Che vuoi Or What the Dickens

1
Che vuoi? Or What the Dickens! Great
Expectations and The Graph of Desire
David Musselwhite
LiFTS December 2007
2
From Dominic Rainsford on T. Eagletons The
English Novel An Introduction in Dickens
Quarterley June 2006 Apparently, Dickens "has
none of the intellectual resources of George
Eliot, and little of the psychological subtlety
of Henry James. ...his psychological effects are
the kind that can be seen from the back of the
hall" (161-62). The first half of this claim is
true enough, if indeed you judge Dickens by a
specifically Eliotic kind of intellectualism and
a specifically Jamesian kind of subtlety. And the
second half does a kind of justice to Dickens the
public reader -- but certainly not to his printed
texts. ... It may be true that many of Dickens's
individual psychological types and "portraits"
are crude, and yet, as many recent critics have
demonstrated, they are deployed within their
context in such a way that the whole effect, in
terms of psychological and philosophical
questions (not just social ones), is far from
crude.
3
The Graphs of Desire
Graph 1
4
The Graphs of Desire
Graph 2
5
The Graphs of Desire
Graph 3
6
The Graphs of Desire
Graph 4
7
CAUTION Lacans descriptions of the Graph
A pair of acrobats or trapeze artists, the one
standing on the shoulders of the other (V 226)
A Calder mobile (V 381)
A crumpled up (chiffonié) sheet of paper (V 424)
A bottle-opener (Subversion FE 815)
I prefer to think of it as a pinball machine
8
Graph I
Nachträglichkeit
retrograde
language
phonemic chain
S
S

split subject
intention
Without going into the subtleties of the
retrograde direction in which its double
intersection of the vector ?? occurs -- only in
this latter vector does one see the fish it
hooks, a fish less suitable for representing what
it withdraws from our grasp in its vigorous
swimming than the intention that tries to drown
it in the floodtide of the pre-text, namely the
reality that is imagined in the ethological
schema of the return of need. (Fink Sheridan
pp. 291-2)
point de capiton
9
Graph 2
treasure of the signifer
C
M
Code
Message

intention
split subject
10
Graph 2b
DEMAND
Autre
s(A)
Mother
Message
toute-puissante
Fort Da!
imaginary axis
m
moi/je/ego
i(a)
Ideal ego
Imaginary identifications
mirror phase
NEED

I(A)
Ego ideal
11
Seminaire V 460 Let us recall our little scheme
in its simplest form which allows us to see the
intercrossing of the drive (tendance), of the
pulsion if you wish, to the extent that it
represents the individualised need, and the
signifying chain where it has to articulate
itself. Here is the subject, the mythic infant
that serves as background to our psychoanalytic
speculations. He begins to manifest his needs in
the presence of his mother. It is here in A, that
he encounters the mother as a speaking subject,
and it is here in s(A) that his message ends, at
the point where his mother satisfies him.
V 218 need, from the very beginning, already
desire "because there is no original state nor
state of pure need. From the beginning need is
motivated on the plane of desire, that is on
something that is destined in man to have a
certain relation with the signifiant."
V 462 The relationship with the mother where the
mother imposes, more than her law, what I have
called the all-powerfulness of her caprice, is
complicated by the fact that the child. is open
to the relationship, of an imaginative order,
with its own body and the image of the other, and
this, beginning at the date which we have tried
to fix when we interested ourselves in, three
years ago, the mirror phase.
12
Graph 2b
DEMAND
A
s(A)
Mother
Message
Fort Da!
imaginary axis
m
moi
i(a)
Ideal ego
Imaginary identifications
mirror phase
NEED

I(A)
Ego ideal
13
Graph 3
14
Graph 4
DEMAND
Fort Da!
s(A)
Autre
CODE
MESSAGE
MOTHER
i(a)
m
moi
Ideal ego
imaginary axis
imaginary identifications
NEED
mirror phase

