Query: Lacan's symbolic order

title: Symbolic Order in Sylvia Plath's "Daddy" and "Lady Lazarus" A Lacanian Reading
abstract: Sylvia Plath's works are mainly considered self reflective mirrors that reverberate her predicaments, especially her troubled relationships with her father and her husband. Plath's responses to gender biased language, which is the main medium of male dominated discourses, are full of conflicting desires. On the one hand, as one of the subjects of language, Plath wants to preserve her submissive position; on the other hand, as a poet, she desires to create her own order free of the restrictive and meddling presence of male centered language. This paper thus aims to investigate the role of the Father in Sylvia Plath's two significant works, "Daddy" (1965) and "Lady Lazarus" (1965) by the employment of Jacques Lacan's views on the order of identity formation and creation of the subject, especially Lacan's Symbolic Order. This paper is an attempt to investigate how the presence and absence of the father figure influences Plath and how she rebuilds a new Order with the free play of signification and devoid of the domineering voice of the Father.

title: Analysis of Three Order Topological: a New Approach to Analyze Audiences of Emotional TV Programs
abstract: "Topology of the Three Order" was proposed by the famous French psychologist Jacques Lacan who had large an influence after the Second World War. This theoretical system was formed after the critical inheritance against Freud's theory. It is a system in which the three categories of "symbolic order" "imaginary order" and "real order" are merged in some way by using geometric models and etc. To this day, Lacan's "Three Order Topology" has gone through more than half a century, and its meaning has been widely used in various fields, including art, radio and television broadcast. This article aims to research and analyze this new approach based on its role in the audiences of emotional TV programs. After discussion and inquiry, it can be considered that the "Three Order Topology" analysis is a new approach for the analysis of audiences of emotional TV.  Three Order Topology; emotional TV programs;

title: Desiring 'foreign talent' lack and Lacan in anti immigrant sentiments in Singapore
abstract: In recent years, the Singapore government's pro immigration policy specifically, its recruitment of so called foreign talent has caused a palpable rise in anti immigrant sentiments and discourses amongst natives of the city state. Drawing on Lacanian psychoanalysis, a perspective so far marginal in migration research, this article offers a provocative reading of Singapore's desire for foreign talent and the local society's reception of these subjects. The article focuses on the ways in which frustrated Singaporeans seem to find foreign talent immigrants, especially those from mainland China, to be lacking and undesirable. Lacan's theories enable the bold interpretations that: (1) foreign talent is not meant to fill a lack but precisely to produce it and (2) foreign talent stands for Singapore's and Singaporeans' unobtainable object of desire, which ultimately signifies the gaps and inconsistencies in the symbolic order confronting them. Moving away from existing conceptual frameworks and theoretical approaches, the article illustrates what a psychoanalytic lens of desire can contribute to migration and mobility research.

title: Lacan Frames Scorsese's Paintings in The Age of Innocence
abstract: This article, which brings together film, psychoanalysis, literature, and art, focuses on the role of paintings in Martin Scorsese's The Age of Innocence (1993) Scorsese conveys the imprisonment of New York aristocrats within the framework of social conventions and their evasions of social restrictions through his employment of paintings. Because the protagonists' emotions are not revealed often, the director communicates their dramas and actions with the help of the paintings they own or appear next to. The paintings operate as Jacques Lacan's Other, an entity that watches over the characters to make sure they conform to its selfperpetuating rules. Scorsese's use of paintings shows that the characters perform for the Other and seek to maintain the status quo. While most characters perform within a Lacanian symbolic order, their different responses to a variety of paintings underscore the flexibility of the symbolic order.

title: ZINANIN HUKUK ICI VE HUKUK DISI SOYKUTUGU
abstract: Adultery, which means "illegitimate sexual intercourse" is a regulative gender norm in the patriarchal symbolic order. In this article, I will discuss the concept of patriarchal symbolic order through a reference to Butler's thesis. Butler argues that Levi Strauss' and Lacan's structuralist discourse, bases on the incest law, are formulated as a universal and ideal form of social/symbolic norms. The common point of this universal structure is that there is no room for an equal and autonomous female subject. In other words, the female subject has a subsidiary position in the patriarchal symbolic order. I will explain that the patriarchal symbolic order norms and the social/symbolic meaning of adultery internally and externally affect the legal norms and interpretations through acts of violence. I will critically debate on legal norms and interpretations of adultery by analyzing Cover's concepts of "legal violence" and Fricker's "epistemic injustice" by briefly mentioning the history of adultery in common law. In Turkey, adultery is regulated as a specific reason for divorce in the Civil Code. Thus, it is necessary to argue on the ways of interaction between the legal violence and the jurisprudence on adultery in Turkey. I will try to put forward the ways of interpretation of judicial decisions in the fault based divorce process and subjection of women to legal violence by examining Turkish Family Court's and Supreme Court's precedents on adultery. While determining the amount of the compensation and the share of intra marital acquisitions in divorce cases, the Supreme Court firmly considers adultery of the wife as a gross fault, even more than domestic violence of the husband.

