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Anna Koustinoudi

Through the prisms of psychoanalysis and narrative theory the article addresses the concepts of temporality and transgenerational phantom in Elizabeth Gaskells Gothic piece ‘The Poor Clare’ (1856). Gaskells text, which revolves around an ancestral curse, is but a loose repetitious narrative characterized by the circularity of its structure and tone – its end casting one back into its middle – with its narrator narrating the past locked into the present, which is completely determined by the future, by the curse to be fulfilled. Narration becomes unsettling and obsessional, revealing the texts shared phantoms/foreign bodies as these implicate the characters and the narrating persona in a complex web of unconscious identifications and psychic splits, eventually coming to congeal around the biblical prophecy: ‘the sins of the fathers shall be visited upon the children’. In being reiterated throughout, the cryptic and (encrypted) words reaffirm both the efficacy of the curse –which always already doubles back on the one that has hurled it – and the texts playing out of desire and trauma, thus rendering the celebrated subject of the Enlightment both an ailing subject and an alien to itself.

Gothic Studies
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Susanne Becker

Subjectivity A necessarily gendered subjectivity structures the gothic as feminine form in three ways: as a split subject it feminises the romance into an ‘interrogative text’; as a subject-in-process it turns the gothic into the story of gender construction; and as subject-in-relation with a gothic figure like the

in Gothic Forms of Feminine Fictions
Elisabeth Bronfen

of position, a fading, an absence within representation as well as a superfluity. Since in Lacan’s terms the conscious subject is necessarily not coherent, always already divided against itself and persistently so (a ‘split subject’), conscious mastery of the self belongs to the realm of a life-preserving fantasy and is supported by the imaginary relations to others as love

in Over her dead body
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A thousand contradictions
Marc James Léger

structures of the unconscious, it is necessary to understand that the subject is typically and in some ways necessarily unaware of the structures of discourse. Lacan’s four different mathemes offer variable placements for four elements that refer to subjectivity in terms of the unconscious structured like a language. The symbol $ refers to the split subject or subject of the unconscious. The symbol ‘a’ refers to Lacan’s concept of the objet petit a , otherwise referred to as the object-cause of desire. The objet a also stands for the unconscious or the bar of difference

in Vanguardia
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Brian Baker

subject, but this is not revealed until near the end of his futile quest to Ireland, when, killed by his nemesis Taylor, it revealed that they are, in fact, one and the same person: ‘Arms clasped, they drowned in air, both of them. Alone’. 20 In Dining on Stones , the ‘splitsubject is still more explicit. In this novel there are two versions of ‘Andrew Norton’, both authors: but of different texts. The first book, ‘Estuarial Lives’, is ‘published’ by ‘Granita Books’ and written by ‘Andrew Norton’; the second, ‘Allegories of Insomnia & Continuous Sky’, is written by

in Iain Sinclair
Open Access (free)
Stirner, anarchy, subjectivity and the art of living
John Moore

energies on to the territories of governance and control. These stases of order are illusory, however, in that the organised appearance of unitary identity is based upon the introduction of division into the 58 Part I Thinking subject. Power disrupts the free flows of energy within the holistic field of subjectivity: it carves up this field and delimits the split subject, divided from and turned against itself in ways which enhance profit maximisation and social control. A language structured around binary oppositions – and principally the polarity between self and

in Changing anarchism
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Jeremy Tambling

that all their thoughts are known (this happened with the ‘Rat Man’), and that voices are speaking to them in the third person: ‘now she’s thinking that again’, or ‘now she’s going out’. This constitutes the split subject, divided not only in that one part is observing the other but because the acting self is spoken of as though it was an object, and, almost, not there. And

in Literature and psychoanalysis
Margaret Atwood and Lady Oracle
Susanne Becker

for a continuing self-in-relation represented in the romance plot. This desire is fulfilled in the popular gothics by the hero’s ‘nurturing love’ (Flax 1990 ; Mussell 1984 ; Modleski 1982 ) replacing the lost mother love. By contrast, it is confronted and questioned in classic feminine gothic form, in which the split subject effectively challenges the dominance of the love plot

in Gothic Forms of Feminine Fictions
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Tim Youngs

of stereotypes (blacks as savage yet as obedient servants; as sexually rampant yet as innocent as children, and so on). I do believe, however, that there are limits to the usefulness of reading racial stereotypes in terms of fetishism. Bhabha’s emphasis on the role of the split subject is helpful and I share some of his views on this, but there are great problems with particular psychoanalytic

in Travellers in Africa
Adrian Millar

precisely in getting her to speak. 9 Add to this his development of the Imaginary, the Symbolic and the Real orders, 10 accounting for the fragmented ego and the centrality of aggressivity to this, 11 the constitution of the split subject caught up in the exigencies of the Other (otherwise the Lacanian

in Socio-ideological fantasy and the Northern Ireland conflict