Identification, Sign, Fantasy : Unsettling the Greek Romantic Body through Psychoanalytic Theory

这个项目试图回答一系列关于身体的问题，特别是性别化的身体，这些问题在阅读希腊传奇时可能会提出，但还没有得到适当的回答。首先，如果身体的获得可以通过拉康关于想象认同的观点来理解（Butler，1993），那么这种认同可能产生的分离和恐怖会发生什么（拉康，1966）？达芙妮和克洛伊通过认同（Alvares 2012）逐渐发现了身体，并讲述了身体变形的可怕故事，拉康的观点使我们能够探索两者之间的联系。第二，身体是否可以按照拉康符号的模式来理解？拉康符号不仅表示而且参与了一个更广泛的不可预测的、预先存在的符号网络。在传奇故事的离题和换句的文本中，身体被隐喻地相互替代，或者被其他身体描述的对象所指，它们反过来指向这些对象。在每一次替换中，身体发生了什么，这个网络的不可控方面又如何与身体的恐怖联系起来？最后，身体作为幻想的关系（以缺席为动机）如何与体现相一致？这个项目旨在通过探索可以理解身体（在浪漫和一般情况下）的替代模型来打破对身体的稳定概念。将这些变革性的模式定位于浪漫小说中看似规范的领域，为规范中的破坏性提供了额外的视角。为了将浪漫小说重新想象为我们对身体的理解的根本性重构，精神分析提供了一个特别有用的起点。在叙事框架内，身体只能作为叙事的一部分，因此变得时间化。因此，精神分析对发展的不确定性的关注将被采用，并由酷儿理论的观点加以补充（斯托克顿2009; Salamon 2010; Halbergold 2011）。由于身体的叙事性书写入存在绝非简单，因此精神分析的非符号化的真实的、贬抑（Kristeva，1982）和文本的无意识（Zeitlin，2012）等概念也是有用的。受福柯（1984）的启发，90年代的学术浪潮将浪漫主义视为一种新的规范（Winkler 1990; Konstan 1993; Perkins 1995）或作为反讽的规范性话语（Goldhill 1995）仍然对该流派的学术产生了强大的影响（Haynes 2002; Morgan 2003; Montiglio 2012; Alvares 2014）。然而，这两种观点都没有考虑到性别化身体在叙事上形成时的不稳定性。如果我们抵制封闭作为支配意义（Whitmarsh 2011），我们就会看到规范性的基础正在动摇，而不仅仅是以讽刺的方式。在与精神分析概念的对话中（Fink，1995），本项目试图对浪漫小说中的身体进行更深入的阅读，这种方法将被证明更忠实于文本，在我们这个时代更具变革性。

This project attempts to answer a series of questions on the problem of bodies-especially gendered bodies-which a reading of the Greek romances might pose, but which have not yet been properly answered. First, if the acquisition of a body can be understood through the Lacanian perspective of imaginary identifications (Butler 1993), what happens to those disjunctions and horrors which such identifications might engender (Lacan 1966)? Daphnis and Chloe pairs a gradual discovery of the body through identifications (Alvares 2012) with terrifying tales of bodily metamorphosis, and the Lacanian perspective allows us to explore the connection between the two. Secondly, can the body be understood on the model of the Lacanian sign, which not only signifies but participates in a wider unpredictable and preexisting network of signs? In the digressive and ecphrastic texts of the romances, bodies are metaphorically substituted for one another, or signified by other corporeally described objects, to which they in turn point back. What happens to the body in each substitution, and how might the uncontrollable aspect of this network again relate to the horrors of the body? Finally, how can a relation of the body as fantasy (motivated by absence) coincide with embodiment? This project aims to disrupt a stable conception of the body, by exploring alternative models by which the body (in the romances and in general) can be understood. Locating these transformative models in the seemingly normative sphere of the romances provides additional perspectives on the disruptive within the normative. In order to reimagine the romances as sites for radical reformulation of our understanding of the body, psychoanalysis provides a particularly useful starting point. Within a narrative framework, the body can only be approached as part of the narrative, and thus becomes temporalised. Hence psychoanalysis' focus on the uncertainties of development will be employed, and complemented by perspectives from queer theory (Stockton 2009; Salamon 2010; Halberstam 2011). Since the narrative writing-into-being of the body is anything but simple, psychoanalytic concepts of the unsymbolised Real, abjection (Kristeva 1982), and the unconscious of the text (Zeitlin 2012) are additionally useful. The wave of 90's scholarship, inspired by Foucault (1984) in which the romances are viewed either as enforcing a new normativity (Winkler 1990; Konstan 1993; Perkins 1995) or as ironising normative discourses (Goldhill 1995) still exert a strong influence on the scholarship of the genre (Haynes 2002; Morgan 2003; Montiglio 2012; Alvares 2014). Both perspectives, however, fail to take into account the instability of the gendered body as it comes into being narratively. If we resist closure as governing meaning (Whitmarsh 2011), we see that the basis of normativity is being unsettled, in more than ironic ways. Hence, notions of simple enforcement can no longer stand. In dialogue with psychoanalytic concepts (Fink 1995), this project attempts a closer reading of the body in the romances, an approach which will prove both more faithful to the texts, and more transformative in our time.