Jacques Lacan459 definitions
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Absence (n.) is one half of the fundamental binary opposition (the other half being presence) which characterizes the symbolic order.
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An Act (n.) is an ethical concept. The actor can be held responsible for it.
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An Affect (n.) is as diverse as the pain of existence, hatred, ignorance, mourning, sadness, joyful knowledge, boredom, moroseness, anger, shame, and enthusiasm. Affect involves enigmatic affects such as anguish, love, and the satisfaction related to the end of an analysis.
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An Affect (n.) is not a signifier but a signal. Repression does not bear upon the affect (which can only be transformed or displaced) but upon the ideational representative.
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Aggression (n.) is essential to the interaction of subject and other.
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Aggression (n.) is not reducible to a biological instinct but gains significance only in language. It is a necessary instrument through which the subject may experience itself as a unified self. In order to maintain its coherence and sense of mastery, it is necessary for the subject to impose this idealized image upon others.
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Aggression (n.) is the defense-mechanism of a subject that is never quite whole.
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Alienation (n.) is the feeling of dissention between one's perceived visual appearance and one's perceived emotional reality.
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The Analyst (n.) is trained to retain whatever is significant, without always knowing what to do with it.
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Anorexia (n.) is not a 'not eating', but rather it is an 'eating nothing'.
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Anxiety (n.) is a topological problem. It puts my being-there in question. Rather than opening me to an existential question of who or what I am, if forces upon me a question of where I am.
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Anxiety (n.) is terrible precisely because it is not focused on a particular object but revolves around an absence.
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Anxiety (n.) is the cause of doubt. Thus, the true meaning of causality should be looked for in the phenomenon of anxiety.
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Anxiety (n.) is the only emotion that does not deceive.
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Aphanisis (n.) is the self-obliteration of the subject. When a subject comes too close to the fantasmatic kernel of their being, the subject loses his/her symbolic consistency and disintegrates.
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Art (n.) analyzes the subject (for instance, his reading of edger allan poe's the purloined letter'), rather than, as for freud, something to be analyzed (his reading of e.T.A. Hoffmann's 'the sandman').