From love as recognition, to courage in the face of castration

Abstract

With his dictum “There is no sexual relationship”, Jacques Lacan places a structural disagreement that love illusory bet to make it possible. Supported in the passion for ignorance, for an instant this operation creates to the couple the ilussion that destiny made one to each other. George Cukor´s Adam´s rib raises the question about from where does the couple holds: if it is from mutual recognition in the level of sexual equality, of from the recognition of desire that introduces difference and lack. For Lacan, love is tested by facing castration. If in Cukor´s film, Amanda will put her husband to the test of offering his lack for love, she too will be put to the test by Adam to recognize that beyond the militancy of equal rights for women, it is required to admit in the erotic level a “tiny difference”. Difference that is not the same raised on an imaginary or on a real level. In the imaginary level, the admition renew the the cycle of separation and union of the couple to infinity, unless it is registered as a real lack that opens to a new form of love more cured from the passions of being. In this remarriage comedies, the copules go through the decision to choose each other twice, in a sort of inner eight topology, proper to an accomplished act: cutting the attachment to an object of joy that seal off castration, so as to relaunch love desire.