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267To think of the Other or the Orient as the Thing of America is to see a multiplicity ofspecters or things. Let me here analyze briefly Said’s argument in an interview by DavidBarsamian following the 9/11 attacks:in the final scene of the novel, Captain Ahab is being borne out to sea, wrappedaround the white whale with the rope of his own harpoon and going obviously tohis death. It was a scene of almost suicidal finality. Now, all the words thatGeorge Bush used in public during the early stages of the crisis – “wanted, deador alive,” “a crusade,” etc. – suggest … something apocalyptic. … And it wouldseem to me that to give Osama bin Laden – who has been turned into Moby Dick,he's been made a symbol of all that's evil in the world – a kind of mythologicalproportion is really playing his game. I think we need to secularize the man. Weneed to bring him down to the realm of reality. (54-55)By this logic, we need to secularize the whale. To secularize the whale means to redeem it fromhistory and to study the various contexts in which it exits. It is also an attempt to critiqueideologically the allegory that produces the whale. In the new Christian paradigm, the Other hasbecome part of Guy Debord’s society of spectacle, where there is an excess of representationsand a condensation of images. 74 As Žižek asks, “Do we not find enjoyment precisely infantasizing about the Other’s enjoyment, in this ambivalent attitude toward it? Do we not obtainsatisfaction by means of the very supposition that the Other enjoys in a way inaccessible to us?Does not the Other’s enjoyment exert such a powerful fascination because in it we represent toourselves our own innermost relationship toward enjoyment” (Tarrying with the Negative 206).In other words, what makes the Other’s enjoyment inaccessible is the excesses that structure therelationships between subjects.
2683.3. To Enjoy or not to Enjoy the Symptom: The Kernel of JouissanceThere is a question, and nothing that can be said,but just this nothing, to say. (Blanchot, TheWriting of the Disaster 9)Enjoyment is not an immediate spontaneous state,but is sustained by a superego imperative. (Žižek,The Plague of Fantasies 220)In Moby-Dick and The Scarlet Letter, the demand for jouissanceor rather the commandof jouissance, for something in-excessis activated by a compulsion to enjoy trauma, to enjoydeath. Jouissance is made all the more ambivalent in its apparent fusion with the death drive.Indeed, the injunction to enjoy and the compulsion to go “beyond the pleasure principle” 75 islinked to the loss the subject undergoes following his entry into the Symbolic and to the incessantcirculation of the drive around the lost object. The drive, in Lacanese, emerges from the residuein excess of circulation around the unfathomable. This residue is the undomesticated remainder ofthe lost unity of the subject. Jouissance allows us to understand why the protagonists of Moby-Dick and The Scarlet Letter do not relinquish their pursuit of the unattainable. What is mostnoteworthy is how Hester, for example, enjoys seeing her body as the site of punishment, andlikewise, Ahab could be said to enjoy being dismembered by the whale. This is why we have anexhibition of the protagonists’ attachment to inanimate, unattainable objects. The point I want to
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Université de MontréalThe Career
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Abstracti
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iiiresidues of which manifest sympt
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viiTable of ContentsAbstract……
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Acknowledgementsix
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xiA throw of the dice will never ab
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2In fact, the history of Western th
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4allows the intrusion of the trauma
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6A constellation of concepts and tr
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8a series of philosophical/existent
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10will try to provide an explanatio
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12of the real” suggests an inextr
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14other than the Cartesian cogito:
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16Fundamental Concepts 61), the rei
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18discourse may seem to be freely a
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20is perceived as unknowableness th
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22Thing and the uncanny in my treat
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24of the Puritan fathers. It is the
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26that are at once both transgressi
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28approaching an originary traumati
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30essential to note that the obsess
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32later on, the post activity, susp
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Chapter 1The Dialectics of the Tuch
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36by the place the main signifierth
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38narrative is explained by Caruth
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40repeat 11 because it is only in m
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42writing/reading itself. The misse
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441.1 The Game of Difference/Diffé
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46This suspension between disfigura
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48Derrida demonstrates that “Anas
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50DeSalvo’s analysis of the narra
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52said to be consolidated by such r
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54When Derrida says that a letter c
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56evil eye is enigmatically visible
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58The question the letter brings in
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60enables us to better grasp the d
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62(45). Performative as it is, the
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64primal scenes that haunted the Wo
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66attempt to have access to the pas
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68a missed encounter, an impossible
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70the disease in his own eye and he
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72father“thou wilt not reveal his
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74The dynamics of this incorporatio
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76remnants of an unknown past that
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78threat of patriarchy. Although He
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80coherence to the subject. The sca
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82production which engenders a disc
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84The objet a is a Thing that is re
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86Scarlet Letter is to see, without
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88Hester’s shame although the wor
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90attempt to decipher it. Although
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921.3. Correspondence of Drives: Tr
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94excessively cathectedan excess of
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96inhabits silence, absence, and al
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98in anticipation of Derridean theo
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100primal scene poses an answer to
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102the sense of a return of the rep
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104over to a new authorthe ghost. T
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106other within oneself in a safe c
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108father. For mourning to be possi
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110specifics of Hawthorne’s spect
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112American national identity. The
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114effect of the drives that try to
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116ambivalence and doubt. Derrida a
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118relations or formations called t
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120materializes a certain symbolic
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122“with his own ghostly hand, th
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124exerting my fancy, sluggish with
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126ties his life with his father’
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The uncanny double is clearly an in
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130lost by the subject who is, foll
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132would seem that “dédoubler”
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134automaton, of repetitionthen, in
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136emphasis, amounting to a moralis
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138starts with “call me Ishmael
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140writing. In this relationship th
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142economy, the life of the double.