Split subject
Biological intention
15
The Graph of Desire
unconscious
Upper graph
F a t h e r
DEMAND
Intervenes as depriver of the mother
Fort Da!
s(A)
Autre
CODE
MESSAGE
MOTHER
moulin a paroles
i(a)
m
moi
Ideal ego
imaginary axis
imaginary identifications
Lower graph
NEED
mirror phase
conscious

I(A)
Ego Ideal
16
The Graph of Desire
symptom
the law of the father
Nom du père Paternal metaphor
/
DRIVE
S(A)
jouissance
castration
d
Che vuoi?
DESIRE
Fantasy
DEMAND
Fort Da!
s(A)
Autre
CODE
MESSAGE
MOTHER
moulin à paroles
i(a)
m
moi
Ideal ego
imaginary axis
imaginary identifications
NEED
mirror phase

I(A)
Ego Ideal
17
the law of the father is only instituted after
he has disappeared VH 193
the dead father
Signifier of lack in the Other (Subversion FE
818)
Nom-du-père
neuroses
Drive
S(A)
/
Death Drive
desire as defense against desire FE 825
phantasms
hysteria
Castration
jouissance
obsessional
d
Che vuoi?
Mother
A
s(A)
engulphment
18
a

• a supports the subject effaced in language
  Bulletin 270
• a imaginary other of mirror phase -- mon
  semblable
• a Winnicotts transitional object -- helps
  separation from mother (V 461)
• a lost object -- child, treasure, phallus
• a agalma -- virtual object more valuable than
  any real object (Subversion FE 825)

19
Subject objet petit a
the lozenge/awl
Seminaire V 423 We have here, the respondent
répondant and the support of desire It is with
the aid of this phantasmatic relation that the
human being finds himself and situates his desire.
Dor 227 As for the symbol (the awl), it refers
directly to Schema L reminding us that every
relation of the subject to the Other involves the
ego of the subject, a and its objects a
20
Phantasmatic scenario
From Sem. V 408-9 I believe that at this point,
(a), the schema presented here opens up the
possibility of situating and articulating the
function of the phantasm. We will define the
phantasm, if you like, as the imaginary taken up
in a certain usage of the signifiant . We are
referring to scenes, more precisely (pour tout
dire) scenarios. where the subject himself puts
himself into play. the subject is presented in
the scenario in differently masked forms, ... in
a diversity of images
From Lap. Pon the originary phantasm, on the
other hand, is characterized by the absence of
subjectivization which goes along with the
presence of the subject in the scene. it is a
scenario with multiple entries
. it allows for twenty and a hundred different
readings.. (Subversion FE 816)
21
From Seminaire V 397
In the face of desire the subject sustains at
this place a certain relation to the other, now
imaginary, indicated by (a).
a
d i(a)
m
Here is sketched a small square where the four
corners are represented by the moi, the image de
lautre, the relation of the subject, already
constituted, to the imaginary other, and desire.
These are the four feet on which stands (se
tenir) the human subject constituted as such,
that is, he who is neither more nor less aware
of the mechanism pulling the strings of the
marionnette of the other where he sees himself,
that is to say where he is able, or nearly, to
locate himself, than he is of the functioning of
his entrails.
22
Great Expectations
Miserably I went to bed after all, and miserably
thought of Estella, and miserably dreamed that my
expectations were all cancelled, and that I had
to give my hand in marriage to Herberts Clara,
or play Hamlet to Miss Havishams Ghost, before
twenty thousand people, without knowing twenty
words of it. (258)
. I thought how miserable I was, but hardly know
why, or how long I had been so, or on what day of
the week I made the reflection, or even who I was
that made it. (329)
That I had a fever and was avoided, that I
suffered greatly, that I often lost my reason,
that time seemed interminable, that I confounded
impossible existences with my own identity that
I was a brick in the house wall, and yet
entreating to be released from the giddy place
where the builders had set me that I was a steel
beam of a vast engine, clashing and whirling over
a gulf, and yet that I implored in my own person
to have the engine stopped, and my past hammered
off (462) See also 307, 329, 367, 402
23
a from Sem. V 442-3 We have here, in (a),
the respondent répondant and the support of
desire, the point where it fixes itself upon its
object which, far from being natural, is always
constituted by a certain position taken by the
subject in its relation to the Other. It is with
the aid of this phantasmatic relation that the
human being finds himself and situates his
desire. Whence the importance of phantasms. 407
These structures are different depending on
whether the accent is put on the dissatisfaction
of desire, and this is the mode by which the
hysteric broaches the field and the necessity
or on the dependence on the Autre for access to
this desire which is the mode in which the
obsessional sets about his access. From this fact
we have said in finishing last time in the case
of the obsessional something happens here, in
(a) that is different from hysterical
identification.
24
a split apart so that in the case of the
hysteric there is a predominant focus on the
object a while the obsessive concentrates on
the subject at both deny lack the hysteric
the lack of the object a the obsessive the
lack in the symbolic father the bar of
(and of S(A)) i.e. resists castration From Van
Haute p. 242 The masochist offers himself as
instrument of jouissance of the Other the sadist
subject equates itself with an Other that does
not know any lack and for whom limitless
jouissance lies within reach. hysteric
a obsessive a
/
25
From Van Haute Against Interpretation
p. 253 The hysterical subject seems not to to
occupy its own position as a desiring subject,
but rather is exclusively the object of the
desire of the Other but at the same time she
persistently refuses to be the object of his
(sexual) jouissance
p. 252 the obsessional neurotic subject not only
wants to erase the slash through the letter S
equally he cannot accept that the object a of his
fantasy can escape his grasp and thus remind him
of his lack.
26

