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Autore: | Ramel Annie |
Titolo: | The madder stain : a psychoanalytic reading of Thomas Hardy / / by Annie Ramel |
Pubblicazione: | Leiden, Netherlands ; ; Boston, [Massachusetts] : , : Brill/Rodopi, , 2015 |
©2015 | |
Descrizione fisica: | 1 online resource (190 pages) |
Disciplina: | 823/.8 |
Soggetto topico: | Psychoanalysis and literature - England - History - 19th century |
Psychoanalysis and literature - England - History - 20th century | |
Voice in literature | |
Psychology in literature | |
Soggetto genere / forma: | Electronic books. |
Nota di bibliografia: | Includes bibliographical references and indexes. |
Nota di contenuto: | 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. |
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. |
Titolo autorizzato: | The madder stain |
ISBN: | 90-04-29662-X |
Formato: | Materiale a stampa |
Livello bibliografico | Monografia |
Lingua di pubblicazione: | Inglese |
Record Nr.: | 9910461153503321 |
Lo trovi qui: | Univ. Federico II |
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