{"id":15663,"date":"2022-03-17T14:57:17","date_gmt":"2022-03-17T13:57:17","guid":{"rendered":"https:\/\/www.grandesassisesamp2022.com\/?p=15663"},"modified":"2022-03-26T12:51:53","modified_gmt":"2022-03-26T11:51:53","slug":"volume-scilicet","status":"publish","type":"post","link":"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/","title":{"rendered":"Scilicet Volume &#8211; Contents"},"content":{"rendered":"\n<p>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;12<\/p>\n\n\n\n<p>\u201cThe Smallest Woman in the World\u201d&nbsp;<em>Angelina Harari<\/em><\/p>\n\n\n\n<p>Overture&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15<\/p>\n\n\n\n<p>Of Semblants in the Relation Between Sexes&nbsp;<em>Jacques-Alain Miller<\/em><\/p>\n\n\n\n<p>Argument&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25<\/p>\n\n\n\n<p>Woman Does Not Exist&nbsp;<em>Christiane Alberti<\/em><\/p>\n\n\n\n<p>Anatomy, Identifications, Subjectivation&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>S\u00e9rgio Laia<\/em><\/p>\n\n\n\n<p>Beyond the Materiality of the Body&nbsp;<em>Rosanna Tremante<\/em><\/p>\n\n\n\n<p>Of the Embodied Signifier&nbsp;<em>Andrea V. Zelaya<\/em><\/p>\n\n\n\n<p>Only Women Identify Themselves&nbsp;<em>Carole Dewambrechies-La Sagna<\/em><\/p>\n\n\n\n<p>Trans Women Beyond Psychosis&nbsp;<em>Russell Grigg<\/em><\/p>\n\n\n\n<p>Castration&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;41<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Flory Kruger<\/em><\/p>\n\n\n\n<p>Playing with&nbsp;<em>Lalangue<\/em>&nbsp;<em>Laura Valcarce<\/em><\/p>\n\n\n\n<p>Of What Makes a Hole&nbsp;<em>Nohem\u00ed Brown<\/em><\/p>\n\n\n\n<p>The Dialectic of the Hetero&nbsp;<em>Claudio Morgado<\/em><\/p>\n\n\n\n<p>The Prestige of the Phallus in Decline&nbsp;<em>Gil Caroz<\/em><\/p>\n\n\n\n<p>Objects&nbsp;<em>a&nbsp;<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>&nbsp;<\/em>51<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Fabi\u00e1n Naparstek<\/em><\/p>\n\n\n\n<p>The Silence of Woman&nbsp;<em>Margarita \u00c1lvarez<\/em><\/p>\n\n\n\n<p>Color of Void&nbsp;<em>Cleide Pereira Monteiro<\/em><\/p>\n\n\n\n<p>Nothing&nbsp;<em>Sonia Chiriaco<\/em><\/p>\n\n\n\n<p>Taking the Other for His Soul&nbsp;<em>Roberto Bertholet<\/em><\/p>\n\n\n\n<p>Variations of Lack&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;61<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Mar\u00eda Cristina Aguirre<\/em><\/p>\n\n\n\n<p>Lack of Object, Object of Lack&nbsp;<em>Daniela de Camargo Barros Affonso<\/em><\/p>\n\n\n\n<p>From Lack I Expect Nothing&nbsp;<em>Carlos Rossi<\/em><\/p>\n\n\n\n<p>Jouissance from Privation&nbsp;<em>Chantal Bonneau<\/em><\/p>\n\n\n\n<p>Without Name&nbsp;<em>Joaqu\u00edn Carrasco<\/em><\/p>\n\n\n\n<p>Masculine\/Feminine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;71<\/p>\n\n\n\n<p>Presentation<em>&nbsp;M\u00f3nica Torres<\/em><\/p>\n\n\n\n<p>The Common Error&nbsp;<em>Susana Huler<\/em><\/p>\n\n\n\n<p>The Future of the Partial Drive&nbsp;<em>Adri\u00e1n Scheinkestel<\/em><\/p>\n\n\n\n<p>Consenting to Femininity&nbsp;<em>Bernard Seynhaeve<\/em><\/p>\n\n\n\n<p>Jouissance as Such&nbsp;<em>Alejandra Hornos<\/em><\/p>\n\n\n\n<p>Name-of-the-Father and&nbsp;<em>P\u00e8re<\/em>-version&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;81<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Mario Elkin Ram\u00edrez<\/em><\/p>\n\n\n\n<p><em>P\u00e8re<\/em>-versely Oriented&nbsp;<em>Concha Lech\u00f3n<\/em><\/p>\n\n\n\n<p>Starting from Interpretation&nbsp;<em>Laurent Dupont<\/em><\/p>\n\n\n\n<p>Solutions in Psychosis&nbsp;<em>In\u00e9s Sotelo<\/em><\/p>\n\n\n\n<p>Beyond Norms and Anatomy&nbsp;<em>Els Van Compernolle<\/em><\/p>\n\n\n\n<p>Feminine Form of