• Hysterical fantasy
• Provoked by a sudden seduction, an intrusion, an
  irruption of the sexual into the life of the
  subject
• A dependence on the Other wants to become the
  object of desire of the Other a masochistic,
  even abject, subservience to the Other
• Focussed on the past wishing to avenge a hurt
• An excessive, compensatory, femininity --
  masquerade
• Will not accept lack --- penisneid
• To seduce the Other and complement its
  deficiencies yet afraid that the Other will
  respond to her and violate her the more she
  tempts the greater she resists and fears
  violation. Seeks an impossibly pure or neutral
  other or command.

27

• Obsessional fantasy
• Initially an early défusion, an unbinding, a
  disintrication, of the instincts of life and
  death, resulting in aggressiveness - denied early
  love
• A wish to destroy the Other to deny the
  authority of the Other. Take the place of the
  Other. A (sadistic) exercise of dominance which
  denies the autonomy of the other.
• Focussed on the future driven by an idée fixe
• Oblativity annulment of the other.
• Will not let go, hangs on, wards off castration
• Rivalry with the other hatred of a conjoint
  who has stolen the love due to him -- a rivalry
  with an absolute virility
• a life of exploits and at a distance the
  closer he comes to achievement the destruction
  of the Other the more likely he is to fail a
  Tantalus