title: The Master's Race: Phallic Whiteness in "The Young Savages"
abstract: This essay examines two parallel, historically contemporaneous, depictions of the Freudian master slave dialectic. John Frankenheimer's first film, The Young Savages (1961) reconstructs Hank Bell's (Burt Lancaster) repressed transformation from Italian racial other into a white ethnic. In doing so, the film approaches the possibility that race itself may be a kind of social construction. To get at this notion, the film explores the meaning of race in an overtly psychoanalytic language. In fact, The Young Savages echoes the argument of Jacques Lacan's nearly contemporaneous essay, "The subversion of the subject and the dialectic of desire in the Freudian unconscious." Lacan's paper, first delivered in 1960, and Frankhenheimer's film, argue that the normatively socialized subject must sacrifice an essential part of themselves in order to achieve social recognition. In Lacan's language, every subject is castrated, and because of that mutilation, every subject desires completion through the symbolic phallus. To accept castration, and to desire the phallus, is to live under the dominion of the name of the father. Hank Bell enters into this dialectic of desire, discovers his own lack (the history of his repressed racial identity) as well as his desire for the phallus (whiteness) In short, the film allows for an understanding of Lacan's dialectic as the unfolding of normative white supremacy, and Lacan allows for an understanding of the film as a dialectic of desire. At the same time, both Lacan's essay, and The Young Savages share the same fundamental aporia. For Lacan, the phallus is not a penis, but a structural position; nonetheless, rather than renaming the phallus as male domination, Lacan leaves the phallic language in place, unquestioned. Even as Lacan opens a path to the interrogation of masculine domination, he essentializes patriarchal language, and paradoxically takes refuge in a developmental argument to ground the significance of the phallus as symbol. In the same manner, The Young Savages questions the concept of whiteness, recognizes race as a social construction, but pulls back from that recognition, and ultimately leaves the normative racial order intact.

title: Posisi Subjek Tokoh Skeeter dalam Filem The Help (2011) Karya Tate Taylor: Kajian Subjektivasi Slavoj Zizek
abstract: Slavoj Zizek introduces definition of subject through the concept of The Real. He decribes it use the Lacan's psychoanalys triagle. The process of reaching The Real causes the subject to do something that can be out of the symbolic. Therefore, the position of subject could be decided at this stage. This kind of subject is seen in The Help (2011) film. It is represented by Skeeter. She tries to out from the symbolic order to get the real. In her process to reach the real, she is unable to release herself from the symbolic completely because of her educational background, her thought, and her conscience. Therefore, Skeeter could not be defined as the radical subject based on the process. Still, her effort in order to out from the symbolic is never succeeded. It is because she always does everything with full consideration. In fact, she only moves to the new symbolic order.

title: A HOMOLOGIA ENTRE MAIS VALIA E MAIS DE GOZAR NAS BASES DA SUBJETIVIDADE CAPITALISTA
abstract: Esse trabalho e motivado pela homologia estabelecida, por Lacan, entre a mais valia e o mais de gozar. Buscamos evidenciar o embasamento dessa homologia e apontar seus efeitos nos fundamentos da subjetividade capitalista. Para tanto, combinamos a leitura do Seminario 16, de Lacan, a uma abordagem de O capital, de Marx. Nesse processo, analisamos as articulacoes significantes do valor, do dinheiro e do fetiche na conformacao da ordem simbolica do discurso capitalista.

title: Lacanian Reading of Marsha Norman's Night, Mother
abstract: This paper offers a Lacanian/feminist reading of Night, Mother by the American playwright Marsha Norman. The play Night, Mother will be read according to Lacan's point of view and the concepts of identity and identity formation are studied in this paper. The play will be analyzed based on the Lacanian concepts of the contrast between the Imaginary Order and the Symbolic Order and the notion of Death Drive suggesting that in the play Jessie represents the Symbolic Order and her mother, Thelma, represents the Imaginary Order The notion of Death Drive and its omnipresence in Jessie's psyche is discussed and emphasized. Thelma functions as the Other for Jessie, while her father functions as the Mother, a reversal of gender roles in the Lacanian reading. Moreover, the relationship between some of the concepts are explained. It will be explicated how the play can be brought in line with a feminist reading of Lacan by reversing the stereotypical gender roles and subsequently getting close to post feminist authors.

title: Entre la accion y el acto: del 9 N en Cataluna y los limites de la performatividad
abstract: By referring to Michel Foucault's and Jacques Lacan's works, and also taking as reference the popular consultation which took place in Cataluna on november 9th 2014, the purpose of this article is to draw the limits of Judith Butler's theory of performativity with respect to the subject of the political and its agency. Those limits are made manifest by the distinction between political action and act or between subversion, understood as a transgression of the norm which gives place to the reconfiguration of the socio symbolic order, and interruption, understood as a transgression of the norm which constitutes an event of a radically different order.