Abstract not available

<p>This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.</p>

<p>Ulf Lundell is one of the most famous songwriters and authors in Sweden. He has written fifteen works of fiction and they’ve all same theme – a lonely man trying to look into his own past life. They are all built on a character, writing from an I-perspective, having a bit of Lundells own biography in there’s personality.</p><p> The aim of his thesis is to find out how Ulf Lundell presents him self in his fictive characters, and will trace the authors development from a psychological point of view. The theoretic starting points are Lacans Freudian concepts “idealego”, “egoideal” and “the superego”, describing the psychological alteration at the author.                   </p><p>The examination contains an analysis of Lundells novels <em>Jack</em>, <em>En varg söker sin flock</em> and <em>Värmen</em>, and throws light on the relationship between the author and his characters, and how it developes and changes with Lundells literary development. In this consideration are narrative theories a basic factor.  </p><p>This work will also try to illustrate what has inspired Lundell in creating his fiction figures, and finally how he creates his own lived life on these literary characters.</p>

<p>This essay examines the love affair between the two main characters of Rut Hillarp’s novel Sindhia. It draws attention to the schism between the Surrealist version of love as an extatic-religious fusion of the sexes – that in a way marks the relationship – and the yet remarkable coolness between the two lovers.</p><p>With the theories of French psychoanalyst Jacques Lacan, I will show how the man and the woman project their unrealistic individual fantasies on each other, thus rendering impossible the Surrealist Meeting, with its road to an absolute reality. The Surrealist "l’amour fou", I will argue, is trapped in the ritualized "l’amor interruptus"; a lacanian term for a certain kind of love that wishes to conceal the fact that desire will never find its object. It does so by pretending that the object would be found if only love had been consummated (thus the reason love is never consummated, since, as Lacan puts it, the object, or the Thing, is never to be found).</p><p>I will, in brief, argue that the love affair depicted in the novel in different ways tries to deal with the “lack-of-being” that marks the subject according to Lacan; the absolute distance to the desirable Thing.</p>

This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.

This dissertation confronts the rhetorical discipline with the Real of an antagonism illuminated through its encounter with Lacanian psychoanalysis. Rather than eliding the desire of subjects in favor of traditional discursive rhetorical solutions, the pschorhetorical response I will propose locates desire and the subject in the moments where communication fails and seeks to make public the realization of desire. Through the psychoanalytic analysis of three acts of agency that comprise rhetorical failure, I will argue that rhetorical analyses of social change are actually not persuasive enough in their acceptance that social reality is entirely mediated. The cases will show that rhetorical failure is tantamount to psychoanalytic heroism. Utilizing what I call psychorhetoric, I will argue that rhetoric’s investment in social change can be much enhanced by opening to the concept of a nonsymbolizable ethics of the Real.

Thomas Pynchon’s novel, The Crying of Lot 49, details Oedipa Maas’ quest to unearth a possibly centuries-old clandestine mail system, the Trystero. Oedipa is immersed in notions of sociality and she must navigate the social landscape, searching for clues as to the existence of the social system. In her quest she assumes the role of a detective who searches for meaning, as she looks for clues and questions others who might potentially be privy to the secrets of the Trystero. She necessarily performs the process of symbolic exchange with those she encounters in an attempt at ascertaining some greater meaning within the world that she thinks might lie behind the Trystero. In this, the nature of the circulation of meaning is revealed as a cultural construct.

No description available.

<p>It is fair to identify the motive of this dissertation with the paradoxical formulation of Gerhard von Rad, to the effect that the essence of biblical Wisdom is disclosed where the sages articulate this wisdom as inherently limited. This coincidence of opposites has been widely embraced by commentators and read as evidence for the sages' encounter with an infinite divine transcendence, to which they responded in humility, and by which their epistemological certitudes were rebuked. Proceeding from these assumptions, the interpretation of Proverbs has widely concerned itself with two nodal points: (1) the fear-of YHWH as the central concept in Proverbs' articulation wisdom as a finite human operation, conducted in the presence of an infinite divine; and (2) the figuration of this sublime experience in the iconic form of Woman-Wisdom. </p><p>The hypothesis of von Rad lends itself to another trajectory that prioritizes immanence over transcendence. On this reading, the limit of Wisdom lies not between its mere appearance for us (i.e. finite human subjects) and its essential being in itself (corresponding to a noumenal, divine beyond) but rather runs through the field of appearance, which cannot be rendered coherent by the sages' discursive intervention. This non-symbolizable yet immanent check on the sages' wisdom is analyzed in terms of Lacan's Real, a kernel of being (in psychoanalytic terms, jouissance) entirely beyond the signified that nevertheless arises out of the operations of signification. If discourse is thus intrinsically self-defeating, the status of transcendence should re-evaulated with respect to "limit." Transcendence is not the site that disturbs the Symbolic field, but rather the aporetic conditions of linguistic meaning rely on an externalizing process--what I have called a "poetics of making transcendent"-- for a given discourse to maintain its own coherence, i.e. as that which would be coherent if not for the contingent, impossible object. The fear-of YHWH and Woman-Wisdom, whose importance no one disputes, are re-read from this perspective: the former according to Lacan's concept of the Master-Signifier, the latter according to object (a), the object cause of desire.</p> / Dissertation

This thesis carries out an analysis of Mary Shelley&rsquo / s Frankenstein and Robert Louis Stevenson&rsquo / s Dr. Jekyll and Mr. Hyde by focusing on the Lacanian concepts of desire, alienation and sexuality. It achieves this by providing brief background information about Lacanian psychoanalytic literary criticism and the relations of this criticism with the concepts of desire, alienation and sexuality. Through the analysis of the main characters in the mentioned novels, this study asserts that these concepts are structured with the effect of the Lacanian symbolic order and the language. In other words, in this study, it is argued that the formation of the human personality takes place in the unconscious, where desire, alienation and sexuality are formed. In both of these Gothic novels, the personalities of the characters are structured in relation to their life experience in the symbolic order.