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BEYOND
LAC AN
SUNY series in Psychoanalysis and Culture
JAMES M. MELLARD
Mellard, James M.
Beyond Lacan I James M. Mellard.
p. em. - (SUNY series in psychoanalysis and culture)
Includes bibliographical references and index.
ISBN- 1 3 : 978-0-79 14-6903-3 (hardcover : alk. paper)
ISBN-1 0: 0-79 1 4-6903-4 (hardcover : alk. paper)
1 . Psychology and literature. 2. Lacan, Jacques, 1 901-
1 . Title. IT. Series.
PC56.P93M45 2006
801'.92-dc22
2005036229
10 9 8 7 6 5 4 3 2 1
In memory of
Connie Marshall Mellard Sr.
Alice]. Gilbert
james W. Gilbert
and
Charles McGraw
Contents
lllustrations ix
Acknowledgments xi
Introduction 1
vii
viii CoNTENTS
Notes 255
Index 279
Illustrations
lX
Acknowledgments
XI
Introduction
1
2 INTRODUCTION
language and give it pride of place through another metaphor, that of lin
guistics as metaphor, not linguistics as such. While Lacan supposed that
he was merely returning to Freud by highlighting elements already visible
in Freud's writings, his rereading nonetheless eventually generated a new
theoretical edifice we came to call " Lacanian. " But, mutatis mutandis, in
a twist to Freudian theory that I believe is well founded, if, indeed, not in
fact mandated, Lacanian theory, powerfully stressing language-Lacan's
mantra is "The unconscious is structured like a language"-builds on an
unacknowledged theoretical foundation in textuality. Albeit unacknowl
edged, it is visible not only in Freud but also in Jung's notion of a collec
tive unconscious, as well as in other, recent and discursively powerful
notions such as the political unconscious (of Fredric Jameson) and the
optical unconscious (of Walter Benjamin and Rosalind Krauss). As for
Lacanian textuality itself, I also show here that Lacan developed idea
after idea through recourse to textualizing figures such as Schema L,
Schema R, and Borromean knots, graphs of desire, an algorithm of signi
fication, and formulas for sexuation, for metaphor and metonymy, for
the four discourses, and more. In short, I suggest, no textuality, no
Lacan. On a foundation in textuality, many have built a theory of inter
pretation, largely semiotic but not limited to semiotics per se, called
" intertextuality. " Intertextuality labels what any active interpreter
knows, that when we interpret, we move, in a reciprocal way, back and
forth, between codes-whether Freudian or Lacanian, Marxist or decon
structionist, feminist or multiculturalist, or whatever-and texts or inter
pretive objects (though any of these may be spoken, as in the therapeutic
clinic, even these are necessarily rendered into texts if they are inter
preted). Because it is in intertextuality, however, that we find our means
for interpreting both literature and the unconscious, the concept of a 'tex
tual unconscious' may eventually vanish, in a phenomenon that Jameson
has called a " vanishing mediator."
In the second chapter, "Which Lacan ? " I address debates about
periods or phases of Lacanian theory. Though my approach may some
times seem whimsical, the topic is quite serious, for one may not always
understand, literally, which Lacan is the theorist invoked by a given
critical interpreter. The dominant theory (one Z iiek typically, disparag
ingly, calls the " current" or " standard " understanding) remains essen
tially an early theory, stressing, it is argued by some, the registers of
Imaginary and Symbolic and essentially ignoring the Real. Until the
1 950s, Lacan paid little mind to what he called only "the field of the
real, " not stressing it until he commenced the twenty-seven-year semi
naire for which he is most famous-and controversial. More and more,
in Lacanian discourse, there has come into play "a late Lacan," one
Introduction 3
that elevates the Real over the other registers . Nonetheless, when this
Lacan begins is a much-deb ated question. The answer is, well, it
depends. Some say 1 95 3 , the year the seminaire began, others say in
1 9 5 9- 1 96 0 with Seminar 7's Ethics of Psychoanalysis, yet others say
in 1 964 with Seminar 1 1 's Four Fundamental Concepts of Psycho
analysis. Then there are those who say in 1 972-1 973 with 20's
Encore, or 1 974-1 975 with 22's R.S. I. , or even 1 975-1 976 with 23
on Le sinthome. You get the picture. Which Lacan and when emer
gent, let us say, are concepts essentially-and widely-contested .