28
INTERMISSION
29
Great Expectations -- opening
Before the graph, outside the symbolic order --
psychotic -- no space between words and things
p.3 As I never saw my father or my mother, and
never saw any likeness of either of them.my
first fancies regarding what they were like, were
unreasonably derived from their tombstones. The
shape of the letters on my father's, gave me an
odd idea that he was a square, stout, dark man,
with curly black hair. From the character and
turn of the inscription, "Also Georgiana Wife of
the Above," I drew a childish conclusion that my
mother was freckled and sickly. To five little
stone lozenges, each about a foot and a half
long, which were arranged in a neat row beside
the grave, and were sacred to the memory of five
little brothers of mind I am indebted for a
belief I religiously entertained that they had
all been born on their backs with their hands in
their trouser-pockets, and had never taken them
out in this state of existence.. Hold your
noise! cried a terrible voice.
30
Further examples
45 MI DEER JO i OPE U R KRWITE WELL i OPE i SHAL
SON B HABELL 4 2 TEEDGE U JO AN THEN WE SHORL B
SO GLODD AN WEN i M PRENGTD 2 U JO woT LARX AN
BLEVE ME INF XN PIP. 74 . a large old English D
which I supposed. to be a design for a
buckle. 96 Old Clem It was a song that imitated
the measure of beating upon iron, and was a mere
lyrical excuse for the introduction of Old Clem's
respected name. Thus, you were to hammer boys
round Old Clem! With a thump and a sound Old
Clem! Beat it out, beat it out Old Clem! With a
clink for the snout Old Clem! Blow the fire,
blow the fire Old Clem! Roaring dryer, soaring
higher Old Clem!
31
Beginning of Great Expectations
Mrs Joe
C
M
Code
Message
Mother
moulin à paroles
Pumblechook
i(a)
m
Pip
perversion/fetishism ersatz phallus -- Tickler
32
moulin à paroles
14 "Ah!" said Joe. "There's another convict
off." "What does that mean, Joe?" said I. Mrs.
Joe, who always took explanations upon herself,
said snappily, "Escaped. Escaped." Administering
the definition like Tar-water. ."What's a
convict?" ."Who's firing?" said I. "Drat that
boy," interposed my sister "Mrs. Joe," said I,
as a last resource, "I should like to know where
the firing comes from?" "Lord bless the boy!"
exclaimed my sister. "From the Hulks." "And
please what's Hulks?" said I. "That's the way
with this boy!" exclaimed my sister, pointing me
out with her needle and thread.. (p. 14) 54
Pumblechook On my politely bidding him Good
morning, he said, pompously, "Seven times nine,
boy!" And how should I be able to answer dodged
in that way, in a strange place, on an empty
stomach! I was hungry, but before I had swallowed
a morsel, he began a running sum that lasted all
through the breakfast. "Seven?" "And four?" "And
eight?" "And six?" "And two?" "And ten?" And so
on.
33
Beginning of Great Expectations
Mrs Joe
A
s(A)
Code
Message
Mother
Pumblechook
moulin à paroles
m
i(a)
moi
Ideal ego
be a gentleman
pale young gentleman Herbert Pocket p.90
Trabbs Boy pp. 245-6
George Barnwell p. 117
(Startop)
Pip
I(A)
(Bentley Drummle)
Ego ideal
At this stage lacking -- ineffectiveness of Joe
34
the pale young gentleman p. 90 I looked in at
another window, and found myself, to my great
surprise, exchanging a broad stare with a pale
young gentleman with red eyelids and light hair.
Trabbs Boy p. 246 I had not got as much
further down the street as the post office, when
I again beheld Trabbs boy shooting round by a
back way. This time he was entirely changed. He
wore the blue bag in the manner of my great-coat,
and was strutting along the pavement towards me
on the opposite side of the street, attended by a
company of delighted young friends to whom he
from time to time exclaimed with a wave of his
hand, Dont know ya!
35
The Graph of Desire
jouissance
Orlick
Jaggers
Nom du père Paternal metaphor
/
Death Drive
DRIVE
S(A)
lime-kiln/annihilation
jouissance
castration
d
Che vuoi?
Fantasy
T
DEMAND
s(A)
Mrs Joe
Autre
CODE
MESSAGE
moulin a paroles
i(a)
m
moi
Ideal ego
imaginary axis
NEED

I(A)
Ego Ideal
36

• Jaggers
• Jaggernaut
• Oh, Jaggerth, Jaggerth, Jaggerth! All otherth
  ith Cag-Maggerth, give me Jaggerth! (p. 166)
• he seemed to me to be grinding the whole place
  in a mill (p. 202)
• there was something so conclusive in the halo
  of scented soap which encircled his presence (p.
  211)
• Well, behave yourself. I have a pretty large
  experience of boys, and youre a bad set of
  fellows. Now mind! said he, biting the side of
  his great forefinger as he frowned at me, you
  behave yourself! (p. 83)

Recall Orlicks Ill be jiggered -- i.e.
jaggered
37
Nom-du-père
neuroses
Orlick
S(A)
/
hysteria
Jaggers
Death Drive
Miss Havisham and Estella
jouissance
obsessional
Castration
Magwitch and Pip/Money
d
Che vuoi?
Mrs Joe
A
s(A)
engulphment
38
Miss Havisham and Estella -- hysterical scenario

