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Работа на тему: Смерть - это диалог между психоанализом и семиотикой
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Описание работы

MINISTRY OF SCIENCE AND HIGHER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Higher Professional Education
«UNIVERSITY OF TYUМEN» SCHOOL OF ADVANCED STUDIES
RECOMMENDED FOR А DEFENSE IN SEC SAS

UNDERGRADUATE THESIS
DEAТН IS А DIALOGUE BETWEEN PSYCHOANAL YSIS AND SEMIOTICS/CМEPTЬ - ЭТО ДИАЛОГ МЕЖДУ ПСИХОАНАЛИЗОМ И СЕМИОТИКОЙ

50.03.01 Arts and Humanities Major «Cultural Studies»

Tyumen 2023

МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)
РЕКОМЕНДОВАНО К ЗАЩИТЕ В ГЭК

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
DEAТН IS А DIALOGUE BETWEEN PSYCHOANAL YSIS AND SEMIOTICS/CМEPTЬ - ЭТО ДИАЛОГ МЕЖДУ ПСИХОАНАЛИЗОМ И СЕМИОТИКОЙ

50.03.01 Искусства и гуманитарные науки Профиль «Культурные исследования»

Тюмень 2023

TABLE OF CONTENTS
INTRODUCTION 4
CHAPTER 1: QUESTIONS 7
CHAPTER 2: INDETERMINACY AND LANGUAGE 9
CHAPTER 3: SPECIFICITY OF METONYMY 12
CHAPTER 4: METONYMY AND THE REAL 17
CHAPTER 5: CONVERSATION ABOUT DEATH AND DEATH AFTER 21
DEATH 21
5.1. CONVERSATION ABOUT DEATH 21
5.2. DEATH AFTER DEATH 24
CONCLUSION 34
BIBLIOGRAPHY 36