Regardless of one's answer to questions of which or when (and there
are also Lacanians who postulate a series of three or more phases), the
dominant view-which, not surprisingly, is that of Z iiek and his
cohorts-tends to be binary: whenever and on whatever grounds
demarcations are located, there is most basically at least an early and a
late Lacan. Occam's solution. Simplicity is better. But be forewarned,
as I illustrate in a reading of one of Lacan's case studies toward the
end of chapter 2, Lacan himself seems not even to know or, perhaps
more to the point, at all to care whether one invokes early or late. So
for Lacan is there j ust one?
Taking Lacan at his word, a word in fact never spoken, I take the
view that while there is a late Lacan following an early, it is the early
who, passe now, dominated Lacanian interpretation into the 1 990s.
But we must acknowledge also a paradoxical middle Lacan. There is a
certain irony in how a middle Lacan emerged retroactively, after late
Lacan. It emerged this way because it is a Lacan formed of our recep
tion-and conflation-of early theory and late. For historical reasons,
largely based on availability of Lacan's texts, uses of Lacan into the
early ' 90s belonged to early Lacan, where early stressed interactions
between Imaginary and Symbolic in Oedipal constitutions of subjects
vis a vis desire. Since then, critical uses have tended to employ either a
de facto middle one of conflation or, increasingly nowadays, a late
theory. This late one, stressing the Real, at the same time stresses
threats of drive and jouissance to a stable subjectivity. Late Lacan is
one, in its specific contours and emphases, propounded most success
fully by Z iiek.
Since there is not much point, these days, in exhibiting early
Lacanian readings (which, I might add, feature in my 1 9 9 1 Using
Lacan, Reading Fiction), in the five chapters of part 2, " Lacanian
Exemplifications," I illustrate (in normal order) middle readings and
late ones in analyses of several works of fiction. The two readings illus
trating a middle Lacan focus on Ralph Ellison's Invisible Man and
Flannery O' Connor's Wise Blood. Both p ublished in 1 952, these two
4 INTRODUCTION
gives the best answer availa ble to him in an America of the 1930s,
1 940s, or 1 95 0s.
In chapter 4, my interest lies as much in Flannery O'Connor's
ambivalence toward the culture of psychoanalysis as in Wise Blood. In
another reading in middle Lacan, I use fewer notions from the early
theory, such as creation of subjectivity in interchanges between
Imaginary and Symbolic, and more from late notions of drive, the Real,
and jouissance. Drawing on details from the novel as well as from
O'Connor' s letters in The Habit of Being, especially those to "A" (now
identified as Betty Hester), I discuss the complex relationship between
her culture and her faith, between her attitude toward psychoanalysis
with its pronouncements on the dominance of sex and sexuality coming
to her from a modernist culture of psychoanalysis-and her intense
feelings ab out the place of her Christian faith in her life and art. While
she vehemently rejects psychoanalytic interpretations of her texts, it is
quite clear that as a modernist author she understood that her stature
greatly benefitted from such readings of them. She vociferously rejected
Freudian understandings of sex and sexuality, but, in ways that cry out
for psychoanalytic interpretation, her fiction frequently exhibits these,
not only in Wise Blood but also in such stories as "A Temple of the
Holy Ghost " and "A Circle in the Fire. " Many of these contradictions,
within O'Connor as well as in her fiction, are expressed in what Lacan
calls " meconnaissance. " It is a misrecognition of truths of the subject
that becomes the subject's truth . It may involve any register
Imaginary, Symb olic, or Real-but especially features misrecognition of
elements dangerous to subjectivity such as sexual jouissance and drive,
the death drive, each associated with the Real. In O'Connor, powerful
are the conflicts or contradictions regarding gender and sexuality, for
they are expressed in interactions involving her own physical health
(she suffered excruciatingly from and died of complications of lupus),
her Christian faith, and her need to adhere to her modernist aesthetic in
creating her fictions. Many such issues emerge from her intense, in part
misrecognized, connection to her character, the man Hazel (Haze)
Motes, for there we see how her sense of Christ's abandonment on the
cross, her own physical trials from her disease, and her construction of
a sainthood for Motes are all intricately intermingled, to say nothing of
how complexly each of these plays into construction of O 'Connor her
self as " saint " by her devoted readers.