Desire&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92<em><\/em><\/p>\n\n\n\n<p>Presentation<em>&nbsp;Anna Arom\u00ed<\/em><\/p>\n\n\n\n<p>Fantasy, Desire, What Remains&nbsp;<em>Viviana Mozzi<\/em><\/p>\n\n\n\n<p>From Pathos to Not-All&nbsp;<em>Valeria Sommer-Dupont<\/em><\/p>\n\n\n\n<p>The Matheme of the Desire of the Woman&nbsp;<em>Maria Jos\u00e9 Gontijo Salum<\/em><\/p>\n\n\n\n<p>Flight of Desire&nbsp;<em>Cyrus Saint Amand Poliakoff<\/em><\/p>\n\n\n\n<p>Fantasy in the Feminine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;102<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Ruzanna Hakobyan<\/em><\/p>\n\n\n\n<p>To Be the Phallus or Not to Be&nbsp;<em>Caroline Leduc<\/em><\/p>\n\n\n\n<p>Ready-Made Versions&nbsp;<em>Ana Cecilia Gonz\u00e1lez<\/em><\/p>\n\n\n\n<p><em>Hainamoration<\/em>&nbsp;and Femicide&nbsp;<em>Heloisa Caldas<\/em><\/p>\n\n\n\n<p>What Makes Up for the Sexual Non-Relation&nbsp;<em>Peggy Papada<\/em><s><\/s><\/p>\n\n\n\n<p>Doubt and Dissatisfaction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;113<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Osvaldo Delgado<\/em><\/p>\n\n\n\n<p>Defense Against the Not-All&nbsp;<em>Jos\u00e9 Lachevsky<\/em><\/p>\n\n\n\n<p>Modes of Response&nbsp;<em>Roger Litten<\/em><\/p>\n\n\n\n<p>Hysterical Dissatisfaction&nbsp;<em>Jean&nbsp;Luc&nbsp;Monnier<\/em><\/p>\n\n\n\n<p>Unpredictable Affects&nbsp;<em>Laura Pacati<\/em><em><\/em><\/p>\n\n\n\n<p>Symptom and&nbsp;<em>Sinthome&nbsp;<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;123<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Juan Fernando P\u00e9rez<\/em><\/p>\n\n\n\n<p>An Answer to the Hole&nbsp;<em>Leonora Troianovski<\/em><\/p>\n\n\n\n<p>Believing in It&nbsp;<em>Rachele Giuntoli<\/em><\/p>\n\n\n\n<p>A Question of Writing&nbsp;<em>Pilar Ord\u00f3\u00f1ez<\/em><em><\/em><\/p>\n\n\n\n<p>Equivoque and Nomination&nbsp;<em>Guy Poblome<\/em><\/p>\n\n\n\n<p>Supplementary Jouissance&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;134<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Esthela Solano-Suarez<\/em><\/p>\n\n\n\n<p>Between Center and Absence&nbsp;<em>H\u00e9l\u00e8ne Bonnaud<\/em><\/p>\n\n\n\n<p>De-limited&nbsp;<em>Pepa Freir\u00eda<\/em><\/p>\n\n\n\n<p>An Obscure Evidence&nbsp;<em>Fernanda Otoni Brisset<\/em><em><\/em><\/p>\n\n\n\n<p>On Jouissance One&nbsp;<em>Adriana Lai\u00f3n<\/em><\/p>\n\n\n\n<p>Heterosexuality&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;144<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Marcelo Veras<\/em><\/p>\n\n\n\n<p>From the One to the Other&nbsp;<em>Claudia Vel\u00e1squez<\/em><\/p>\n\n\n\n<p>That Which Loves Women&nbsp;<em>Beatriz Gonzalez-Renou<\/em><\/p>\n\n\n\n<p>An Ethics&nbsp;<em>Andr\u00e9s Border\u00edas<\/em><\/p>\n\n\n\n<p>Towards Irreducible Opacity&nbsp;<em>Bruno de Halleux<\/em><\/p>\n\n\n\n<p>Love&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;154<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Marie-H\u00e9l\u00e8ne Brousse<\/em><\/p>\n\n\n\n<p>A Career With No Limit&nbsp;<em>Jacqueline Dh\u00e9ret<\/em><\/p>\n\n\n\n<p>An Erotomaniac Style&nbsp;<em>Nicol\u00e1s Bouso\u00f1o<\/em><\/p>\n\n\n\n<p>In&nbsp;<em>P\u00e8re<\/em>-version&nbsp;<em>Pasquale Indulgenza<\/em><\/p>\n\n\n\n<p>To Enjoy It&nbsp;<em>Jorge Sosa<\/em><em><\/em><\/p>\n\n\n\n<p>Ravage and Ravishment&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;164<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Adele Succetti<\/em><\/p>\n\n\n\n<p><em>Jouissabsence&nbsp;<\/em><em>Marie-H\u00e9l\u00e8ne Blancard<\/em><em><\/em><\/p>\n\n\n\n<p>Between Solitude and Disappearance<em>&nbsp;Sara Bord\u00f2<\/em><\/p>\n\n\n\n<p>The Gaze in Saint Teresa&nbsp;<em>Elvira Dianno<\/em><\/p>\n\n\n\n<p>Lol V. Stein, a Being