» A perversion couldn’t exist separately from its disjunction with sexual intercourse. Using a case of peeping-exhibitionism, we will study this dad-version « as making up for a supposed disharmony in the relation between sexes, through the production of a sign, phallus, which presents the Subject through the opposite sex’s gaze. In accordance with an inhibition to enact the separation from the maternal object, it shows that this sexless version of coïtus depends on failure of the real father to intervene in the symbolic castration complex.»
A clinical case in an adolescent unit of a hospital demonstrates that scarifications serve two consecutive psychic movements. The first one, related to a cruel masochism, seeks to release a tension that cannot be elaborated and that originates in a real trauma that occurred during childhood. The second movement allows for the actualisation of the trauma through the realisation of perverse scenarios (exhibitionistic in particular) in the transference movements in the unit. Paradoxically, this use of the act-symptom in a perverse context allows to restart the processes of symbolisation and of subjectivation when faced with the risks of manifest psychic disorganisations.
In his book Marilyn, Last Sessions, M. Schneider recounts what happened in the course of thirty months of the last sessions of Marilyn Monroe’s slice of analysis with Ralph Greenson and shows the passionate aspect of this relationship. An explication of the actress’s exhibitionist problematic would have certainly led to a deeper understanding of the issues of this analysis. The author explains the elements of clinical work on exhibitionism, particularly in the woman, in order to show that these elements are quite present here, and they shed much light on how things evolved in this case.
Should the rite necessarily exhibit itself, at the risk of provoking those who do not share the same convictions and inciting violence ? Before answering the question, one must first recall that the rite is a sexual practice in the sense psychoanalysis gives sexuality. It is to ideal sexuality what coitus is to genital sexuality, and pleasure of the anal or oral type is to pre-genital or drive sexuality. This is why the symptomatic practice which is closest to the group rite and which is most able to illuminate it profoundly is not obsessive practice or the behavior of the masses, but perverse practice. The analogies between this and the rite are indeed striking, and many ritual excesses are equivalent to forms of perversion : this is the case of exhibitionism, of which there is so much talk nowadays. The surest way to avoid such overflowing is to push the comparison between the two practices as far as possible, and restore to the rite its own signification, which is to be speech enshrined within codified practice.
The play of exchange between male and female enacted by the mangas seems to satisfy the fantasy and the anxiety of sexual indistinctness in the adolescent, who is invited by this reading to « undergo a complete mutation while remaining the same »… The thematic of the mangas highlights the major impact of this fantasy of permutation of the sexes through transvestitism, while they seem to us to mask resistances to the sexual choice. The permeability between male and female figures, insisting on enacting an exhibitionism of the feminine, aims more to make the female sex « shine », to the detriment of a modification of the object relation. The adjustment of sexual ambiguity to reality, by reactivating the projective system, seems to settle for a cultural image that is both playful and complex, figuring something of the actuality of the work on sexual differentiation.
Mangas fans gather by the thousands to « cosplay » or « party » together. Cosplay is a group activity combining elements of play and exhibitionism. Participants dress up as their favorite mangas characters. The article discusses the functions of play, metonymy and metaphor expressed in the cosplayers’ costumes. After listening to Rachel, an adolescent cosplayer, it examines the function of the costume as an expression of creativity and as a protective envelope containing narcissistic elements of identity and difference. Thanks to the costume the cosplayer can be both baby-like and « sexy » and thus able to cope with the anxieties of her own fixed adult sexuality. She can explore without inhibition her infantile erogenous sensations.