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Shakespeare's visual regime: tragedy, psychoanalysis, and by P. Armstrong

By P. Armstrong

Can postmodern bills of the gaze--deriving from the psychoanalytic theories of Freud, Lacan, Fanon, and Riviere—tell us whatever approximately these buildings of imaginative and prescient sooner than, and repressed through, modernity? Shakespeare's visible Regime examines the tragedies, histories, and Roman performs for an emergent early sleek spectatorial topic, thereby finding Shakespearean theater inside of these discourses most vital to the modern exposition and disruption of regimes of imaginative and prescient: standpoint portray, cartography, optics, geometry, Puritan anti-theatrical polemic, and the occult.

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Out o’ th’ grave To begin again. The disseminatory play of letters, inaugurated but not initiated by Lear’s display of cartographic division, delivers to Lear’s heirs a totally fragmented ‘Britain’. Gloucester describes this state early in the second scene of the play: Love cools, friendship falls off, brothers divide; in cities, mutinies; in countries, discord; in palaces, treason; and the bond cracked ‘twixt son and father. This villain of mine comes under the prediction: there’s son against father.

The audience, Laertes and Claudius all see that the tip of the foil and the wine will prove lethal, but Hamlet does not: ‘The foils are blunted only in his deluded vision’ (Lacan 1977a, 32). Hamlet’s dying words address both the on-stage and off-stage observers as ‘You . . / That are but mutes or audience to this act . 286–7). ‘Mutes’, as the term for actors with non-speaking parts, suggests ‘non-participants’ (Jenkins 1982, 414). But the audience, like Claudius during the dumb-show, only remain mute as long as they are caught in an imaginary identification with the drama.

Obviously, then, this scene stages precisely that which escapes from the Lacanian mirror stage, the troubling remainder that eludes or must be repressed by the imaginary identification between the ‘ego’ and its ‘ideal ego’ in the mirror. Developing his theory of the mirror stage, Lacan describes this inherent possibility of reversal or decomposition in the relationship between the subject’s ego and its specular other: The fundamental position of the ego confronted with its image is indeed this immediate reversibility of the position of master and servant.

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