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289What complicates the business of jouissance, however, is the proximity to the Real. AsDerrida states in The Post Card, “what is closest must be avoided, by virtue of its very proximity.It must be kept at a distance, it must be warned. It must be turned away from, diverted, warned(263). The closest, although set in the Freudian context of Fort/Da (which has as its imaginedlimit event the permanent disappearance of the child’s mother), could be said to represent theevent that has not happened, the impossible event that is unthinkable and only possible on the TVscreen. In other words, the closest maintains the pleasure principle but brings no jouissance. Theattacks of September 11 represent the unthinkable that has become real. After the events havehappened, we have a recurrent repetition that signals the detour, or what Freud calls in Beyondthe Pleasure Principle the Umwegthe detour that Fort takes to bring Da home through thedeath drive. The Freudian Umweg is given a deconstructionist touch in Derrida’s Post Card: “NoWeg without Unweg: the detour does not overtake the road, but constitutes it” (284). This meansthat “it would already be pleasure that, by itself protecting itself too much, would come toasphyxiate itself in the economy of its own reserves” (286). In other words, “to go to the end ofthe transactional compromise that is the Unwegpure différance in a wayis also the arrêt demort: no pleasure would ever present itself” (286). Of course both the reality principle and thepleasure principle are inscribed in economy of différance. Perhaps the spectacle of jouissance in(and of) The Scarlet Letter and Moby-Dick is after all only an allegory of reading, an allegory thatwill enable Melville and Hawthorne to offer “the analysis of society and the search for another,almost utopian world” (Robert K. Martin 125). What we have is clear relation between theFreudian detour, as read by Derrida, and the detour that is constitutive of allegory.
290The ineradicable link between literature and jouissance has been brilliantly established byBlanchot, who sees literary language as referring to the il y a, or to “the presence of things beforethe world exists, their perseverance” (The Work of Fire 328). Enacting various encounters andmissed encounters, classic American literature bears witness to the torment of language.Condemned to always make sense, to produce jouis-sens (enjoyment-in-meaning), Americanclassic literature, and literature in general, portray a corporealization of language, or aninextricable interrelation, if not fusion of bodies and words. Since language is incapable of fullyunderstanding the body, since it is bound to fail at the Real, I would prefer to say that the missedencounter’s drama, to adjust Moby-Dick’s epilogue, is not yet done and that the desire for theReal lies beyond language’s constant Fort/Da game with the Real.
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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
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216narrative. The rose becomes the
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218genital symbol” (235), literat
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220recovering a romanticized ideali
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222manifestation of everything that
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Chapter 3Historicizing the Missed E
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226Hieroglyphics: The Symbol of the
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228revisited certain psychoanalytic
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230With psychoanalysis, deconstruct
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232Reading Žižek reading Lacan, I
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234Real of the body characterizes t
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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
Page 259 and 260: 246Aeschylus to Marx for its Orient
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
Page 275 and 276: 262knowledge or subjectivity under
Page 277 and 278: 264to formulate my argument about t
Page 279 and 280: 266essence of the missed encounter
Page 281 and 282: 2683.3. To Enjoy or not to Enjoy th
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
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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
Page 331 and 332: 31864 In Plato’s work we learn th
Page 333 and 334: 32069 In Freud’s model of psychoa
Page 335 and 336: 322Others, nineteenth-century Ameri
Page 337 and 338: Works Cited324
Page 339 and 340: 326Bakhtin, Mikhail. Rabelais and h
Page 341 and 342: 328Deleuze, Gilles. Difference and
Page 343 and 344: 330DeSalvo, Louise. Nathaniel Hawth
Page 345 and 346: 332Kafka, Franz. Letters To Milena.
Page 347 and 348: 334Miller, J. Hillis. The Medium is
Page 349: 336Žižek, Slavoj. “Descartes an
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