br&gt;\n&lt;br&gt;\n&lt;IMG hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;3 \u2014 why\n      does S(&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;) lie below the\n      female inscription in Lacan's schema? Should it not be exterior to the\n      male and female inscriptions? One can say that it is the logical\n      consequence of three lacanian propositions:&lt;BR&gt;\n&lt;IMG hspace=<a>10<\/a>\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;a \u2014 woman is basically the\n      Other in the sexual act&lt;BR&gt;\n&lt;IMG hspace=<a>10<\/a>\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;b \u2014 the Other is the treasure\n      of signifiers&lt;BR&gt;\n&lt;IMG hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\"\n      border=<a>0<\/a>&gt;c \u2014 there is no Other of the Other.&lt;BR&gt;\n&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" style=\"<a>line-height: 1.2pt;\n\tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);\n\tfont-family: 'Courier New', Courier, mono;\n\tfont-size: 11px;<\/a>\"&gt;&lt;IMG hspace=<a>10<\/a>\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\" border=<a>0<\/a>&gt;The S(&lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;) occupies a specific position in\n      woman: a position of \"extimity.\"&lt;A\n      href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#footnote\">#footnote<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"\n      size=<a>-2<\/a>&gt;&lt;SUP&gt;5&lt;\/SUP&gt;&lt;\/FONT&gt;&lt;\/A&gt;&lt;A name=<a>5<\/a>&gt; One encounters\n      a further difficulty: woman considered as a subject cannot be called the\n      Other, A, nor can she not be a divided subject, &lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ais.gif\">Ai_no_Korrida\/ais.gif<\/a>\" border=<a>0<\/a>&gt;. But with respect to\n      &lt;I&gt;jouissance&lt;\/I&gt;, Lacan seems to say that one cannot disregard conceiving\n      of woman as A, nor simply conceive of her as &lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ais.gif\">Ai_no_Korrida\/ais.gif<\/a>\" border=<a>0<\/a>&gt;. For this reason, Lacan writes:\n      \"&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/la.gif\">Ai_no_Korrida\/la.gif<\/a>\" border=<a>0<\/a>&gt;,\" which is neither A, nor\n      &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ais.gif\">Ai_no_Korrida\/ais.gif<\/a>\" border=<a>0<\/a>&gt;. From this, one can\n      understand that the question of the relation between woman and A leads\n      Lacan towards the concept of God; and, the question of the relation\n      between woman and &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/ais.gif\">Ai_no_Korrida\/ais.gif<\/a>\" border=<a>0<\/a>&gt; leads\n      Lacan towards the question of the unconscious in women. Moreover, the fact\n      that &lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/la.gif\">Ai_no_Korrida\/la.gif<\/a>\" border=<a>0<\/a>&gt; \u2014&amp;gt; S(&lt;IMG\n      src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aia.gif\">Ai_no_Korrida\/aia.gif<\/a>\" border=<a>0<\/a>&gt;) stays within the female\n      inscription indicates that feminine &lt;I&gt;jouissance&lt;\/I&gt; is \"&lt;I&gt;jouissance de\n      l'un&lt;\/I&gt;.\"&lt;BR&gt;\n&lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" style=\"<a>line-height: 1.2pt; \tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);\tfont-family: 'Courier New', Courier, mono;\n\tfont-size: 11px;<\/a>\"&gt;&lt;IMG hspace=<a>10<\/a> src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/SINGLEP.gif\">Ai_no_Korrida\/SINGLEP.gif<\/a>\"\n      border=<a>0<\/a>&gt;I could finish this article by congratulating the actress, Eiko\n      Matsuda, for her exceptional performance, and Oshima Nagisa for his\n      masterpiece. But discrediting the male role, as I have earlier, for\n      example by simply labelling Kichi as obsessional, may be a pitfall of the\n      film. His apparent passivity should not mask that it is Kichi who\n      introduces strangling into their love games, and the one who asks Sada to\n      kill him. One could say without a Kichi, no Sada (also, without a Sada, no\n      Kichi). Kichi loses everything: his strength, his life, and even beyond\n      death, his genitals. In fact, as the action progresses, one comes to\n      understand his position as the same as Sada's: their refusal of the\n      \"&lt;I&gt;semblant&lt;\/I&gt;\" associated with the sexual &lt;I&gt;jouissance&lt;\/I&gt;. He\n      gradually erects it to an ethical position. He becomes conscious that\n      there is no escape from sexual &lt;I&gt;jouissance&lt;\/I&gt; within the realm of love,\n      conscious that he will not become what she is about to reach, or in other\n      words, he becomes conscious of the inexistence of sexual relation.