{"id":6418,"date":"2023-06-19T09:42:28","date_gmt":"2023-06-19T07:42:28","guid":{"rendered":"https:\/\/pipol11.pipolcongres.eu\/2023\/06\/19\/mon-pere-ce-heros-frederique-bouvet\/"},"modified":"2023-06-23T05:14:28","modified_gmt":"2023-06-23T03:14:28","slug":"my-father-this-hero-frederique-bouvet","status":"publish","type":"post","link":"https:\/\/pipol11.pipolcongres.eu\/en\/2023\/06\/19\/my-father-this-hero-frederique-bouvet\/","title":{"rendered":"My father, this hero \u2013 Fr\u00e9d\u00e9rique Bouvet<\/em>"},"content":{"rendered":"

At the age of twenty-three, Violette d\u2019Urso wrote her first novel, Even the noise of the night has changed <\/em>(M\u00eame le bruit de la nuit a chang\u00e9<\/em>)[1]<\/a>. Daughter of In\u00e8s de la Fressange and Luigi d\u2019Urso, she lost her father at the age of six, as did the heroine of her book, Anna. The author says: \u201cI couldn\u2019t write a story about him because he is made up of fantasy. During the writing process, the imaginary saved me. It was a door of light. It enabled me to escape, at regular intervals, from the harshness of reality\u201d[2]<\/a>.<\/p>\n

This book is above all a book about the relationship with lack and loss. Anna questions the relationship between her father and her mother. Why did they each live in a different flat? Were they separated? In \u201cLos padres in the direction of the cure<\/em>\u201d (Los padres<\/em> dans la direction de la cure)[3]<\/a>, Jacques-Alain Miller highlights what \u201cthis family history tells, this history between what takes place between father and mother and everything that goes with it in the family\u201d. What counts is \u201cthe way in which the subject was separated from the primordial object, how it was affected by this loss […] and what emerged for it from this loss, what fantasy arose from it, what jouissance was recovered from this catastrophe\u201d[4]<\/a>.<\/p>\n

For several years, Anna indulged in her orphan status, while at the same time glorifying her father, an imaginary, heroic father. If Lacan was able to write that \u201cWe mourn but for he of whom we can say I was his lack<\/em>\u201d[5]<\/a>, how can we be this object\u00a0\u03b1<\/em>, that is, what we are for the Other?[6]<\/a> Anna will first maintain this mourning by weaving \u201cbonds only with people who have lost one of their parents. […] Because you haven\u2019t […] lived with this parent, you haven\u2019t been able to create habits with them, you can\u2019t identify the moments when their presence is missing, and then one day you find yourself faced with a hole […] I didn\u2019t know my father any more. If someone had spoken to me about him a few months after his death, I would have been able to talk about him, say what he said and how, but now I\u2019d lost him\u201d[7]<\/a>. But to identify with other orphans is a mistake, and it says nothing about the role her father played for this young girl.<\/p>\n

At the age of seventeen, Anna set off in search of her father. She travelled to several Italian towns to find out who he was. Surprise! Everyone has their own version. Arnoldo, one of her father\u2019s friends, told her that her father not only drank, but also took heroin \u2013\u00a0the worst kind of drug for Anna. \u201cHero really terrified me. […] I used to dream of meeting my father, but all of a sudden he was my nightmare\u201d[8]<\/a>. Faced with a paternal deficiency, a subjective mutation takes place. The father changes place: \u201cIt was hard being the daughter of a heroin addict, but it was just as hard being the daughter of a hero, a perfect man\u201d[9]<\/a>. Anna continues her journey, from discovery to discovery, not always joyful, just like the journey of an analysis. She goes to meet a psychoanalyst, and even two at the same time, the first not receiving her sufficiently in her opinion. We know nothing about these sessions. A veil is thrown.<\/p>\n

On learning that her paternal grandmother also took drugs, and that she had died racing in a car with a friend when her father was only nine, Anna wonders about the function of drugs for him, and his relationship with lack. It is, among other things, a word from Anna\u2019s father that the young girl now interprets differently which allows her, at the end of this epic, to put her father \u201cin his place, quite simply [and to no longer consider] his loss to be the most interesting part\u201d[10]<\/a> of her. It is impossible as such to be the lack of the Other. It took the resort to the fantasy to veil this real, and then to confront it.<\/p>\n

References from the author:
\n[1]<\/a> d\u2019Urso V., M\u00eame le bruit de la nuit a chang\u00e9<\/em>, Paris, Flammarion, 2023.
\n[2]<\/a> Delorme M.-L., \u00ab\u00a0Comment la fille d\u2019In\u00e8s de la Fressange, Violette d\u2019Urso, a enqu\u00eat\u00e9 sur son p\u00e8re, mort en 2006\u00a0\u00bb, Le Journal du dimanche<\/em>, 21\u00a0mars\u00a02023, disponible sur internet.
\n[3]<\/a> Miller J.-A., \u00ab\u00a0Los padres <\/em>dans la direction de la cure\u00a0\u00bb, Quarto<\/em>, n\u00b063, automne-hiver\u00a01997, p.\u00a04-11, (untranslated in English), <\/em>our translation
\n[4]<\/a> Ibid<\/em>., p.\u00a010, our translation
\n[5]<\/a> Lacan, J. The Seminar of Jacques Lacan, Book X, Anxiety<\/em>, edited by Jacques-Alain Miller, translated by A. R. Price. Cambridge: Polity Press, 2014, p. 141.
\n[6]<\/a> Cf. Leguil C., \u00ab\u00a0Marie Laurent interviewe Clotilde Leguil\u00a0\u00bb, entretien avec M.\u00a0Laurent, Ironik<\/em>, n\u00b09, 29\u00a0septembre\u00a02015, publication en ligne. (www.lacan-universite.fr)
\n[7]<\/a> D\u2019Urso V., M\u00eame le bruit de la nuit a chang\u00e9<\/em>, op. cit<\/em>., p.\u00a067-68.
\n[8]<\/a> Ibid<\/em>., p.\u00a090.
\n[9]<\/a> Ibid<\/em>., p.\u00a098-99.
\n[10]<\/a> Ibid<\/em>., p.\u00a0296.<\/p>\n

Translation: Polina Agapaki
\nProofreading: S\u00e9bastien Dauguet<\/p>\n

Picture : \u00a9 Samira Bakhash<\/a><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

At the age of twenty-three, Violette d\u2019Urso wrote her first novel, Even the noise of the night has changed (M\u00eame le bruit de la nuit a chang\u00e9)[1]. Daughter of In\u00e8s de la Fressange and Luigi d\u2019Urso, she lost her father at the age of six, as did the heroine of her book, Anna. The author […]<\/p>\n","protected":false},"author":3,"featured_media":6369,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":""},"categories":[168],"tags":[],"jetpack_featured_media_url":"https:\/\/pipol11.pipolcongres.eu\/wp-content\/uploads\/2023\/06\/Bouvet.Bakhash-sans-.jpg","yoast_head":"\nMy father, this hero \u2013 Fr\u00e9d\u00e9rique Bouvet - Pipol11<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pipol11.pipolcongres.eu\/en\/2023\/06\/19\/my-father-this-hero-frederique-bouvet\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"My father, this hero \u2013 Fr\u00e9d\u00e9rique Bouvet - Pipol11\" \/>\n<meta property=\"og:description\" content=\"At the age of twenty-three, Violette d\u2019Urso wrote her first novel, Even the noise of the night has changed (M\u00eame le bruit de la nuit a chang\u00e9)[1]. 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