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• W289302584 abstract "Lacanian readings of Joyce's work, as evidenced by the spate of articles and books devoted to revealing the relationships between psycho-analytic theory and Joyce's oeuvre, greatly contribute to the examination of thc role of language and decidedly non-neutral symbolic systems in gender, sexual, historical, and political spheres. Dubliners has come under the attention of several critics who deftly explicate Joyce's collection of stories using various segments of Lacan's dense, complex, and often contradictory thcories.(1) One example of the marriage of these textual and critical phenomena is Garry Leonard's article Joyce and Lacan: `The Woman' as a Symptom of `Masculinity' in `The Dead,' in which he remarks on human subjccts' desire for unity saying, A Lacanian plot summary of `The Dead' would . . . present the story as three attempts by Gabriel Conroy, with three different women, to confirm the fictional unity of his masculine (451).(2) Gabriel's disconcerting encounters with three different women -- Lily, Miss Ivors, and Gretta -- problematize his attempts to achieve subjective unity, a unity that will enable him to deny the fragmentation inherent in svmbolic existence bv enticing validation of what he should be (i.e., unified or whole) from the Other/The Woman. One important theoretical concern left unexplored, howver, is the manner in which the structure of the narrative mirrors the unity sought by the castrated subject who desires a recovery of the jouissance (sexual gratification/pleasure) lost to the symbolic order and of the unity of the gestalt first perceived by human subjects in what Jacques Lacan labels the stage. will extend Leonard's Lacanian reading of Dead to include the important element of narrative structure so as to expand the critical debate surrounding the cnd. Subjects in thc mirror stage apprehend in the (m)other or in the mirror an image of bodily unity that is contradicted by uncoordinated lived bodily experiences. Infants immediately enter a dialectical relationship, for they see a shape in the mirror and look to a third entity or factor -- the mother (in this case, the mother is purely a symbolic function; that is, a male can fill the role or position of a mother) -- in order to legitimize unity. In his Ecrits Lacan comments on the fundamental operation of the mirror stage: The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is given to him only as Gestalt, that is to say, in an exteriority in which this form is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (un relief de stature) that fixes it and in a symmetry that inverts it, in contrast with the that the subject feels are animating him. (2) The split between subjects' turbulent movements or fragmented lived bodily experiences and ideal images of unity (the ideal ego) embodied in others or in specular images of the self engenders a strong sense of subjective alienation. Subjects desire to overcome this split, but can only approach a fusion of thc primordial form with the lived bodily experience asymptotically (Lacan 2). This being the case, one can conclude that subjects may attempt to close the gap between the je or I (the thinking subject located in and constituted by symbolic functions, articulations, or networks) and the moi or (the me that is the object of the thinking subjcct or the pre-Oedipal ideal ego that represents subjective unity as opposed to chaotic fragmentation), but the attempts at unification will be met with frustration (Lee 65). Although subjects desire stability and order, subjectivity is fundamentally split.(3) This split becomes a home to the kernel around which thc subjects, desire circulates. Additionally, it is absolutely crucial to an understanding of subjectivity precisely because it is not wholly understood. …" @default.
• W289302584 created "2016-06-24" @default.
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• W289302584 date "1995-06-22" @default.
• W289302584 modified "2023-09-24" @default.
• W289302584 title "Passing Boldly into That Other World of (W)holes: Narrativity and Subjectivity in James Joyce's The Dead.(Special Dubliners Number)" @default.
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