Abstract:
The drive: from Incarnation to transference. The drive can be understood as the articulation of a continuous pressure to a discontinuous form (representative-representational), a paradox that constitutes an impossible in the presentation. Three versions of this impossible are explored: 1) the Christian mystery of Incarnation and the narrative of the Annunciation can be interpreted as cultural inventions which attempt to account for the originating intersection Real/Symbolic; 2) the painters of the Renaissance have tried to deal with this non-representable which lies at the heart of the representation thanks to the invention of figurae, "pan" outside the representational system; 3) these effects of "pan" as dissolution can be found in the transference, but in different functions depending on whether they appear at the beginning or at the end of a psychoanalytical cure.
Keywords:
Drive; object a; transference; theology; painting.