Algorithm of the transference
In a paper delivered on 9 October 1967, Lacan boils down the start of a psychoanalysis into a single formula - the formula above.
The top line shows a subject (S) placing a demand on another subject (Sq). The other subject is called Sq, because q = quelque chose, which means that from the beginning she is supposed to hold something, some knowledge. Put crudely, the patient seeks out the analyst because he wants to be happy and he believes she knows something about getting happy and he wants to find out what it is.
Actually, she doesnât know much at all. She may know a lot about psychoanalysis, but she knows nothing about him, nothing about his happiness. He tells her about his pain, but she doesnât understand it at all, because it is not her pain. She is without knowledge, and shouldnât pretend otherwise - and yet she must occupy the position of holding something hidden, because it is this that keeps his desire alive.
The bottom line of the formula is what, having established the transference, the analyst must point the patient towards - a signifier, another signifer, speech, more speech, an infinity of speech. This is the difficult, stodgy, unmagical terrain of analysis, which we can express via slightly different Lacanian algebra, which amounts to the same thing: it is the movement from S1 (the assumption that the analyst is the master signifier, the oracle from whom enigmatic prophecies flow) to A (the barred Other, or the Other who - like the subject - is fundamentally lacking).
The second picture above is of Sandrine Bonnaire in the film Intimate Strangers - her character, Anna, goes to see an analyst in Paris. She knocks on his door, walks in, sits down and starts talking about the problems with her marriage. The man listens, says little, does not confess that she has knocked on the wrong door and that he is, in fact, an accountant.Â
Later on, Anna finds out that William is not really an analyst and that the real analyst works next door. But the next week, she returns to William. Like it or not, William is her analyst - he has (unwittingly) occupied that symbolic position which gets her talking. Between them has emerged a transference, and transference is borne out of the very supposition - which was, and always is, based on a fiction, an illusion, a desire - that Anna had when she walked in, sat down and started talking.
[the thoughts that were spinning round my head this afternoon at CFAR whilst listening to Alastair Black talk about the beginning of analytic treatment]