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We recall that, for the reader, Freud employs an approach diametrically opposed to his own: what has finally emerged is sex, as what was ignored at the beginning, since Freud began with sublimation. Two threads have been tied together: a first thread for the ambivalence of meaning, which goes as far as meeting with its opposite; a second thread, which links Schelling’s remark: the acknowledgement of lexical ambivalence is thus sexually charged. Freud places his finger on the nodal point. He pulls on the threads and tightens them.

On a hot summer afternoon . ’27 in a style that oscillates between realistic narration and analytic deviation; uncertainty quarrels with certainty. ‘I could not long remain in doubt’ regarding the kind of neighborhood, says Freud. ) and Freud’s wanderings – in obsessive returns. One more return and instead of the distress which Freud claims to have experienced, it is the irresistible comedy of Mark Twain that breaks out. Question: how many repetitions are necessary before distress turns into comedy?

There is a dazzling chapter on disputed death, on the failure of death to serve as an instrument of moral order and public authority; death veiled by an ideological belief in the hereafter. Why would death have this power? Because of its alliance with scientific uncertainty and primitive thought. ‘Death’ does not have any form in life. Our unconscious makes no place ‘for the representation of our mortality’. As an impossible representation, death is that which mimes, by this very impossibility, a reality of death.