Lacan

Dans presque toutes les œuvres de Milan Kundera, l'écrivain tchèque, un sentiment de haine vague mais omniprésent apparaît dans la conscience des personnages. Bien qu’ils ne le confessent pas ouvertement, la manière dont ils traitent leur corps et les corps des autres révèle un sentiment profond de dégout et d’abjection envers celui-ci. Cette haine du corps est en partie enracinée dans le phénomène inconscient de l'abjection ainsi que dans le conflit entre le moi et le corps. En effet, on pourrait dire que dans ses œuvres, Kundera confronte intentionnellement les personnages à des situations où ils doivent faire face à leur corps, remettant en question leur rapport avec celui-ci. Cette confrontation prend parfois une forme violente. Dans cet article nous allons examiner psychologiquement les origines de cette violence d’après les idées de Kristeva et Lacan, d'abord dans le roman La vie est ailleursdans les chapitres concernant la rencontre de la mère avec le peintre, puis dans L'immortalité, là où la fille tente de se suicider sur l'autoroute.

Une lecture psychanalytique est en mesure de préciser que l’auteur d’une œuvre littéraire peut constituer son œuvre avec ses souvenirs d’enfance. Si l’on met l’écriture littéraire à l’épreuve de la critique psychanalytique, on peut saisir des réponses aux questions concernant la vie imaginaire d’un auteur dont l’enfance est la principale source. Suivant cette explication et en rappelant que de nombreux études ont déjà analysé les différents aspects du Petit Prince de Saint-Exupéry, nous tenterons dans cet article de mettre en lumière la dimension psychanalytique et symbolique du Petit Prince eد répondant à la question suivante: comment Le Petit Prince, ouvrage le plus connu de Saint-Exupéry, a fait référence à l’espace intime de l’enfance de son auteur et aux certains complexes affectifs de cette période. Pour ce faire, nous tenterons d’explorer le fond de quelques souvenirs-écrans traumatiques du petit prince, ce représentant de l’enfant intérieur de Saint-Exupéry. Freud et Lacan nous aideront dans cette étude à décrypter les épisodes refoulés dans l’inconscient de l’auteur, qui pour retourner à sa conscience, ont subi un certain déguisement, sous les formes symboliques: Freud avec ses théories psychanalytiques surtout celles concernant le narcissisme et Lacan avec ses idées psychanalytiques traitant du langage symbolique.

This paper illustrated in Alice Munro’s selected works the bad condition in which the characters are trapped as a result of their contexualized mind that is confined to limited interpretation in accordance with the Other’s desire, their mental attachment and dependence to Symbolic Order and what it imposes as the only way to think and live. Lacan’s concept of Beauty encapsulated in “act[ing] in conformity with one’s desires” is thought while reading Munro’s writings. It is a socio-ethical reading of Lacan. It was proved socio-ethical reading in psychoanalysis is quite fruitful; it gives the data that its effect goes from individual to society. Lacan’s notion on Symbolic Order was theoretically analyzed to prove how ethical psychoanalysis helps characters awareness. The bad condition illustrates living in Symbolic Order. The characters found it intolerable since unlike Lacanian ethics and Beauty that helps human to live his life in its full,morality in Symbolic Order works for desire of the Other. Symbolic Order subjects the characters to structure of power; the dominant socio-political power that follows “morality of the master” meaning that it determined society’s conventions. Characters have no role in making their life by their own decisions and in conformity with their Real desire. They turn into passive individuals with victim mentality. Relinquishment of one’s own desire results in feeling of guilt and regret. Hence, while characters stand out from the social orders, they experience a neutral stance in which they come to awareness; this neutrality illustrates Beauty in Lacan.

Truth, ethics, and Evil are significant concepts for philosophy and Alain Badiou attempted to approach them with a new perspective. However, he reconsidered these concepts in engagement with Lacanian psychoanalysis. This study aims to shed light more on Badiou’s ideas of situation, knowledge, event, void, truth, Evil, and ethics, with a focus on meeting points with Lacanian terms and theory. The first six terms are examined concerning Lacanian theory of four Discourses in order to represent how truth changes a situation and frameworks of knowledge through the appearance of the event and in what way a philosopher or analyst can approach them through truth-procedures. On the other hand, Badiou elaborates on Evil with respect to ethics and truth. This study also introduces neurosis, pervert, and psychosis as structures to analyze Evil since they might be involved in it as simulacrum, betrayal, and disaster, respectively. Ultimately, this exploration contributes to a deeper understanding of the complexities of truth, ethics, and Evil, emphasizing the need for critical inquiry and ethical reflection in navigating the challenges of a situation and knowledge.

Arash , the famous Archer and mythical-historical hero, is a significant absentee from Persian classical poetry, especially Shahnameh . However, in contemporary times, several poets and writers, including Bahram Beyzai, have adopted Arash's narrative. Beyzai creates the most distinctive version of this narrative by offering a modern approach and deconstructing the original narrative. Beyzai's Arash is not the renowned hero and archer but rather a stableman who transforms into a hero without any metaphysical support or physical strength, just by relying on the power of mind and heart. The present study examines the distinctive characteristics of the hero in Beyzai's narrative and, based on Lacan's psychoanalytic theory, analyzes the transformation of Arash from a stableman to a hero. The results show that the most critical differences between Arash in Beyzai's work and the original narrative are: the lack of support from divine forces, lack of extraordinary physical abilities, emphasis on an inner journey rather than an external one, and the focus on the power of heart and mind instead of physical strength. Studying the transformation of Arash's personality based on Lacan's theory shows two stages: the first is Arash's confrontation with the big Other, which separates him from his initial unified perception of the world and turns him into an alienated and split subject. The second and main stage is Arash's victory over the big Other during his symbolic ascent to Mount Alborz. This conquest enables Arash to break through the 'symbolic order' and attain the superior knowledge and power of a hero.