My three readings in late Lacan address Susan Glaspell's "Jury of
Her Peers, " F. Scott Fitzgerald's "Winter Dreams," and Josephine
Hart's Damage. These readings move entirely into the realm of a late
Lacanian paradigm . While I do not believe that a late theory produces
6 INTRODUcnON
the primordial father of bloody violence, that is, the murdered husband
as the Father himself, hidden behind the Law and supporting it. It is
not much of a choice . If nothing else, the story-and a late Lacanian
reading of it-suggests just how difficult it is for women to find any lib
erating choices at all.
In chapter 6, from within that late paradigm, I read against the
grain of the standard oedipal story as it is represented in Fitzgerald's
"Winter Dreams. " A reading within that paradigm, like the analysis of
" A Jury of Her Peers, " uncovers an unexpected aspect of Fitzgerald's
story. Widely anthologized and admired, the story is sometimes consid
ered important largely for its anticipation of themes found in The Great
Gatsby, arguably one of the greatest of American novels. But read from
a late Lacanian perspective, the story turns out to be much more than a
mere appendage to Gatsby. In its evocative language and psychoana
lytic economy of characters (fathers, mothers, children ), it not only
reveals how the standard oedipal plot should go, but it also reveals the
hidden underside of that plot, its relations to roles of the other, of
women in their guises of lover and mother. Yes, the story reveals how a
boy encounters his ego-ideal in a figure of the oedipal father, and, yes,
the story reveals how the standard plot of boy-meets-girl displays
desire's function in the role of the ( beautiful) woman as the Symbolic
Phallus, but, no, the story does not simply culminate in a comic ending
in which boy-gets-girl and lives happily ever after. Why not ? A late
Lacanian reading shows that two fathers may be embodied in one
person and thereby represent not only the oedipal father of the ego
ideal but also the father as punitive superego as well. The latter trumps
the former and leaves boy-without-girl-at least that one girl too
closely tied to narcissistic fantasy. Such a reading, asking us also to
uncover the women's stories in "Winter Dreams, " adds to Dexter
Green's oedipal story that of Judy Jones as well and adds to the story
of the two fathers, both embodied in Mr. Mortimer Jones, the story,
however truncated, of Dexter's mother, a mother both Symbolic (in her
support of his oedipal structuration) and Real (as an image of the
maternal Thing's incestuous allure standing behind drive, jouissance,
objet a, and narcissistic regression) . Finally, such a reading of
Fitzgerald's story suggests the complexity of the subject's story at all its
levels, across each of the registers, Imaginary, Symbolic, and Real.
In chapter 7, I again interpret from within a late Lacanian para
digm, but here I do so by adding a current understanding that our post
modern age has brought us into a new epoch, one no longer dominated
by an oedipal father within patriarchy so much as, in terms of Jacques
Alain Miller, semblants of the father, found almost anywhere, including,
8 INTRODUCTION
Toward Lacan
CHAPTER 1
F
rom Freud, that which takes us toward Jacques Lacan is an
embedded concept of 'textuality.' Necessary for analysis, textual
icy, as an instance of a "vanishing mediator," may simply be
assumed or safely disappear in analytic praxis. Concurrent with
Lacanian psychoanalytic theory, textuality emerged as a pervasive ideo
logical concept by the 1970s. Fredric Jameson defined it then as "a
methodological hypothesis whereby the objects of study of the human
sciences [ . . .] are considered to constitute so many texts that we deci
pher and interpret, as distinguished from the older views of those
objects as realities or existents or substances that we in one way or
another attempt to know" ("Ideology of the Text" 18). As we trace a
path from Freud through such adjectival notions of the unconscious as
Jung's "collective," Walter Benjamin's "optical," and Jameson's own
"political," we realize that from the start any available unconscious is a
textual one. Lacan does not use the term textual unconscious. The
term, if not the concept itself, seems to have originated in the work of a
French critic-Jean Bellemin-Noel-indebted to Lacan. Bellemin-Noel
says he used a term-l'inconscient du texte "the unconscious of the
text"-as early as 1970, in a book to be titled Vers l'inconscient du
texte ("Towards the Unconscious of the Text"). He claims that others
such as Andre Green, Jeanne Bern, and Bernard Pingaud later used the
term in essays published between 1973 and 1976 (see 191n2). By 1979,
the year Vers l'inconscient du texte was published, American scholars
13
14 BEYOND LACAN
began to use the concept more or less emphatically. Since in his book
Bellemin-Noel does not use the precise phrase l'inconscient textuelle
"the textual unconscious" as such, it seems to have been Jerry Aline
Flieger who first used it. In 1981 ("Trial and Error"), reviewing
Bellemin-Noel's book, she converted l'inconscient du texte into the
noun phrase the textual unconscious. In 1983, Robert Con Davis
employed the concept of a 'textual unconscious' in "Lacan, Poe, and
Narrative Repression" (989). In 1984, although more interested in the
literary unconscious, Jonathan Culler not only used the noun phrase in
a significant way but also theorized it more fully than any before him.