of Three&nbsp;<em>Celeste Stecco<\/em><em><\/em><\/p>\n\n\n\n<p>More Real Woman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;174<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Silvia Elena Tendlarz<\/em><\/p>\n\n\n\n<p>The Act of a True Woman&nbsp;<em>Rodrigo Lyra Carvalho<\/em><\/p>\n\n\n\n<p>\u201cFrailty, Thy Name Is Woman\u201d<em>&nbsp;<\/em><em>Daniela Fern\u00e1ndez<\/em><\/p>\n\n\n\n<p>Sabina Spielrein, on the Edge of Femininity&nbsp;<em>F<\/em><em>lorencia Fern\u00e1ndez Coria Shanahan<\/em><\/p>\n\n\n\n<p>The Act of Medea&nbsp;<em>Ang\u00e8le Terrier<\/em><\/p>\n\n\n\n<p>The White Goddess&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;184<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Agn\u00e8s Aflalo<\/em><\/p>\n\n\n\n<p>Woman as a Name-of-the-Father&nbsp;<em>Esteban Klainer<\/em><\/p>\n\n\n\n<p>The Demigod and the Divine&nbsp;<em>Deborah Gutermann-Jacquet<\/em><\/p>\n\n\n\n<p>Mask of Heteros&nbsp;<em>Paola Bolgiani<\/em><\/p>\n\n\n\n<p>Not-All Mad, Not Mad at All&nbsp;<em>Esperanza Molleda<\/em><\/p>\n\n\n\n<p>Push-to-the-Woman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;194<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Estela Paskvan<\/em><\/p>\n\n\n\n<p><em>Voluptas<\/em>&nbsp;<em>Marcela Antelo<\/em><\/p>\n\n\n\n<p>Emasculation&nbsp;<em>Philip Dravers<\/em><\/p>\n\n\n\n<p>A Push-to-the-Exception&nbsp;<em>Sophie Marret-Maleval<\/em><\/p>\n\n\n\n<p>A Dead Love&nbsp;<em>Bel\u00e9n Zubillaga<\/em><\/p>\n\n\n\n<p>Not-All&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;204<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Laura Cec\u00edlia Rizzo<\/em><\/p>\n\n\n\n<p>Without Measure&nbsp;<em>Bernard Lec\u0153ur<\/em><\/p>\n\n\n\n<p>Pass It On&nbsp;<em>Beatriz Udenio<\/em><\/p>\n\n\n\n<p>Nothing Is Not the Void&nbsp;<em>Cristiano Lastrucci<\/em><\/p>\n\n\n\n<p>The Logical Germ of the Feminine&nbsp;<em>Amanda Goya<\/em><\/p>\n\n\n\n<p>Other for Herself&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;216<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>R\u00f4mulo Ferreira da Silva<\/em><em><\/em><\/p>\n\n\n\n<p>Genealogy of a Matheme: S(\u023a)&nbsp;<em>Philippe de Georges<\/em><\/p>\n\n\n\n<p>Clinic of Feminine Sexuality&nbsp;<em>Marta Maside<\/em><\/p>\n\n\n\n<p>A Jouissance that Unfolds&nbsp;<em>Edna Elena G\u00f3mez Murillo<\/em><\/p>\n\n\n\n<p>Joyce\u2019s Feminine Position&nbsp;<em>Katty Langelez-Stevens<\/em><\/p>\n\n\n\n<p><em>Lalangue&nbsp;<\/em>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<em>&nbsp;<\/em>226<em><\/em><\/p>\n\n\n\n<p>Presentation<em>&nbsp;Araceli Fuentes<\/em><\/p>\n\n\n\n<p>The Real of the Non-Relation&nbsp;<em>Heloisa Prado Telles<\/em><em><u><\/u><\/em><\/p>\n\n\n\n<p>The Secret Language of Women&nbsp;<em>Graciela Gonz\u00e1lez Horowitz<\/em><\/p>\n\n\n\n<p>The Ravage of the Word&nbsp;<em>Sophie Gayard<\/em><\/p>\n\n\n\n<p>What Remains, Remains Written&nbsp;<em>Renato Andrade<\/em><\/p>\n\n\n\n<p>Existing Is Not Being&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;236<\/p>\n\n\n\n<p>Presentation<em>&nbsp;<\/em><em>Philippe Hellebois<\/em><\/p>\n\n\n\n<p>Towards a Clinic of Resonance&nbsp;<em>Giancarla Antezana<\/em><\/p>\n\n\n\n<p>Reading the Letter&nbsp;<em>Damasia Amadeo de Freda<\/em><\/p>\n\n\n\n<p>Meaning and Writing&nbsp;<em>B\u00e9n\u00e9dicte Jullien<\/em><\/p>\n\n\n\n<p>Heterodox Logic&nbsp;<em>Luis&nbsp;<\/em><em>Francisco Camargo<\/em><\/p>\n\n\n\n<p>Uses of the Feminine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;247<\/p>\n\n\n\n<p>Presentation<em>&nbsp;Francesca&nbsp;<\/em><em>Biagi Chai<u><\/u><\/em><\/p>\n\n\n\n<p>Inconsistency of the Feminine&nbsp;<em>Matteo Bonazzi<\/em><\/p>\n\n\n\n<p>How to Write It?