جستجوی مقالات مرتبط با کلیدواژه "لکان" در نشریات گروه "ادبیات و زبان ها"

One of the concepts that has an important place in mystical texts, especially in the thought and works of Molavi, is pain and suffering. Also, special attention has been paid to these two concepts in the knowledge of psychoanalysis and in Jacques Lacan's thoughts. By rereading Freud's opinions, Lacan was able to have a new interpretation of the concept beyond the principle of pleasure, which is known as jouissance. In this research, we have tried to reread the concept of suffering and pain in Molavi's thought by considering the concept of jouissance in the Lacanian way, and the relationship between jouissance and phallus by relying on the holy traveller as a psychotic subject and Molavi in the position of an elder or mentor as a pervert subject and the God as a Let's represent another. This research has been conducted in the qualitative analysis method and according to the evidence obtained, we have shown that, first, the holy traveller must identify his ego as an alienating ego. Second, jouissance is pain combined with pleasure that appears as a symptom. The source of such an experience is the holy traveller's ecstatic and astonishment along with his silence. The third is that the mystical discourse is representative of the master's discourse; Because the holy traveller in this discourse is required to obey the will of another. Fourthly, the holy traveller as a psychotic subject and Molavi in the position of an master as a pervert subject.

"Patricide" is one of the myths that has been focused on in Freud's psychoanalytic knowledge and subsequently by Lacan, particularly referred to as the "Oedipus Complex." Because writers of fiction have also paid special attention to various myths, we see their reflection in literary works. In this study, using qualitative and quantitative analysis methods and relying on Lacanian psychoanalytic principles, we first aim to show the superiority of the signifier over the signified through examples from the stories Dry Oak Wood and My Father's Yard and Dogs. And then, we demonstrate the presence of a stronger symbolic father figure than the physical and natural father in these stories. The findings indicate 1. Teke is a pervert subject because of protecting his father's name, and Pirbaba's children are obsessive subjects because of their desire to destroy and abandon their father. Also, the eldest son of the family is the first pervert subject due to the murder of the father, and the father is the first pervert subject due to the protection of the law or the desire of the father; 2. The children of Pirbaba and the eldest son of the family are believed to be freed when the father is killed, unaware of the fact that when the sign is broken, another sign replaces the father and protects the father's name; 3. The members inside the yard had experienced freedom as "juissance" only when, according to the narrator, they had transgressed the desire of a great other in a "sneaky" way i.e., bypassing the gaze and deviating from another grand desire.

Despite human reliance on language as a means of conveying messages and a tool that apparently satisfies major needs, Lacan believed that language is not only insufficient for human being as a subject of desire, but can also cause him/her to stay away from his/her lost purpose and desire. According to Lacan, language is the realm of the unconscious. Hence, it satisfies not the demand of the ego but the desire of The Other; Therefore, for its reproduction, it must rely on two constructive elements, "lack" and "excess", in order to remain stable. In this research, through qualitative and quantitative analysis and a Lacanian psychoanalytical reading of the stories Bakhtiar Ali’s Palace of Sad Birds and Mohammad Sohrabi’s The Previous Stroke, the following results are shown: The subject has accepted the lack of a phallus in his presence and has given himself to symbolic castration. This is true for Kamran, Khaled Amon, Mansour Asreen and the narrator of The Previous Stroke. Also, Susan's purpose in sending her suitors to travel and leave the city is to turn them into subjects of desire, For Susan, "the city", "war" and signifiers that referred to it are jouissance and representatives of excess desire. The narrator of The Previous Stroke tries to fill the lack of the other as the lack of speech through swearing. Of course, the lack is never filled in speech because the speech always exceeds his intention.Despite human reliance on language as a means of conveying messages and a tool that apparently satisfies major needs, Lacan believed that language is not only insufficient for human being as a subject of desire, but can also cause him/her to stay away from his/her lost purpose and desire. According to Lacan, language is the realm of the unconscious. Hence, it satisfies not the demand of the ego but the desire of The Other; Therefore, for its reproduction, it must rely on two constructive elements, "lack" and "excess", in order to remain stable. In this research, through qualitative and quantitative analysis and a Lacanian psychoanalytical reading of the stories Bakhtiar Ali’s Palace of Sad Birds and Mohammad Sohrabi’s The Previous Stroke, the following results are shown: The subject has accepted the lack of a phallus in his presence and has given himself to symbolic castration. This is true for Kamran, Khaled Amon, Mansour Asreen and the narrator of The Previous Stroke. Also, Susan's purpose in sending her suitors to travel and leave the city is to turn them into subjects of desire, For Susan, "the city", "war" and signifiers that referred to it are jouissance and representatives of excess desire. The narrator of The Previous Stroke tries to fill the lack of the other as the lack of speech through swearing. Of course, the lack is never filled in speech because the speech always exceeds his intention.

