By Ben Ramm
The Holy Grail made its first literary visual appeal within the paintings of the twelfth-century French poet, Chr?tien de Troyes, and maintains to fascinate authors and audiences alike. This learn, supported by way of a theoretical framework according to the psychoanalytic works of Jacques Lacan and the cultural conception of Slavoj Zizek, goals to strip the legend of a lot of the mythological and folkloric organization that it has received over the centuries, arguing that the Grail will be learn as a symptom of disruption and obscurity instead of fulfilment and revelation. targeting thirteenth-century Arthurian prose romances, l. a. Queste del Saint Graal and Perlesvaus, and drawing widely at the wider box of previous French Grail literature together with the works of Chr?tien and Robert de Boron, the booklet examines the private, social and textual results produced through encounters with the Grail so one can recommend that the Grail itself is instrumental not just in developing but in addition in stressful, the discursive, psychic and cultural bonds which are represented during this advanced and beautiful literary culture. BEN RAMM is examine Fellow in French, St. Catharine's university, Cambridge.
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Extra info for A Discourse for the Holy Grail in Old French Romance (Gallica)
107. As Bracher notes, the discourse of the Hysteric is characterized by ‘instances of resistance, protest, and complaint – from the plaintive anthems of slaves to the yearning lyrics of lovesick poets to the iconoclastic rhetoric of revolutionaries’ (‘Psychological and Social Functions’, p. 122). 50 For the sake of clarity, I opt to use the title Joseph d’Arimathie when referring to this text. 51 ¥i]ek comments on ‘the hysterical, “scandalous” kernel of Christianity, [. ] obscured by its institutionalization of the obsessional ritual’ (LA, p.
83 78 79 80 81 Lacan, S8, p. 185. Lacan, S8, p. 177. ¥i]ek, Negative, p. 264 n. 3. Lacan, S8, p. 147. Cf. ” Le trait unaire , the unary feature which triggers love, is always an index of an imperfection’ (Negative, pp. 125–6). 82 ¥i]ek, Negative, p. 266 n. 15. 83 Lacan, S8, p. 167. 30 BEN RAMM [Do you not find some of the magic there that I already showed you around the Che vuoi? It is surely this key, this essential character of the subject’s topology that begins with What do you want? ] We appear to have come full-circle back to our point of departure – the hysterical questioning of the desire of the Other – Deus quid vult?
Kristeva, Pouvoirs, p. 44. Lacan, S4, p. 23. Kristeva, Pouvoirs, p. 46. See ‘Le Point de capiton’ in Lacan, S3, pp. 293–306. 28 BEN RAMM If Lacan’s four discourse mathemes operate as points de capiton, can we then conclude that they similarly perform the function of phobic objects/metaphors, condensing and displacing the underlying source of anxiety? This hypothesis would certainly seem to be substantiated on the basis that the phobic metaphor is essentially the hallucination of a nothing, of a lack.
A Discourse for the Holy Grail in Old French Romance (Gallica) by Ben Ramm
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