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Adrian Millar

. Lederach notes that ‘[c]onflict is born in the world of human meaning and perception’, 16 which tells us that language has everything to do with conflict and that Lacanian theory, which views the unconscious as being structured like language, can help us deal with this. Participants to a conflict must do more than analyse the situation or try to understand the other. Francis Diane

in Socio-ideological fantasy and the Northern Ireland conflict
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Artist and critic meet in the mirror
Mary Karen Dahl

–70. Foucault makes it possible to see more clearly (1) making theatre as a labour we perform in order to know and (2) responding to art as work that constructs an object and in that process modifies subjectivity. I am indebted to Aaron C. Thomas for this formulation. His careful notes added much to this essay. Thanks also to David Ian Rabey for his insightful comments. One could productively use this play with its mirrored wardrobe to interrogate Lacanian theories of subject formation and desire. Here my project is somewhat different. Consistent with the proposition that

in Howard Barker’s Art of Theatre
Azzedine Haddour

that Bhabha, to quote Henry Louis Gates, ‘regrets those moments in Fanon that cannot be reconciled to the post-structuralist critique of identity’.14 Bhabha imposes Lacanian theory on Fanon, and then goes on to criticize him for not adhering to Lacan’s definition of the subject, for situating the place of the Other at ‘a fixed phenomenological point, opposed to the self, that represents a culturally alien consciousness’.15 Bhabha admonishes Fanon for not sticking to a strictly psychoanalytical problematic; and, as the following passage illustrates, he levels against

in Frantz Fanon, postcolonialism and the ethics of difference
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Adrian Millar

themselves in Northern Ireland. However, her analysis of Northern Protestant identity presented in the epilogue shows once again the weakness of the journalistic approach that relies heavily on psychology. Below, I examine the author’s analysis of Protestant identity, give examples of the major themes of the Protestant self-interpretation, and, finally, demonstrate how the application of Lacanian theory would

in Socio-ideological fantasy and the Northern Ireland conflict
Gender, the family and eroticism
Kate Ince

perceives its own identity as a body, and its difference from the world around it) to triadic, triangulated ones. In Lacan’s terminology, entry into the Symbolic order is effected by an encounter with the paternal law which, crucially for Lacanian theory, involves entry into language. Lacan’s ‘return’ to Freud renewed and transformed Freudian narratives of the construction of sexual difference by combining his ideas with structural

in Georges Franju
Adrian Millar

Lacanian theory on the construction of identity. The present research differs radically from the work of McGarry and O’Leary. The latter assume that the two communities in Northern Ireland work out of their historical worldview in a predictable and coherent way whereas it is my belief that an agreed interpretation of the Northern Ireland conflict, let alone the validity of this worldview, is not something

in Socio-ideological fantasy and the Northern Ireland conflict
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John Phillips

. The Real, on the other hand, in the psychoanalytical sense of that word, is omnipresent in Robbe-Grillet’s films, not least in the images of cutting, of blood and broken bottles, that keep washing up on the shores of his imaginary. For Slavoj Žižek, who relies on Lacanian theories of the Real, ‘cutting is a radical attempt to (re)gain a hold on reality […] to ground the ego firmly in bodily reality, against the unbearable

in Alain Robbe-Grillet
Fashioning a journeyer identity
Emma Robinson-Tomsett

discourses are historically contingent. See R. Barthes, ‘Writers, intellectuals, teachers’, in R. Barthes, The Rustle of Language, trans. R. Howard (Oxford, 1986), p. 317. 7 Hassan, Sailing to Australia, pp. 78  –  88, 99, 135, 185  –7. 8 M.W. Alcorn, Jr, ‘The subject of discourse: reading Lacan through (and beyond) poststructuralist contexts’, in M. Bracher, M.W. Alcorn, Jr, R.J. Carthell and F. Massardier-Kenney (eds), Lacanian Theory of Discourse: Subjects, Structure and Society (New York, 1994), p. 19. 9 Ibid., p. 37. 10 Ibid., p. 19. 11 Ibid., p. 31

in Women, travel and identity
Patrick Duggan

action on stage is, of course, part of that ‘real’ world. It is in the same instant fiction and happening in the here and now of the ‘real’. This is a fairly well-rehearsed and perhaps by now quite a pedestrian point, but it moves us towards deeper complexity in assuming, as it does, that there is the possibility of a ‘real’ outside of signification. Picking up from de Saussure, and linking to Lacanian theories of the Real, Derrida notes that meaning 62 Mimetic shimmering and the performative punctum is constructed through absences and differences, that language

in Trauma-tragedy
Gothic and the perverse father of queer enjoyment
Dale Townshend

and Melmoth and beyond have come to understand, it is the meaning of human passion in all its depth, its scope and its intensity. For all queer theory’s aversion to what it has often taken to be the ‘unremittingly heteronormative’ effects of the psychoanalytic paradigm, 40 Lacanian theory is useful in opening up the Gothic’s queer perversions to its ethical possibilities. If

in Queering the Gothic