• The early seduction and betrayal by Compeyson
• A morbid, pathogenic, diseased, even rancid,
  sexuality
• anorexic
• A dependence on the Other -- wanting to become
  the object of desire of the Other
• Focussed on the past -- wishing to avenge a hurt
• A compensatory, excessive, femininity -- Estella
  as masquerade -- aggression combined with a fear
  of retaliation (Joan Rivière)
• A refusal to accept lack -- Estella as phallus
  (cf Ophelia/O phallus) and instrument of revenge
  (302)
• Miss Havisham wagers/projects everything on to
  a, on to the other
• To seduce and defeat the Other while fearing any
  response as violation -- a fastidious fear of
  sexuality
• The search in the end for an Other who is
  unresponsive, neutral and even abusive -- Bentley
  Drummle

39
Magwitch and Pip -- obsessive scenario

• A warmint (330)-- a terrible hardened one
  (340) -- no early love -- défusion
  (disintrication) of instincts - aggressiveness
• a heavy grubber
• A refusal to accept the Other -- the Law --
  Magwitch his own Law
• Focus on the future -- driven by an idée fixe
  (pp. 343, 437)
• Preempts and annuls the other -- oblativity --
  absorbs Pip into himself (319-21, 332, 340, into
  his idée fixe (p. 343)
• Rivalry with Autre or with conjoint -- Compeyson
  -- an absolute virility
• Can only act at a distance -- Australia
• The importance of exploits
• Always seeking permission
• Depends on the Other he subverts/usurps
• The closer he comes to achieving his desire the
  more likely he is to fail (V 467)-- a Tantalus
  figure

