There was once a bumper sticker that read, "Remember the good old days when air was clean and sex was dirty?" Indeed, some of us are old enough to remember not only those good old days, but even the days when Math was/un(!), not the ponderous THEOREM, PROOF, THEOREM, PROOF, . . . , but the whimsical, "I've got a good prob lem. " Why did the mood change? What misguided educational philoso phy transformed graduate mathematics from a passionate activity to a form of passive scholarship? In less sentimental terms, why have the graduate schools dropped the Problem Seminar? We therefore offer "A Problem Seminar" to those students who haven't enjoyed the fun and games of problem solving. CONTENTS Preface v Format I Problems 3 Estimation Theory 11 Generating Functions 17 Limits of Integrals 19 Expectations 21 Prime Factors 23 Category Arguments 25 Convexity 27 Hints 29 Solutions 41 FORMAT This book has three parts: first, the list of problems, briefly punctuated by some descriptive pages; second, a list of hints, which are merely meant as words to the (very) wise; and third, the (almost) complete solutions. Thus, the problems can be viewed on any of three levels: as somewhat difficult challenges (without the hints), as more routine problems (with the hints), or as a textbook on "how to solve it" (when the solutions are read). Of course it is our hope that the book can be enjoyed on any of these three levels.

"Alcibiades attempted to seduce Socrates, he wanted to make him, and in the most openly avowed way possible, into someone instrumental and subordinate to what? To the object of Alcibiades's desire – ágalma, the good object. I would go even further. How can we analysts fail to recognize what is involved? He says quite clearly: Socrates has the good object in his stomach. Here Socrates is nothing but the envelope in which the object of desire is found. It is in order to clearly emphasize that he is nothing but this envelope that Alcibiades tries to show that Socrates is desire's serf in his relations with Alcibiades, that Socrates is enslaved to Alcibiades by his desire. Although Alcibiades was aware that Socrates desired him, he wanted to see Socrates's desire manifest itself in a sign, in order to know that the other – the object, ágalma – was at his mercy. Now, it is precisely because he failed in this undertaking that Alcibiades disgraces himself, and makes of his confession something that is so affectively laden. The daemon of Αἰδώς (Aidós), Shame, about which I spoke to you before in this context, is what intervenes here. This is what is violated here. The most shocking secret is unveiled before everyone; the ultimate mainspring of desire, which in love relations must always be more or less dissimulated, is revealed – its aim is the fall of the Other, A, into the other, a." Jacques Lacan

Revolutionary and innovative, Lacan's work lies at the epicenter of modern thought about otherness, subjectivity, sexual difference, and enjoyment.

In his famous seminar on ethics, Jacques Lacan uses this question as his departure point for a re-examination of Freud's work and the experience of psychoanalysis in relation to ethics. Delving into the psychoanalyst's inevitable involvement with ethical questions, Lacan clarifies many of his key concepts. During the seminar he discusses the problem of sublimation, the paradox of jouissance, the essence of tragedy, and the tragic dimension of analytical experience. One of the most influential French intellectuals of this century, Lacan is seen here at the height of his powers.

A complete translation of the seminar that Jacques Lacan gave in the course of a year's teaching within the training programme of the Société Française de Psychanalyse.

Nominee! 2012 Drama League Award for Distinguished Production of a Play In Seminar, a provocative comedy from Pulitzer Prize nominee Theresa Rebeck, four aspiring young novelists sign up for private writing classes with Leonard (JEFF GOLDBLUM), an international literary figure. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon and hearts are unmoored. The wordplay is not the only thing that turns vicious as innocence collides with experience in this biting Broadway comedy.