&nbsp;<em>Patricia Tagle Barton<\/em><\/p>\n\n\n\n<p>Male Feminizations&nbsp;<em>Pierre Sidon<\/em><\/p>\n\n\n\n<p>That She Exists Is a Woman\u2019s Dream&nbsp;<em>Gabriela Grinbaum<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;12 \u201cThe Smallest Woman in the World\u201d&nbsp;Angelina Harari Overture&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15 Of Semblants in the Relation Between Sexes&nbsp;Jacques-Alain Miller Argument&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25 Woman Does Not Exist&nbsp;Christiane Alberti Anatomy, Identifications, Subjectivation&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31 Presentation&nbsp;S\u00e9rgio Laia Beyond the Materiality of the Body&nbsp;Rosanna Tremante Of the Embodied Signifier&nbsp;Andrea V. Zelaya Only Women Identify Themselves&nbsp;Carole Dewambrechies-La Sagna Trans Women Beyond Psychosis&nbsp;Russell Grigg Castration&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;41 Presentation&nbsp;Flory Kruger&hellip;&nbsp;<a href=\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/\" class=\"\" rel=\"bookmark\">Read More &raquo;<span class=\"screen-reader-text\">Scilicet Volume &#8211; Contents<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[84],"tags":[],"class_list":["post-15663","post","type-post","status-publish","format-standard","hentry","category-scilicet-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Scilicet Volume - Contents - Grandes assises AMP 2022<\/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:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Scilicet Volume - Contents - Grandes assises AMP 2022\" \/>\n<meta property=\"og:description\" content=\"Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;12 \u201cThe Smallest Woman in the World\u201d&nbsp;Angelina Harari Overture&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15 Of Semblants in the Relation Between Sexes&nbsp;Jacques-Alain Miller Argument&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25 Woman Does Not Exist&nbsp;Christiane Alberti Anatomy, Identifications, Subjectivation&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31 Presentation&nbsp;S\u00e9rgio Laia Beyond the Materiality of the Body&nbsp;Rosanna Tremante Of the Embodied Signifier&nbsp;Andrea V. Zelaya Only Women Identify Themselves&nbsp;Carole Dewambrechies-La Sagna Trans Women Beyond Psychosis&nbsp;Russell Grigg Castration&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;41 Presentation&nbsp;Flory Kruger&hellip;&nbsp;Read More &raquo;Scilicet Volume &#8211; Contents\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/\" \/>\n<meta property=\"og:site_name\" content=\"Grandes assises AMP 2022\" \/>\n<meta property=\"article:published_time\" content=\"2022-03-17T13:57:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-26T11:51:53+00:00\" \/>\n<meta name=\"author\" content=\"adminamp2022paris\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Team Scilicet\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/\",\"url\":\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/\",\"name\":\"Scilicet Volume - Contents - Grandes assises AMP 2022\",\"isPartOf\":{\"@id\":\"https:\/\/www.grandesassisesamp2022.com\/#website\"},\"datePublished\":\"2022-03-17T13:57:17+00:00\",\"dateModified\":\"2022-03-26T11:51:53+00:00\",\"author\":{\"@id\":\"https:\/\/www.grandesassisesamp2022.com\/#\/schema\/person\/2fa9e0cb7f367fcf957986574be53f80\"},\"breadcrumb\":{\"@id\":\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.grandesassisesamp2022.com\/en\/volume-scilicet\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/www.grandesassisesamp2022.com\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Scilicet Volume &#8211; 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