Notes

• 1 We know that Die Rücksicht auf Darstellbarkeit (Considerations of Representability) is one of the four principal factors of the dream, the three others being the work of condensation, the work of displacement and secondary elaboration.

• 2 Dictionnaire de la langue française Emile Littré, vol 3. Edited by Encyclopaedia Britannica France, 2003.

• 3 In the Grand Dictionnaire Universel du XIX siècle edited by P. Larousse in 22 volumes in 1872 one also finds figurabilité with a similar definition: ‘property essential to matter of having a shape’. The dictionary adds a citation by Virey: ‘the essential properties of matter are extension, impenetrability, figurability and inertia’.

• 4 It is clear that in the limited space of this introduction we cannot take into account the complexity of the relations between figurabilité, word-presentations and affects.

• 5 Translator's note: In the Ecrits mise en scène is justifiably translated (p. 161) as ‘representation’, but for the purposes of this introduction I have preferred ‘dramatization’.

Chapter 1

• 1 Translator's note: This term, in its substantival form, was introduced as a 0metapsychological notion in 1990 by C. and S. Botella ‘in an attempt to broaden an analytic theory overly centred on the notion of representation’. Dictionnaire International de Psychanalyse, under the direction of Alain de Mijolla, Paris: Calmann Lévy, 2002.

Chapter 2

• 1 Translator's note: throughout this book, I have generally used the term ‘investment’ rather than the Latinised form ‘cathexis’.

  Page 181

• 2 We do not wish at all to use quantum physics as an argument to validate our hypothesis. Naturally, what counts here is above all the fact that our understanding of the duality corpuscule–wave, whether right or wrong, has enabled us to formulate our analytical hypothesis. It is this that has to be evaluated in itself. Concepts are often approximate and incomplete in relation to what the author has grasped intuitively.

• 3 Translator's note: