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[null,"1.","Record Nr.",null,"UNINA9910810400703321"]
[null,null,"Autore",null,"Ramel Annie"]
[null,null,"Titolo",null,"The madder stain : a psychoanalytic reading of Thomas Hardy / / by Annie Ramel"]
[null,null,"Pubbl/distr/stampa",null,"Leiden, Netherlands ; ; Boston, [Massachusetts] : , : Brill/Rodopi, , 2015"]
[{"$nulls":4},"©2015"]
[null,null,"ISBN",null,"90-04-29662-X"]
[null,null,"Descrizione fisica",null,"1 online resource (190 pages)"]
[null,null,"Collana",null,"Contemporary Psychoanalytic Studies, , 1571-4977 ; ; Volume 21"]
[null,null,"Disciplina",null,"823/.8"]
[null,null,"Soggetti",null,"Psychoanalysis and literature - England - History - 19th century"]
[{"$nulls":4},"Psychoanalysis and literature - England - History - 20th century"]
[{"$nulls":4},"Voice in literature"]
[{"$nulls":4},"Psychology in literature"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and indexes."]
[null,null,"Nota di contenuto",null,"Preliminary Material -- Introduction -- The Letter Killeth -- The Feminine: Reading Hardy after Lacan’s xxth Seminar -- The Logic of Desire -- The Object Gaze -- The Object-Voice -- Conclusion -- Bibliography -- Index of Names -- Index of Subjects."]
[null,null,null,"Sommario/riassunto","The “madder stain” imprinted on Tess d’Urberville’s arm is part of a motif which runs through Hardy’s fiction. Similar to Barthes’s punctum shooting out of the studium , the stain is a place where the Real erupts, a blind spot that eludes interpretation. In the diegesis of the tragic novels, it is a surplus object whose intrusion disrupts reality and spells disaster. This book attempts to approach that unknowable kernel of jouissance by using Lacan’s concepts of object-gaze and object-voice—sometimes revisited by Zizek. The stain has a vocal quality: it is silence audible. In a world where sound cannot reverberate for lack of a structural void, voice is by necessity muted, stuck in the throat. Hence the peculiar quality of Tess’s voice, a silent feminine cry that has retained something of the lost vocal object. The sound of silence is what Hardy’s poetic prose allows us to hear."]