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323“sexual difference is the Real of antagonism/deadlock that the two positions, ‘masculine’ and‘feminine’ endeavour to symbolize, but can do so only by way of getting involved in their ownconsciousness” (The Plague of Fantasies 214).78 According to Deleuze, the event is closely linked to the sense. The sense of the event emerges fromthe gap between subjects and objects. Consequently, its indefiniteness resists interpretation, structure,and symbolization. The event’s temporality defies the linearity of past, present, and future. It inhabitsthe horizon of what just happened and what is about to happen. The temporality of the event is alsosupplanted by the impossibility of locating it. For more on the issue of the temporality of the event,See Deleuze’s The Logic of sense (Columbia UP, 1990).79 The il y a, for Levinas, much like Derrida’s objet a, works as the discontinuation of enjoyment. InExistence and Existents and Time and the Other, Levinas approaches the il y a through hisreading of Heidegger’s phenomenology. Something is happening, Levinas would argue. In fact, “theindeterminateness of this ‘something is happening’ is not the indeterminateness of a subject and doesnot refer to a substantive. Like the third person pronoun in the impersonal form of a verb, itdesignates not the uncertainly known author of the action, but the characteristic of this action whichsomehow has no author ” (Existence and Existents 52) . The il, translated in Lacanian parlance, is theThing that is associated with horror, the abject, the temporality of subjectivity.
Works Cited324
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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
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238of what Knapp calls the “evolu
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240perhaps reflective of Melville
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242the Arab is conceived of now as
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244This brings one, finally, to Ano
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246Aeschylus to Marx for its Orient
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248and a kind of cultural dominatio
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250occlusive, partial, and deformed
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252psychic reality: the impossible
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254material elements of the body 72
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256geological temporality rather th
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258This regression to the liminal s
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260Following Žižek’s reading of
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262knowledge or subjectivity under
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264to formulate my argument about t
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266essence of the missed encounter
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2683.3. To Enjoy or not to Enjoy th
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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
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: 322Others, nineteenth-century Ameri
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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