40
Écrits 824 On en trouve alors les deux termes
comme éclatés lun chez lobsessionel pour
autant quil nie le désir de lAutre en formant
son fantasme à accentuer limpossible de
lévanouissement du sujet, lautre chez
lhystérique pour autant que le désir ne sy
mantient que de linsatisfaction quon y apporte
en sy dérobant comme objet. Ces traits se
confirment du besoin qua, fondamental,
lobsessionel de se porter caution de lAutre,
comme du côté Sans-Foi de lintrigue hystérique.
Sheridan One then finds its two terms shattered,
as it were the first, in the case of the
obsessional, in as much as he denies the desire
of the Other in forming his phantasy by
accentuating the impossibility of the subject
vanishing, the second, in the case of the
hysteric, in as much as desire is maintained only
through the lack of satisfaction that is
introduced into it when he eludes himself as
object. These features are confirmed by the
fundamental need of the obsessional neurotic to
stand in the place of the Other, and by the
disbelieving side of the hysterical intrigue.
Fink. by slipping away as its object. These
features are confirmed by the obsessives
fundamental need to be the Others guarantor, and
by the Faithlessness of hysterical intrigue
Me.. through her withdrawal of herself as its
object. These traits are confirmed by the
fundamental need that the obsessional has of
standing in surety for the Other, and by the
Heartlessness of the hysterical intrigue.
41
Nom-du-père
neuroses
Orlick
S(A)
/
hysteria
Jaggers
Death Drive
Miss Havisham and Estella
jouissance
obsessional
Castration
Magwitch and Pip/Money
d
Che vuoi?
Mrs Joe
A
s(A)
engulphment
42
Jaggers
Symbolic Father -- bearer of the Law
Father that does not know
Today, it is a commonplace that the Lacanian
subject is divided, crossed-out, identical to a
lack in a signifying chain. However, the most
radical dimension of Lacanian theory lies not in
recognizing this fact but in rea1izing that the
big Other, the symbolic order itself, is also
barré, crossed-out by a fundamental
impossibility, structured around an
impossible/traumatic kernel, aground a central
lack. Zizek 122
Privative -- castrating Father -- finger-biting
Donative father
the final moment of analysis is when the subject
accepts his being as non-justified by the big
Other. Zizek 113
43
Mollys gypsey jouissance
a wild beast tamed (p. 392)
Primalscene
Nom-du-père
neuroses
Orlick
S(A)
/
hysteria
Jaggers
Death Drive
Miss Havisham and Estella
jouissance
obsessional
Castration
Magwitch and Pip/Money
d
Che vuoi?
Mrs Joe
A
s(A)
engulphment
44
primal scene
from Laplanche and Pontalis The primal scene
represents for us the conjunction of the
biological fact of conception and birth with the
symbolic fact of filiation it unites the savage
act of coitus and the existence of a
mother-child-father triad.
from Seminaire V 309-19 the murder of the father
in order to conceive the passage from nature to
humanity, it is necessary to pass by way of the
murder of the father.. What does the murder of
the father himself hide? It hides simply the
narrow bond between death and the apparition of
the signifier (signifiant).
406 The subjects relation to life is
symbolised by that leurre (illusion, trick,
slight of hand, decoy) which separates off
(arrache) from the forms of life, the signifier
that is the phallus, and it is there that one
finds the central point, the most sensitive and
most significant of all the signifying crossroads
that we explore in the course of the analysis of
the subject.
45
Tomalin, Claire The Invisible Woman London,
Viking (Penguin) 1990 p. 85 As a young man
serving on the jury at a coroner's inquest, he
helped to get the sentence on an unmarried girl
accused of killing her baby lightened. He sent
comforts to the prison during the trial and
insisted that medical evidence suggesting that
the child could have died naturally should be
properly attended to and he appears to have
followed up the fate of the girl.
The marked wrists
46
The relation between desire and the signifier and
the significance of the mark
Seminaire V 309 there is the narrowest relation
between what characterises desire in man and the
incidence, the role and the function of the mark.
311 What does all this mean? if it is not that
Freud conjugates conjugue together two things,
desire with the signifier (signifiant). He
conjugates them as one says one conjugates a
verb. He made that conjugation enter into the
thought concerning man that until him had
remained, might I say, academising académisante
designating by that an ancient philosophical
filiation that from Plato to the Stoic and
Epicurean sects, and passing on through
Christianity, tends profoundly to forget the
organic relation of desire with the signifier, to
exclude desire from the signifier, to reduce it,
and to mobilise it within a certain economy of
pleasure, to elude that which is in it that is
absolutely problematic, irreducible and, properly
speaking, perverse, to elude what is the
essential, living, character of the
manifestations of human desire, at the forefront
of which we must place not only its non-adapted
and non-adaptable character, but its
fundamentally marked and perverted character.
47
the mark contd
From Joël Dor Introduction to the Reading of
Lacan The oedipal dialectic and the paternal
metaphor enable us to be very precise about the
relationship between desire and castration. We
see that desire maintains a certain type of
relation to the mark. If the Subject's desire can
reach a degree of maturity only after having
passed through the oedipal phases, then the
phallus, as primordial object of desire, must be
marked by something that is retained as such
beyond the threat of castration. If this were not
the case, the phallus could not persist as
signifier of desire throughout and after the
oedipal period. This characterisic, Lacan
(1957-1958) adds, should be considered a sign by
which the subject identifies the very dimension
of castration. To cite just a few examples, the
characteristic of being a sign is revealed in
certain religious rituals such as circumcision,
as well as in certain foms of ritualized
inscriptions at the time of puberty and in the
tattoos and other kinds of marks or imprintings
with which the subject adorns himself. (p. 226)
48
insignia and the mark
/
S(A)
/ -- the bar, mark, of castration
(trait unaire -- einziger Zug V. 434)
leg-iron
file -- I was haunted by the file.. p. 79
I(A)
Ego Ideal
/
-- see V 368
I(A)
The recognition of the Name-of-the-father is
equiprimoridial with the formation of the
ego-ideal. VH. 199
/
The Narrative Voice -- Pip as Narrator
imaginary identification i(a) is identification
with . the image representing what we would
like to be, and symbolic identification I(A),
identification with the very place from where we
are being observed, from where we look at
ourselves. (Zizek p. 204)
Ego Ideal
49
The Graph of Desire
Nom du père Paternal metaphor
/
DRIVE
S(A)
jouissance
castration
d
Che vuoi?
DESIRE
Fantasy
DEMAND
Fort Da!
s(A)
Autre
CODE
MESSAGE
MOTHER
moulin à paroles
i(a)
m
moi
Ideal ego
imaginary axis
imaginary identifications
NEED
mirror phase

