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335Savoy, Eric. “Embarrassments: Figure in the Closet.” The Henry James Review 20 (1999): 227-236. Print.. “The Face of the Tenant: A Theory of American Gothic.” American Gothic. Ed. Martin andSavoy. Iowa City: University of Iowa P, 1998. 3-19. Print.. “‘Filial Duty’: Reading the Patriarchal Body in ‘The Custom House.’” Studies in the Novel25.4 (Winter 1993): 397–427. Print.. “Necro-filia, or Hawthorne’s Melancholia.” English Studies in Canada 27 (2001): 459-80.Print.———. “The Rise of the Gothic.” The Cambridge Companion to Gothic fiction. Ed.Jerrold E. Hoggle. Cambridge: Cambridge UP, 2002. Print.Schwenger, Peter. Letter Bomb: Nuclear Holocaust and the Exploding Word. Baltimore: JohnsHopkins University Press, 1992. Print.Sedgwick, Eve Kosofsky. “Privilege of Unknowing: Diderot's The Nun.” Tendencies. Durham:N.C., 1993. Print.Shakespeare, William. Hamlet. Ed. J. Dover Wilson. Cambridge: Cambridge UP, 1964. Print.Short, Bryan C. Cast by Means of Figures: Herman Melville’s Rhetorical Development.Amherst: U of Massachusetts P, 1992. Print.Spanos, William V. The Legacy of Edward W. Said. U of Illinois P, 2009. Print.White, Hayden. “The Burden of History.” Tropics of Discourse: Essays in Cultural Criticism.Baltimore: Johns Hopkins UP, 1985. Print.
336Žižek, Slavoj. “Descartes and the Post-Traumatic Subject.” Filozofski vestnik 29.2 (2008): 9–29.Print.———. Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock).London, New York: Verso, 1992. Print.———. Enjoy your Symptom!: Jacques Lacan in Hollywood and out. New York: Routledge, 2001.Print.———. Looking Awry: An Introduction to Jacques Lacan through Popular Culture. Cambridge,Mass.: MIT P, 1991. Print.. Welcome to the Desert of the Real. London, New York: Verso, 2001. Print.. Tarrying with the Negative: Kant, Hegel, and the Critique of Ideology. Durham: Duke UP,1993. Print.———. The Metastases of Enjoyment: Six. Essays on Woman and Causality. New York: Verso,1994. Print.. The Parallax View. Cambridge, MA: MIT Press, 2006. Print.———. The Plague of Fantasies. London: Verso, 1997. Print.. The Ticklish Subject: The Absent Centre of Political Ontology. New York: Verso,1999. Print.———. The Sublime Object of Ideology. New York: Verso, 2008. Print.
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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
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272symbolic images and representati
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274In our daily existence, we are i
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276Symbolic. Their ghosts continue
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27811 was on the one hand an irrupt
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280inscription is recognized throug
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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 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: 334Miller, J. Hillis. The Medium is
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