Jacques Lacan knows the language as the “Trojan horse” which is given to us by the “other,” but within it, there are some soldiers hiding and occupying all our existence. He not only considers a linguistic structure for the unconscious, but also believes that it is born of language. Unlike Freud’s theory of the unconscious, which is based on biological drives, the most important paradigm of Lacanian “linguistic unconscious” is the concept of “meta other,” which, during the child’s development, spreads in the imaginary order, symbolic order, and real order respectively and overshadows the existence of fundamental concepts such as unconscious, language, superego, ego-ideal, and desire. Since applying the theory of the linguistic unconscious to literature is a post-structuralist approach and the purpose of post-structuralism is to reread the text, the purpose of this study is to reread Phoebe Gilman’s Something from Nothing based on the paradigms of this theory and the metaphors in the visual text and written text of the book. Critics’ neglect of interdisciplinary approaches to children’s literature, their one-dimensional and merely figurative view of metaphor instead of using it to analyze stories, and most importantly, the scarcity of research in the field of analytical critique of children’s literature in Iran, call for research in this field. Thus, the present study employs Lacanian psychoanalysis to answer two fundamental questions regarding Something from Nothing: What are the metaphors and tropes based on the linguistic unconscious that make rereading of the text possible? Through what mechanisms do these metaphors and tropes lead to the production of meaning?

Today psychological theories have come to be considered as remarkably efficient means of analyzing literary works. In particular Jacques Lacan's psychological theory has recently become one of the most widely used tenets for critical study of literary works. In most of the Lacanian studies of literary works, Lacan’s notion of three orders (the imaginary, the symbolic and the Real) is utilized. This psychological notion is useful and effective for the psychological analysis of fictional characters which have been set to experience particular evolutionary paths. Moreover, this theoretical framework is especially effective in presenting scholars with a comprehensive framework for analyzing fictional characters of literary works. Among Arabic odes, some odes such as Khalil Havi’s “The Sailor and the Pious Man” are notably distinguished and important. This ode depicts a symbolic representation of the relation between the East and the West through two characters: the Sailor and the Pious Man. Considering this symbolic representation, the present study analyzes Havi’s ode through utilizing Lacan's psychological notion of the three orders. The study claims that the ode’s poet - as the narrator of the symbolic characters of the Sailor and the Pious Man - quickly pulls them out of the imaginary order, and puts them in the Real. Throughout this stage, the poet narrates the characters’ actions which are taken for achieving the unseen and the impossible. The nature of both the actions and their purpose can be psychologically situated in the Lacanian Real. Apart from referring to the nature of actions and their purpose, it needs to be mentioned that the ode is filled with references to death; a concept which constitutes the semantic identity of the Real. Keywords: The Sailor and the Pious Man, The Three Orders, The Real, Lacan, Khalil Havi.

The concept of “the other” is one of the outstanding features of Jacques Lacan's theory, and his major departure from Freudian thought. The basis of Freud's system of thought was based on the concept of “ego”. He defined a great deal of issues related to mental sub-consciousness in relation to “ego”; an agent in the psychic apparatus which enjoys a clear and structured nature and mediates between “id” and “super-ego”. Nevertheless, Lacan was dubious about the definition of “ego” from the outset, and showed that there is never a single and homogeneous image of “ego” in the development of human psyche. In Lacan's words, “ego” is the “ego-the other” dialectics formed in an imaginary and symbolic stage. “The other” is an essential part of “ego” and is integrated with it from the beginning. “The other” is internalized in different ways, and is always present in the psyche with the “ego”; even the impression or image of “ego” is mixed with “the other”. When “the other” has got an outside manifestation, it might be internalized and identified with, to the greatest possible extent, and find a mental life. This is what we see in the relationship between Shams and Rumi; two wandering spirits each seeing their mental and psychological capabilities in the other, and during the process of discovering each other, they continually apply their “ego- the other” dialectics. If we consider this metal reciprocation from the viewpoint of Shams, we realize that the basis of his relationship with Rumi is on repeated, mutual moves of the metal states of the lover and the beloved. Facets of this mirroring could be seen in various, repeated parables in Maqalat (papers) of Shams.

Sohrab Sepehri (1307-1359), the Iranian poet and painter collected his poems in a book entitled Eight Books. His view towards God, nature, good and evil, fair and foul has attracted the attention of critics. "The Green Space" and "Us Nil, Us a Look", the two last volumes of Eight Books, are more important since, in the development of his poetic process, they are considered as his mature works. The aim of this paper is to analyze Sepehri's "The Primeval Call" based on Lacan's psychological theory. The analysis of "The Primeval Call" shows that Sepehri has tried to recognize the truth with the help of not only the Oriental Mysticism and Zen Buddhism but also the western philosophy and psychology, especially of Lacan's psychological theories. Language represents Lacan's symbolic order and the combination of "wordless expansion" representing the beginning and the narrator's end represents the pre-language period, which very well corresponds to Lacan's theory. The emphasis of the narrator of the poem to go to the "wordless expansion" implies that word or language is a hindrance in the way of recognition; thus the narrator tries to remove it.

This article, following the theory of Lacan, studies Shâzde Ehtejâb, a novel by Hooshang Golshiri. First, through explaining some basic terms of this post structural psychologist such as The Real, The Imaginary, the Symbolic, Name-of-the Father, Gaze, a critical reading of the novel will be carried out. The article aims at responding two questions: What Lanian area is the novel narrated at? What is the reason for the incoherence of the novel’s narrative structure and disruption of Shâzde Ehtejâb as a “self”.