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Showing 2 results for Jacques Lacan
Asad Abshirini,
Volume 30, Issue 92 (5-2022)
Abstract
The narrative of The Blind Owl (Buf-e Kur) goes through scattered “writings” in which the “painter” narrator, in captivity from the burden of his “wall of the house” shoulders through the entire story and tells the “swallowing shadow” of himself. It is only in the first part of The Blind Owl that the “ethereal girl” “manifests” through the “ventilation hole” of the closet of the same “house” which is located “on the other side of the ditch”. In the present study, the psychoanalytic theories of the French Jacques Lacan, of which language-centeredness is also one of the basic premises, are effective tools that pave the way for reflection on the linguistic aspects and related symbols in The Blind Owl. What explanation Lacan’s “The Real” provides for the progress of the plot of this modern story as well as how the result of such a view sheds light on the interpretive nature of The Blind Owl and its prosaic aspects constitute the author’s concerns.
Mahnoosh Vahdati,
Volume 32, Issue 97 (1-2025)
Abstract
The current study attempts to discuss one of the most mysterious and enchanting biographical anecdotes of Bidel Dehlavi from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story's main character based on three significant Lacanian stages of the unconscious: The mirror stage, the Symbolic stage, and the Real order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian theories of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel's story encounters a huge void. To fill this hole, he strives to identify himself with the other or the image that has been painted by his friend, Anub. The barred subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic stage, he would suffer alienation and distortion. Therefore, by clinging to Fantasy, he endeavors to keep the illusion of being complete. However, by stepping into the Real order and facing the trauma of this field and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The present article concludes that the main character passes through the Mirror stage with an imaginary knowledge of himself, then faces the alienation of the Symbolic stage, and in the Real order, as a psychotic subject, he is baffled between Fantasy and reality and commits a symbolic suicide.
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