By P. Armstrong
Can postmodern debts of the gaze--deriving from the psychoanalytic theories of Freud, Lacan, Fanon, and Riviere—tell us something approximately these constructions of imaginative and prescient ahead of, and repressed via, modernity? Shakespeare's visible Regime examines the tragedies, histories, and Roman performs for an emergent early sleek spectatorial topic, thereby finding Shakespearean theater inside of these discourses most important to the modern exposition and disruption of regimes of imaginative and prescient: viewpoint portray, cartography, optics, geometry, Puritan anti-theatrical polemic, and the occult.
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Extra resources for Shakespeare's visual regime: tragedy, psychoanalysis, and the gaze
A thing, my lord? H AMLET. Of nothing. 26–9) – and interprets the lines in terms of the phantom appearance and disappearance of the phallus: ‘the body is bound up in this matter of the phallus – and how – but the phallus, on the contrary, is bound to nothing: it always slips through your fingers’ (1977a, 52). For psychoanalytic purposes, of course – and this is the point of the joke – the phallus should not be equated with the anatomical organ. ‘In Freudian doctrine, the phallus is not . . ’ Rather, ‘the phallus is a signifier’ (Lacan 1982, 79).
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-19 28 trouble the smooth functioning of the optical symbolic; Chapter 4 is concerned with that mode of aggressivity which constructs and undoes the relation between the ego and its ideal mirror image; Chapter 5 charts the tensions and conflicts implied by the reorganisation of the optical field as these impact on an emergent British nationalism and imperialism; and Chapter 6 examines the institution of an incipient mode of visual unconscious, in the form of mimicry.
That’s a fair thought to lie between maids’ legs. What is, my lord? No thing. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-19 20 into the absence or presence of the penis. The unease surrounding this component lacking from the visual field displays all the characteristics of the Lacanian ‘real’. Lacan’s own text also returns repeatedly to this same ‘nothing’. He quotes Hamlet’s exchange with Guildenstern – H AMLET. The body is with the King, but the King is not with the body.