After Flieger, Davis, and Culler, as well as Michael Riffaterre,
Shoshana Felman, Jameson, and others, the concept of the textual
unconscious essentially becomes an unacknowledged legislator, a van
ishing mediator, a term taken from Fredric Jameson ("The Vanishing
Mediator") that Slavoj Ziiek disseminates to Lacanians in Tarrying
with the Negative. Textual unconscious is a concept intrinsic to the
intertextual activity of interpretation of the unconscious and of literary
texts, but once assumed (as in Freud) it may simply disappear and still
do its work. By the late 1980s, explicit invocations of textual uncon
scious, while not rare, generally do in fact disappear, but the term still
shows up often enough to suggest its mediatory primacy. Indeed, from
psychoanalysis, it even invades psychology (see Steele); moreover, a
number of literary studies-besides my own Using Lacan, Reading
Fiction, including ones by Friedman, Downing, Rickard, and Tate-use
it and draw directly upon its genealogy in Flieger, Jameson, Culler,
Riffaterre, and others. Providing a thumbnail sketch of how the con
cept grounded different theorists and ideologies, Friedman also suggests
how necessary but invisible is the concept:
Adapting Kristeva's formulations of the text-as-psyche, critics
such as Culler, Jameson, Shoshana Felman, and Michael
Riffaterre [. . .] suggest that a text has an unconscious accessible
to interpretation through a decoding of its linguistic traces and
effects. For Culler and Felman, this textual unconscious is located
in the interaction between reader and text, which they see as a
scene of transference in which the reader "repeats" the complexes
of the text. For Jameson and Riffaterre, the textual unconscious
resides in the text, subject to the decoding of the reader, who
occupies the authoritative position of the analyst. (164)
The very portability of the concept from one critical approach to
another, in short, suggests its essential role as a mediator that effec
tively vanishes once analytic praxis begins.
From Freud to jacques Lacan 15
immanence in the matter in question. For it is with this work that the
work of Freud begins to open the royal road to the unconscious." On
this road to the unconscious, dreams are "read" quite literally as a
rebus because of an "agency in the dream of that same literal (or
phonematic) structure in which the signifier is articulated and analysed
in discourse." Lacan takes the images of dreams as "signifiers" with
which the analyst is to "spell out the 'proverb' presented by the rebus
of the dream." Those signifiers are founded, Lacan argues, on the
"principle" of a linguistic structure giving the analyst "the 'significance
of the dream,' the Traumdeutung,'' the dream work (159). Thus, Lacan
insists that linguistics has become necessary for him because Freud had
already used a form of linguistic theory. "The unconscious,'' Lacan
suggests, "is neither primordial nor instinctual." Rather, "what it
knows about the elementary is no more than the elements of the signi
fier" (170). In that premise, he claims, Freud was there ahead of him in
principle if not in expression. Consequently, given Lacan's premise, the
unconscious is "like" a "language,'' and the ground upon which it
operates is text or textuality. Indeed, Lacan recognized that, mutatis
mutandis, the figural grounds of our thought change. What is more, if
he had been a young psychoanalyst starting out in the 1970s instead of
the 1930s, he would not in effect have said, "The unconscious is struc
tured like a language and we must interpret it through the agencies of
the letter." Rather, he would have said, simply, "The unconscious is a
textual unconscious and we must interpret it as we would interpret any
other text." By whatever name, ranging back to Freud's earliest enfigu
rations, the unconscious has always been textual.
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