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 through a theoretical framework in accordance with the psychoanalytic works of Jacques Lacan and the cultural idea of Slavoj Zizek, goals to strip the legend of a lot of the mythological and folkloric organization that it has obtained over the centuries, arguing that the Grail could 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Arthurian prose romances, l. a. Queste del Saint Graal and Perlesvaus, and drawing broadly at the wider box of outdated French Grail literature together with the works of Chr?tien and Robert de Boron, the booklet examines the non-public, social and textual results produced by means of encounters with the Grail so as to recommend that the Grail itself is instrumental not just in developing but additionally in annoying, the discursive, psychic and cultural bonds which are represented during this complicated and attractive 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)
10 With agency accorded to the master signifier (S1), the discourse attempts to promote synthesis, stability and identity: 3 Bynum, Metamorphosis and Identity, p. 21. See especially ‘Aristotle in the Middle Ages’, in The Cambridge History of Later Medieval Philosophy, ed. , pp. 43–98. 4 For a basic summary of Aristotle’s propositions, see Marenbon, Later Medieval Philosophy, pp. 95–7. A more sustained exposition is offered by Hartman, Substance, Body, and Soul, pp. 88–130. 5 Medieval Philosophy, ed.
Sin and the discourse of the Hysteric $ –– a à S1 –– S2 The discourse of the Hysteric, dominated by the split in the subject who assumes the position of the agent, is articulated by a lack: that which has been left out of, or remains unsymbolized in, discourse. As such it is perhaps in this discourse structure, rather than that of the Master, that the terms and positions are most congruously associated, all discourse being fundamentally motivated by, and rehearsing, the impossible ex-pression of desire.
77 Lacan, S8, p. 165. 79 The terrible paradox of the situation, however, is that the agalma, that feature of the other that we cathect most powerfully, is ultimately a nothing, a pure semblance. e. e. 82 The Grail thus conceived of as agalma, the fantasy sign of God’s love, fulfils the very purpose posited above, that of a patch covering the overlapping lacks of the subject and the discourse in which he is alienated or from which he is separated. Lacan suggests the fantasy object can only ever be glimpsed, never apprehended it in its entirety, since it is heavily invested with the enigmatic desire of the Other: Ne retrouvez-vous pas là quelque chose de la magie que je vous ai déjà pointée autour du Che vuoi?
A Discourse for the Holy Grail in Old French Romance (Gallica) by Ben Ramm