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 keeps to fascinate authors and audiences alike. This learn, supported through a theoretical framework according to the psychoanalytic works of Jacques Lacan and the cultural idea of Slavoj Zizek, goals to strip the legend of a lot of the mythological and folkloric organization that it has got over the centuries, arguing that the Grail will be learn as a symptom of disruption and obscurity instead of fulfilment and revelation. concentrating on thirteenth-century Arthurian prose romances, los angeles Queste del Saint Graal and Perlesvaus, and drawing generally at the wider box of previous French Grail literature together with the works of Chr?tien and Robert de Boron, the booklet examines the non-public, social and textual results produced by way of encounters with the Grail that allows you to recommend that the Grail itself is instrumental not just in growing but additionally in tense, the discursive, psychic and cultural bonds which are represented during this complicated and pleasing literary culture. BEN RAMM is study Fellow in French, St. Catharine's collage, Cambridge.
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Extra info for A Discourse for the Holy Grail in Old French Romance (Gallica)
Lacan develops this conception of love in book 8 of the Séminaire through a reading of Plato’s Symposium. 77 Socrates’ refusal to respond with 73 For the notion of a patch applied to the béance (‘gap’) of discourse, see Benvenuto and Kennedy, The Works of Jacques Lacan, p. 145. 74 Kristeva, Pouvoirs, p. 53. 75 Lacan, S20, p. 21. 76 See particularly Lacan, S8, Chapter 10. Agalma is ‘a Greek term meaning a glory, an ornament, an offering to the gods, or a little statue of a god’ (Evans, Dictionary, p.
25 A similar logic might, I argue, be applied to the Perlesvaus’s twin coffins. Transposed into the Lacanian algebra of the signifier, the relationship between the One of quantity and the One of quality is to be found on the upper level of the discourse of the Master, representing the attempted communication between S1 (the master signifier, the One of quality) and S2 (the proliferation of the signifier as symbolic knowledge, the One of quantity) – and the relationship between these two terms crucially produces the (split) subject ($).
Agalma is ‘a Greek term meaning a glory, an ornament, an offering to the gods, or a little statue of a god’ (Evans, Dictionary, p. 125). The concept is usually glossed, in its psychoanalytic application, as the precious treasure hidden behind an unremarkable exterior. 77 Lacan, S8, p. 165. 79 The terrible paradox of the situation, however, is that the agalma, that feature of the other that we cathect most powerfully, is ultimately a nothing, a pure semblance. e. e. 82 The Grail thus conceived of as agalma, the fantasy sign of God’s love, fulfils the very purpose posited above, that of a patch covering the overlapping lacks of the subject and the discourse in which he is alienated or from which he is separated.