\n      Therefore, he is the order addressed to Sada; \"Jouis!,\" as the only chance\n      to escape their &lt;I&gt;jouissance&lt;\/I&gt;. &lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" style=\"<a>line-height: 1.5pt; \tFilter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);\tfont-family: 'Courier New', Courier, mono;\n\tfont-size: 11px;<\/a>\"&gt;Notes&lt;BR&gt;\n&lt;FONT size=<a>-1<\/a>&gt;&lt;A name=<a>footnote<\/a>&gt;\n1. Jacques\n      Lacan, &lt;I&gt;Le Sinthome, Ornicar?&lt;\/I&gt; n. #9, p. 38; \"C'est l\u00e0 qu'on voit\n      bien que la castration, ce n'est pas le fantasme. Elle n'est pas facile a\n      situer dans la fonction qui est la sienne dans l'analyse, puisqu'elle peut\n      \u00eatre fantasmatis\u00e9e.\" &lt;A href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#1\">#1<\/a>\"&gt;&lt;FONT\n      color=\"<a>#ff2100<\/a>\"&gt;back up&lt;\/FONT&gt;&lt;\/A&gt;&lt;BR&gt;\n2. In &lt;I&gt;Feminine Sexuality \u2014 Jacques\n      Lacan and the \u00c9cole Freudienne&lt;\/I&gt;, W.W. Norton &amp;amp; Co., New York, 1982,\n      p.149. &lt;A href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#2\">#2<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"&gt;back\n      up&lt;\/FONT&gt;&lt;\/A&gt;&lt;BR&gt;\n3. ibid, p.151, &lt;I&gt;Encore&lt;\/I&gt;, p. 75. &lt;A href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#3\">#3<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"&gt;back up&lt;\/FONT&gt;&lt;\/A&gt;&lt;BR&gt;\n4. ibid, p. 143, &lt;I&gt;Encore&lt;\/I&gt;, p.67. &lt;A\n      href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#4\">#4<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"&gt;back\n      up&lt;\/FONT&gt;&lt;\/A&gt;&lt;BR&gt;\n5. We refer the reader to Jacques-Alain Miller's seminar\n      \"L'Extimit\u00e9,\" 1985-86, unpublished. &lt;A\n      href=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida.htm#4\">#4<\/a>\"&gt;&lt;FONT color=\"<a>#ff2100<\/a>\"&gt;back\n      up&lt;\/FONT&gt;&lt;\/A&gt; &lt;\/TD&gt;\n&lt;TD rowspan=\"<a>2<\/a>\" valign=\"<a>top<\/a>\" style=\"<a>Filter: Wave(Add=0, Freq=5, LightStrength=20, Phase=20, Strength=20);<\/a>\"\t&gt;&lt;IMG src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aino.jpg\">Ai_no_Korrida\/aino.jpg<\/a>\" height=\"<a>600<\/a>\" border=<a>0<\/a> align=<a>left<\/a> style=\"<a>Filter: Wave(Add=1, Freq=0, LightStrength=20, Phase=20, Strength=0)<\/a>\"&gt;&lt;\/TD&gt;\n&lt;\/TR&gt;\n&lt;TR&gt;\n&lt;TD &gt;&lt;a href=\"<a href=\"view-source:http:\/\/www.lacan.com\/frameV2.htm\">http:\/\/www.lacan.com\/frameV2.htm<\/a>\"&gt;&lt;img src=\"<a href=\"view-source:https:\/\/pleine-peau.com\/between_the_links\/Ai_no_Korrida\/aino.jpg\">Ai_no_Korrida\/aino.jpg<\/a>\"   width=\"<a>332<\/a>\" border=\"<a>0<\/a>\" style=\"<a>Filter: invert<\/a>\" &gt;&lt;\/a&gt;\n\n&lt;\/TD&gt;\n&lt;\/TR&gt;\n&lt;tr bgcolor=\"<a>#141414<\/a>\"&gt;\n&lt;td colspan=\"<a>13<\/a>\" bgcolor=\"<a>#FF0000<\/a>\" height=\"<a>20<\/a>\"&gt;\n\n&lt;\/td&gt;\n&lt;\/tr&gt;\n\n&lt;\/TBODY&gt;\n&lt;\/TABLE&gt;\n\n&lt;\/BODY&gt;<\/pre>\n\n\n\n<div class=\"wp-block-columns has-green-background-color has-background is-layout-flex wp-container-core-columns-is-layout-d0b3c9c8 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"--col-width:33.33%;flex-basis:33.33%\">\n<h3 class=\"wp-block-heading\">to do<\/h3>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"--col-width:66.66%;flex-basis:66.66%\">\n<ul class=\"wp-block-list\">\n<li>couleurs texte code (en rouge les tags html, en bleu ce qui est entre guillemets (les variables)<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>code, as art, as love, as war, as death. as image, as text.<br \/>\ncode as movie. as move me. as the image you once gave me.<br \/>\nas the letters you once wrote to me.<br \/>\ncode as sex. code as hidden.<br \/>\ncode as hidden texts.<br \/>\nas love letters.<\/p>\n","protected":false},"author":11,"featured_media":20573,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1789],"tags":[2279,2278],"class_list":["post-20578","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-to-be-or","tag-code","tag-image-as-text-as-image","entry"],"acf":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.disparates.org\/iota\/wp-content\/uploads\/ai-no-korrida-Capture-ecran__20230206_124137.png?fit=1194%2C906&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/posts\/20578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/comments?post=20578"}],"version-history":[{"count":0,"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/posts\/20578\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/media\/20573"}],"wp:attachment":[{"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/media?parent=20578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/categories?post=20578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.disparates.org\/iota\/wp-json\/wp\/v2\/tags?post=20578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}