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Sibylle Lacan’s Un père: puzzle
Elizabeth Fallaize

terms of Lacanian theory, or are there alternative frameworks which can be productively brought to bear on the text? However, it is first necessary to introduce the complex biographical nexus of relations with which the text sets out to deal. Jacques Lacan married Marie-Louise Blondin (‘Malou’) on  January . During their honeymoon in Italy he sent a telegram to his mistress of the day; as Elisabeth Roudinesco remarks in her biography Jacques Lacan, husband and wife had entirely opposing notions of marital fidelity and, in her words, ‘ce couple . . . s

in Women’s writing in contemporary France
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Darkness and suicide in the work of Patricia Highsmith
Fiona Peters

for the deathly life, and it seems that the extremity of social exclusion (whether the self-exclusion of the potential individual suicide or the traumatised prisoner) means that the gap between the two can manifest in representations of the monstrous and uncanny, perfect within the Gothic framework but also included in crime fiction. Central to Lacanian theory (on which Žižek bases much of his own arguments) is the argument that the space between the ‘two deaths’ is filled not with desire that is excluded but with an unconditional and repetitive demand to do or tell

in Suicide and the Gothic
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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
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
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Azzedine Haddour

family romance 107 men against white men.41 The site of difference – racial in Fanon and sexual in Freud or Lacan – is determined by the gaze (sight) of the Other. In Freudian and Lacanian theory, women’s sexual difference is apprehended by the child/boy visually and differentiation is symbolic of lack of power expressed in phallocentric terms as castration. In Fanon, the corporeal schema of the black (i.e. racial difference) is determined by the gaze of the white/child. Castration (lack of power of the black) is interpreted as a disempowering ‘amputation, an

in Frantz Fanon, postcolonialism and the ethics of difference
Native American orphans and sovereignty
Maria Holmgren Troy, Elizabeth Kella and Helena Wahlström

’s adopted daughters, Marie (2003: 61). Hogan’s painful account of adoption appears in The Woman Who Watches Over the World (2001). 28 See Arnold (2007) for a discussion of how Hogan uses the imagery of scars and mirrors to revise Lacanian theory. 29 Karen Sánchez-Eppler (2005) has shown how different conceptions of childhood co-existed in nineteenth-century America, including the Calvinist idea of children as sinful, the Lockean idea of children as blank slates, and the romantic notion of children as natural, innocent beings. Claudia Nelson (2003) characterizes childhood

in Making home
The gothic potential of technology
Lisa Mullen

congealed time, like paintings and photographs. Live television, instead, like a mirror, presents the present, and then erases it. But unlike a mirror, it has no indexical relationship with reality. Freud’s definition of the uncanny describes a conflation of the familiar with the enigmatic, and the same nearness/strangeness binary is disrupted by telepresence and television. The images appearing on cathode screens slip between categories: they are mirrors and maps, they are pictures and they are codes. They operate in the Symbolic realm of Lacanian theory, the realm of

in Mid-century gothic