英：aggressivity;法：agressivite
侵凌性是拉康在其 1936 年至 1950 年代早期的论文里所处理的核心议题之一。我们应当注意的第一点，便是拉康在侵凌性与侵凌 (aggression)之间做出了区分，因为后者仅仅指涉那些暴力的行动，而前者则是一种基本的关系，这种关系不仅构成了此类行动的基础，而且还潜伏在很多其他现象的底层 (见：S 1,117)。因而，拉康指出正如侵凌性存在于那些暴力的行动之中，它也同样存在于那些明显是爱的行动之中：“它构成了慈善家、空想家、教育家乃至改革家的活动之基础”(E, 7)。在采取此种立场之时，拉康只是在重申弗洛伊德有关矛盾情感 (ambivalence, 即爱与恨的相互依存)的概念，拉康将其看作精神分析的根本性发现之一。
拉康把侵凌性定位于自我与相似者之间的二元关系。在镜子阶段 (MIRROR STAGE)中，幼儿将其在镜中的映像视作一个整体，而这便与实在的身体上的不协调形成了鲜明的对比：此种反差会被体验为镜像与实在的身体之间的一种侵凌性的张力，因为形象的整体似乎以解体 (disintegration)与碎裂 (fragmentation)威胁着身体 (见：[[fragmented body 碎裂的身体]]).
随之发生的对于镜像的认同，故而便隐含着与相似者之间的一种同时涉及爱欲 (eroticism)与侵凌的矛盾情感关系。此种“爱欲性侵凌”(erotic aggression)继而作为一种基本的矛盾情感，构成了未来的所有认同形式的基础，而且它也是自恋的一项基本特征。自恋因而能够轻易地从极端的自爱 (self-love)转向“自恋性自杀式侵凌”(法：agression suicidaire narcissique; 英：narcissistic suicidalaggression)的相反极端 (Ec, I 87)。
由于把侵凌性联系于有关爱欲 (©os)的想象秩序，拉康似乎明显背离了弗洛伊德，因为弗洛伊德把侵凌性看作死亡冲动的一种向外表现 (用拉康的话说，死亡冲动并不位于想象界，而是位于象征秩序)。侵凌性同样被拉康联系于黑格尔的殊死搏斗 (he fightto the death)概念，后者是主奴辩证法中的一个阶段。
拉康认为，重要的是通过促使分析者的侵凌性作为负性转移而呈现，从而使分析者的侵凌性在治疗的早期发动。于是，这一指向分析家的侵凌性就变成了“分析戏剧的最初扭结”(E, 14)。治疗的此一时期是十分重要的，因为倘若侵凌性得到分析家正确的处理，伴随而来的就会是“病人最深层阻抗的显著性减少”(Lacan,1951b:13)。
(agressivite) Aggressivity is one of the central issues that Lacan deals with in his papersin the period 1936 to the early 1950 s. The first point that should be noted is that Lacandraws a distinction between aggressivity and aggression, in that the latter refers only toviolent acts whereas the former is a fundamental relation which underlies not only suchacts but many other phenomena also (see S 1,177). Thus aggressivity is just as present, Lacan argues, in apparently loving acts as in violent ones; it 'underlies the activity of thephilanthropist, the idealist, the pedagogue, and even the reformer' (E, 7). In taking thisstance, Lacan is simply restating Freud's concept of ambivalence (the interdependence oflove and hate), which Lacan regards as one of the fundamental discoveries ofpsychoanalysis.
Lacan situates aggressivity in the dual relation between the ego and the counterpart. Inthe MIRROR STAGE, the infant sees its reflection in the mirror as a wholeness, incontrast with the uncoordination in the real body: this contrast is experienced as anaggressive tension between the specular image and the real body, since the wholeness ofthe image seems to threaten the body with disintegration and fragmentation (see FRAGMENTED BODY).
The consequent identification with the specular image thus implies an ambivalentrelation with the counterpart, involving both eroticism and aggression. This 'eroticaggression'continues as a fundamental ambivalence underlying all future forms ofidentification, and is an essential characteristic of narcissism. Narcissism can thus easilyveer from extreme self-love to the opposite extreme of 'narcissistic suicidal aggression (agression suicidaire narcissique)(Ec, 187).
By linking aggressivity to the imaginary order of eros, Lacan seems to divergesignificantly from Freud, since Freud sees aggressivity as an outward manifestation of thedeath drive (which is, in Lacanian terms, situated not in the imaginary but in the symbolicorder). Aggressivity is also related by Lacan to the Hegelian concept of the fight to thedeath, which is a stage in the dialectic of the master and the slave.
Lacan argues that it is important to bring the analysand's aggressivity into play earlyin the treatment by causing it to emerge as negative transference.This aggressivitydirected towards the analyst then becomes 'the initial knot of the analytic drama'(E,14).This phase of the treatment is very important since if the aggressivity is handled correctlyby the analyst,it will be accompanied by 'a marked decrease in the patient's deepestresistances'(Lacan,1951b:13).