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144Whale as “a broad white shadow
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146narrative, is beyond the scope o
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148special lunacy stormed his gener
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150One of the main purposes of this
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152of the missed encounter, but als
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154existential abyssAhab and Pip co
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156The painting represents and repr
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158the primal scene of experience a
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160metaphysical, but we are left wi
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162narrative investment in the Goth
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164the ego and the double, there is
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166description. My object here is s
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168prosopopeia. Melville multiplies
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170origin, the lost referent, which
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172diffusion of arrival (i.e., psyc
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174Likewise, the White Whale is inv
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176Castaway” is Pip’s obituary
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178hieroglyphic marks, inscrutable
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180Considered a prosopoetic surplus
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182The relationship between signs n
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184reversed into presence and that
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186lurks in all things, else all th
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188is helical. The recurrent refere
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190exchange of positions. Ahab, the
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192narcissistic melancholia. In oth
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194Like Adam and Eve’s expulsion
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1962.3 The De-centered Center and t
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198between sender and receiver is t
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200most fatal casualties … you mu
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202this. This is the book’s motto
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204In fact, this name becomes an an
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206revelations and allusions of all
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208absence. Why do we need the conc
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210the mother and the other keeps l
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212figures in the novel. It’s con
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214structured around ambivalence, u
Page 229 and 230: 216narrative. The rose becomes the
Page 231 and 232: 218genital symbol” (235), literat
Page 233 and 234: 220recovering a romanticized ideali
Page 235 and 236: 222manifestation of everything that
Page 237 and 238: Chapter 3Historicizing the Missed E
Page 239 and 240: 226Hieroglyphics: The Symbol of the
Page 241 and 242: 228revisited certain psychoanalytic
Page 243 and 244: 230With psychoanalysis, deconstruct
Page 245 and 246: 232Reading Žižek reading Lacan, I
Page 247 and 248: 234Real of the body characterizes t
Page 249 and 250: 236nationalism and identity. I want
Page 251 and 252: 238of what Knapp calls the “evolu
Page 253 and 254: 240perhaps reflective of Melville
Page 255 and 256: 242the Arab is conceived of now as
Page 257 and 258: 244This brings one, finally, to Ano
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Page 261 and 262: 248and a kind of cultural dominatio
Page 263 and 264: 250occlusive, partial, and deformed
Page 265 and 266: 252psychic reality: the impossible
Page 267 and 268: 254material elements of the body 72
Page 269 and 270: 256geological temporality rather th
Page 271 and 272: 258This regression to the liminal s
Page 273 and 274: 260Following Žižek’s reading of
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Page 277 and 278: 264to formulate my argument about t
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Page 283 and 284: 270of the missed encounter. Is not
Page 285 and 286: 272symbolic images and representati
Page 287 and 288: 274In our daily existence, we are i
Page 289 and 290: 276Symbolic. Their ghosts continue
Page 291 and 292: 27811 was on the one hand an irrupt
Page 293 and 294: 280inscription is recognized throug
Page 295 and 296: 282ideological co-ordinates against
Page 297 and 298: 284Is it not remarkable that, at th
Page 299 and 300: 286Derrida’s différance interven
Page 301 and 302: 288who is looking for truth. What p
Page 303 and 304: 290The ineradicable link between li
Page 305 and 306: Something is rotten in the state of
Page 307 and 308: 294The violence of the Symbolic is
Page 309 and 310: 296it was literary/symbolic and onl
Page 311 and 312: Notes
Page 313 and 314: 300an image at the most cruel point
Page 315 and 316: 302continues. At the end of the sto
Page 317 and 318: 30416 Derrida’s écriture enacts
Page 319 and 320: 306therefore, be an object that is,
Page 321 and 322: 30833 The phantom does not literall
Page 323 and 324: 310the hypothesis of a death instin
Page 325 and 326: 312however, has an important place
Page 327 and 328: 314Thus here. Man is an object to G
Page 329 and 330: 316infelicitous performative uttera
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31864 In Plato’s work we learn th
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32069 In Freud’s model of psychoa
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322Others, nineteenth-century Ameri
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Works Cited324
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326Bakhtin, Mikhail. Rabelais and h
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328Deleuze, Gilles. Difference and
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330DeSalvo, Louise. Nathaniel Hawth
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332Kafka, Franz. Letters To Milena.
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334Miller, J. Hillis. The Medium is
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336Žižek, Slavoj. “Descartes an
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