By Ben Ramm
The Holy Grail made its first literary visual appeal within the paintings of the twelfth-century French poet, Chr?tien de Troyes, and maintains to fascinate authors and audiences alike. This research, supported by way of a theoretical framework in line with the psychoanalytic works of Jacques Lacan and the cultural conception of Slavoj Zizek, goals to strip the legend of a lot of the mythological and folkloric organization that it has obtained over the centuries, arguing that the Grail will be learn as a symptom of disruption and obscurity instead of fulfilment and revelation. targeting thirteenth-century Arthurian prose romances, l. a. Queste del Saint Graal and Perlesvaus, and drawing largely at the wider box of outdated French Grail literature together with the works of Chr?tien and Robert de Boron, the publication examines the non-public, social and textual results produced by way of encounters with the Grail as a way to recommend that the Grail itself is instrumental not just in developing but additionally in annoying, the discursive, psychic and cultural bonds which are represented during this advanced and alluring literary culture. BEN RAMM is learn Fellow in French, St. Catharine's university, Cambridge.
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Extra info for A Discourse for the Holy Grail in Old French Romance (Gallica)
In this position the subject is fully able to accept himself as split, to embrace the very non-identity that defines his subjectivity – that which has been suppressed to a greater or lesser extent by the other discourses, but that is now enacted. The discourse of the Analyst thus illustrates the workings of the Lacanian concept of separation, the second operation defining the subject in relation to the signifier, after that of alienation. 58 Despite the ostensibly radical possibilities for allowing the subject to embrace his own de-centredness, it is crucial to note that the product of this discourse is 53 54 55 56 See Lacan, S17, p.
84 Lacan, S8, p. 171. IDENTITY, ABJECTION ANDMÉCONNAISSANCEIN THE PERLESVAUS 1 This is not the One: Identity, Abjection and méconnaissance in the Perlesvaus Méconnaissance n’est pas ignorance1 Lacan, S1 In spite of uncertainties surrounding the precise date of composition, the thirteenth-century prose romance known in the modern edition as Le Haut Livre du Graal, or Perlesvaus, is unquestionably contemporary with a period during which, as Caroline Bynum has commented, ‘many different discourse communities [.
22. Kristeva, Pouvoirs, p. 44. Lacan, S4, p. 23. Kristeva, Pouvoirs, p. 46. See ‘Le Point de capiton’ in Lacan, S3, pp. 293–306. 28 BEN RAMM If Lacan’s four discourse mathemes operate as points de capiton, can we then conclude that they similarly perform the function of phobic objects/metaphors, condensing and displacing the underlying source of anxiety? This hypothesis would certainly seem to be substantiated on the basis that the phobic metaphor is essentially the hallucination of a nothing, of a lack.
A Discourse for the Holy Grail in Old French Romance (Gallica) by Ben Ramm