INTRODUCTION
“Tell all the truth but tell it slant” is a manifest of Emily Dickinson’s poetry [Dickinson, p. 563]. Her genius and innovation are that her poems are ambiguous, complicated, and mysterious. She leaves questions unanswered, doubts what she previously said, confuses the reader by changing points of view and objects. The most inexplicable category in her poetry is death. She has written a lot about death, and yet the leading idea is that it is impossible to express death in precise, accurate words and remain true.
The scholars explain her uncertainty by the idea that she wants to stay honest and authentic and emphasize that life is a secret [Hagenbuchle, p.6], [Thakley, p. 48]. They claim that according to Dickinson, language is not able to describe experience and feelings to the full extent. However, this explanation does not seem to be sufficient for me because it is not clear what the secret of life is, and why the expressed words are not true. In the text “Precision and Indeterminacy in the Poetry of Emily Dickinson”, Roland Hagenbuchle claims that she creates this uncertainty by metonymies [Hagenbuchle, p. 24]; other researchers also state that metonymies are one of her major techniques [Liu, p.573], [Knox, p. 11]. It means that analysis of her metonymies can illuminate why her poetry is ambiguous and indeterminate.
In this paper, I analyze poems about death such as “I died for Beauty – but was scarce”, “Unit, like Death, for Whom?”, “Because I could not stop for Death” and “I Felt a Funeral in My Brain”. I explore the metonymies and image of death in Emily Dickinson’s poetry from the perspective of psychoanalysis, namely Lacanian theories on metonymies and the Real. I consider the Lacanian argument — the claim that language and psyche work the same way [Dor, p. 43]. In the psyche, there is censorship, which manifests itself in the form of displacement. Lacan argued that metonymy and displacement are processes that work according to the same laws, because the “unconscious [is] structured like a language” [Dor, p. 27]. This means that censorship can also manifest itself in the form of metonymy. I want to trace why there is censorship in Dickinson's poems. Thus, my main research questions are: What does she cover by her metonymies in poems about death? Why does she do that, specifically why does she need censorship? To answer it, I will investigate the Lacanian concept of the Real.
I want to briefly explain what is the Real and later I will gradually connect it with Dickinson's death through metonymy. In Seminar XXI: Les Non-Dupes Errent, Lacan explains how the registers of human reality, namely the Symbolic, the Imaginary, and the Real, relate to each other: “The Borromean knot can only be made from three. The Imaginary, the Symbolic, that is not enough, the third element is necessary, and I designate it by the Real” [Lacan, 1973, 15]. To put it simply, as Dmitry Uzlaner does in the book Jacques Lacan: An Introduction: The Imaginary is connected to our psyche, and it contains the ideal image of itself, Ego; the Symbolic is connected to language and culture [Uzlaner, p. 80]. Through it, the Symbolic describes, structures, and creates cultural norms and prohibitions. In Seminar I: Freud's Papers on Technique, Lacan describes the Real in opposition to the Symbolic, because the Real cannot be described by language: “the Real, or what is perceived as such, is what resists symbolisation absolutely” [Lacan, 1991, p. 66]. Uzlaner gives such an example: language is a bucket with which we try to get water out of the barrel. No matter how hard we try, the bucket cannot scoop up all the water, something will remain at the bottom [Uzlaner, p. 161]. So, as Bruce Fink defines it in the book The Lacanian Subject: Between Language and Jouissance: “The Real … does not exist, since it precedes language … It exists outside of or apart from our reality” [Fink, p. 25]. Together, the Symbolic and the Imaginary create something that is perceived as reality. The Real is opposite to reality. The Real is unspeakable and indeterminate. These features correlate with the indescribability of death and its uncertainty in Dickinson's poetry. What is especially important is that the Real is traumatic. I will focus on this idea in the fourth chapter. This trait can explain why censorship arose, and hence why death is described through metonymies.
My thesis is that in Dickinson’s poetry death is indeterminate because Dickinson reflects the Real in death through metonymy. Since it is impossible to transmit the feeling about the Real into words, death remains uncertain. Metonymy allows us to approach the Real, because it censors the traumatic feeling of the Real. Moreover,
Dickinson’s metonymies present a paradox: it is a Symbolic tool, and at the same time, it reveals the idea that language is incomplete. Language similar to metonymy can convey things only partly and that is how metonymy reminds about the Real. Besides, Dickinson's metonymies have such features as a resistance to signification, “un- naming” [Liu, 6] of things, and ability to transmit a “critical moment” [Hagenbuchle, p. 8]. These features indirectly express the sense of the Real as well. This idea can shed some light on her relation to truth and contradictory attitude towards language.
In the first chapter, I set some questions based on the poem “I died for Beauty – but was scarce”. In the second chapter, I want to focus on the literature, revealing what scholars say about Dickinson's uncertainty, controversies in her relation to language, and paradoxes. Then, I explore metonymies and metaphors through Dickinson scholars and Lacanian ideas of metonymies and metaphors. The fourth chapter is about the Lacanian concept of the Real and its connection with the metonymy. The last chapter is the analysis of her poems and the application of the Lacanian ideas of the metonymy and the Real into it.

BIBLIOGRAPHY
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6. Fink B. The Lacanian Subject: Between Language and Jouissance. Princeton, NJ: Princeton University Press, 1997. 219 p.
7. Freud S. The Interpretation of Dreams. New York: Basic Books, 2010. 647 p.
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10. Hecht A. The Riddles of Emily Dickinson // New England Review. 1978. (№ 1). P. 1– 24.
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14. Jakobson R. Yazyk i bessoznatel’nost [Language and the Unconscious]. Moscow: Gnosis, 1996. 245 p.
15. Knox H. The Alien Dimension: A Study of Metaphor and Metonymy in the Poetry of Emily Dickinson. Berkeley: University of California, 1979. 290 p.
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19. Lacan J. The Seminar of Jacques Lacan. Book XXI: Les Non-Dupes Errent 1973-1974
/Translated by Cormac Gallagher. Unpublished Manuscript, 1973. 268 p.
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23. Uzlaner D. Zhak Lakan: Vvedenie [Jacques Lacan: an Introduction]. Moscow: RIPOL Classic, 2022. 287 p.