I(A)
Ego Ideal
50
Perhaps we should take a risk and read D
retroactively.. as the formula of sinthome Zizek
p.
Mollys gypsey jouissance
a wild beast tamed (p. 392)
Primalscene
sinthome
Dolge
(Quilp?)
Nom-du-père
neuroses
Orlick
S(A)
/
hysteria
Jaggers
Death Drive
Miss Havisham and Estella
jouissance
obsessional
Castration
Magwitch and Pip/Money
d
Che vuoi?
Mrs Joe
A
s(A)
engulphment
51
Towards conclusions
Like the father in the dream, the subject does
not "know" that it is "dead" it thinks that it
always has been as it appears to itself and
others in the statement. Like the father in the
dream, the subject does not want to know anything
about its "death." It does not want to know that
it exists only by the grace of an order that
condemns it to an ineradicable indeterminacy. VH
57
From Bulletin de Psychologie p. 252 il doit
donner ce quil na pas, à un être que ne lest
pas -- ce qui pourrait bien définir lamour he
has to give what he hasnt to someone who isnt
-- which might well be a definition of love
52
Wemmick Split subject -- If the subject is not
divided he is mad (V. 431) Aged P (cf. Old Bill
Barley -- never seen, frightful instrument)
Portable property Pig Miss Skiffins John
Miss Skiffins hommes dames Fishing
rod Stinger (!) --
Ideological closure
Joe Biddy Pip
53
Bentley Drummle ?
Dickens?
(Beau Brummel? Regency Dandy?)
Uncomfortable amphibious creature (203)
the Spider I like the fellow, Pip he is one
of the true sort. p. 217
Humans caught between jouissance and castration
VH 281
slouching (112) from ooze (131)
Orlick
Jaggers
/
S(A)
castration
jouissance
ne pas céder sur son désir.. Sem VII p. 319
Van Haute 281 maintain desire established in
fantasy in face of the threat of jouissance
the desire with regard to which we must not give
way is not the desire supported by the fantasy
but the desire of the Other beyond fantasy Zizek
118
54
Towards a beginning
A
s(A)
m
moi
i(a)
Ideal ego
je
je
je
je

/
I(A)
Ego ideal
Pip
narrator
Wo Es war, soll Ich werden
Who speaks?
55
GE -- opening
My fathers family name being Pirrip, and my
christian name Philip, my infant tongue could
make of both names nothing more explicit than
Pip. So I called myself Pip and came to be called
Pip. I give Pirrip as my fathers family name, on
the authority of his tombstone and my sister --
Mrs. Joe Gargery, who married the blacksmith.
Barthes -- The death of the author
Writing is the neutral, composite, oblique space
where our subject slips away, the negative where
all identity is lost, starting with the very
identity of the body writing. Linguistically,
the author is never more than the instance
writing, just as I is nothing other than the
instance saying I language knows a "subject,"
not a "person," and this subject, empty outside
of the very enunciation which defines it,
suffices to make language "hold together,"
suffices, that is to say, to exhaust it.
a posthumous voice, a voice from beyond the tomb
56
THE END
57
The Graph of Great Expectations
Bentley Drummle
Miss Havisham
Estella
Orlick
Jaggers
Pip
Magwitch
Molly
Mrs Joe
Pumblechook
Biddy
Trabbs Boy
Herbert Pocket
I
Bentley Drummle
Startop
Joe
Pip
George Barnwell
Narrator
58
The Graph of Desire
Nom du père Paternal metaphor
/
DRIVE
S(A)
jouissance
castration
d
DESIRE
Fantasy
DEMAND
Fort Da!
s(A)
Autre
CODE
MESSAGE
MOTHER
moulin a paroles
i(a)
m
moi
Ideal ego
imaginary axis
NEED

I(A)
Ego Ideal