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 maintains to fascinate authors and audiences alike. This examine, supported via a theoretical framework according to the psychoanalytic works of Jacques Lacan and the cultural thought of Slavoj Zizek, goals to strip the legend of a lot of the mythological and folkloric organization that it has bought over the centuries, arguing that the Grail may be learn as a symptom of disruption and obscurity instead of fulfilment and revelation. concentrating on thirteenth-century Arthurian prose romances, l. a. Queste del Saint Graal and Perlesvaus, and drawing greatly at the wider box of outdated French Grail literature together with the works of Chr?tien and Robert de Boron, the ebook examines the non-public, social and textual results produced by means of encounters with the Grail for you to recommend that the Grail itself is instrumental not just in growing but in addition in anxious, the discursive, psychic and cultural bonds which are represented during this advanced and appealing literary culture. BEN RAMM is examine Fellow in French, St. Catharine's university, Cambridge.
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Additional info for A Discourse for the Holy Grail in Old French Romance (Gallica)
Rather than being construed entirely negatively (as proof of non-identity or lack), however, the subject’s symptom can serve as a site of resistance, a protest against his sliding under and being consumed by the master signifiers of the Other, and it is this aspect of the hysterical discourse that we see played out in a number of episodes in the Grail nar ratives. 47 Verhaeghe, ‘From Impossibility to Inability’, p. 92. NEW DISCOURSE OF THE GRAIL 21 The third chapter begins by considering how the body is critically implicated in notions of sin.
On the technique of interlace, see in particular Vinaver, The Rise of Romance, pp. 68–98. 16 This Camelot is not the same as the traditional home of the Arthurian court; see note 20 below. 17 Nitze, however, asserts that the body is that of Nicodemus (P, II, 220–1). Although Nicodemus does indeed make a cameo appearance in the narrative as a paternal ancestor of Perlesvaus, this identification appears entirely erroneous on the basis of evidence from both the apostolic and apocryphal gospels. 39).
58). Much has been made of a dedication in the colophon of the Br manuscript (Brussels, Bibliothèque royale des ducs de Bourgogne, MS 11145) to Jean de Nesle, castellan of Bruges (‘Por le seingnor de neele fist li seingnor de cambrein cest liure escrire’ [‘the lord of Cambrein had this book written for the lord of Nesle’], see P, II, 74–81), leading Nitze to infer from biographical evidence that ‘P was composed after 1191 and before 1212, presumably after 1200’ (P, II, 89; see pp. 73–89 for full discussion of the date).