دانلود کتاب Fragmentation et écriture du manque au Moyen Âge

In 'Fragmentation and the Writing of the Medieval Body', I propose an exploration of the theme of bodily mutilation in twelfth- and thirteenth-century narratives. I consider the representation of the body as flesh as well as metaphor, political emblem, social construction, and symptom. The dissected or exploded body can be considered part of a symbolic discourse, first as part of a rhetorical system in motifs such as the Indo-European 'Eaten Heart', as presented by the Decameron, then with regard to psychoanalytical theory, ranging from Freud's work on fetishism to the Lacanian concept of corps morcelé (body-in-pieces), and on to Melanie Klein's theory of part objects. There is then a semantic field of body parts with physiological, sexual and psychological connotations. This dissertation is an investigation of the medieval topoi of courtly eroticism, such as, again, the 'Eaten Heart' motif, which unite social refinement with horrific violence, and sometimes even stage the unwitting ingestion of fetishicized body parts. It also considers the repeated conventional fragments, such as reverdie, presented in Gace Brule's Chansons, inasmuch as they refer to his own artificiality, raising the issue of originality and authorship. Fragmentation and repetition function together, as a device to integrate what commonly appears as clichés.

There is also a problematic relationship with language which is addressed here, or rather, and paradoxically, the absence of language as in the Roman de Silence and Chrétien de Troyes's Conte du Graal. Silence follows existing patriarchal customs and laws regarding inheritance not by conforming to it à la lettre, but in the split of her identity into two halves. This is an ideological structure whose political and economic contingencies resolutely affirm a discrepancy between social roles according to gender. As for the study on the lost object, in Le Conte du Graal, it considers Perceval's fragmented identity inasmuch as he lacks a patronym.

Following Lacan, the "Name of the Father" is the locus of the Other, which assures the subject's entry into the symbolic order and inaugurates the signifying chain in the unconscious. And so, in the Conte, the "Name of the Mother" is the expression which identifies the son, the referential pole of the narrative. Verging on delusion, the father's place is void, leaving the son disowned of his lineage.