D.H. Lawrence's 'British Family' - Mother & Son Research Paper

D.H. Lawrence's 'British Family' - Mother & Son - Research Paper Example Education and proficiency in specialized arts were the only way to attain a high social position which is reflected in Lawrence’s own life (Spartacus). His father was an illiterate coal miner while his mother was fairly educated. The mother therefore nursed ambitions for her children and left no stone unturned in procuring a better education for them. The emotions and sentiments to which Lawrence must have been exposed during his childhood are therefore reflected in the structure of his short story entitled ‘The Rocking-Horse Winner’. In this short story, the relationship as depicted by Lawrence between the mother, Hester and her son, Paul shows how social pressures can rob true love from such a sacrosanct biological bond. The mother allows her aspiration for riches and better social status override the true love for her children. Though leading a fair lifestyle, Hester has allowed unhappiness to creep into her household by building up an aura where the requiremen t of more ‘money’ always haunts the family. ... In her pursuit for more money she works as an artist in a studio but despite her best endeavors she fails to attain the level of success she desires although other artists in the business are doing so. She expresses her frustration during a conversation with Paul in which her obsession with the idea of ‘luck’ gets transferred into the child’s psyche. Paul, therefore starts believing that only good luck was the answer to all his problems and starts looking for it in and around the house and also by asking questions related to luck from his supposedly ‘lucky’ Uncle Oscar Cresswell, and the family gardener, Bassett. Paul gets obsessed with the idea of being lucky and getting rich, which he foresees as the solution to the family’s misfortunes. He starts believing that once he is rich, he can give money to his mother which would make her happy. Subconsciously, it is true love that he actually desires from his mother, the need for which was always fe lt by him as well as his siblings. D.H. Lawrence, in this story, has tried to depict a typical British family of that era which had forgotten the true meaning of family life in a bourgeois and vain society. Social standing and money preoccupied the minds of the average citizen as they tried to attain a false sense of superiority by acquiring material wealth. In this fruitless race, mothers’ forgot to attend to the emotional needs of their children while their husbands’ toiled at work. In Paul’s family, the situation has been portrayed very clearly by the author. The emotional lacuna that exists in Paul’s psyche leads him to a single obsession of getting lucky which he tries to find in an inanimate object, the rocking horse

Constantan and Copper Essay Example for Free

Constantan and Copper Essay This crystalline therefore will not be able to hold the amount of stress which will be exerted by the weights slowly being added on; however we can predict that the copper element will face much stress and therefore will experience necking as the atoms as shown in the diagram will dislocate the atoms and therefore they can slide past each other more easily, consequently resulting in the fracture of the material. Copper is generally by itself very weak that is why it needs to be hardened and strengthened for many industrial applications. It is therefore mixed with other metals and melted. When carrying out this experiment I deem that as the number of weights is increased for copper, this will slowly exert pressure and the molecules will slowly pull apart as the bond will break between the molecules. The material will reach its elastic limit, where it has reached its point where by after if any more weights are added then it will deform and not return to its original state. Here is a diagram below which illustrates this: (Image extracted from physics textbook) The equations that I will acquire in this investigation to find out the aim, which is to find out youngs modulus of both materials through drawing of the graphs from the results I will need to use the following equation as this is what will aid me achieve this part of the aim: From my graphs, I will find out the gradient and therefore be able to work out youngs modulus by the formulae above. I believe that youngs modulus for constantan will be high because I consider from the evidence provided that it will be able to take more strain then the copper (crystalline). I deem this simply because constantan being an alloy can take more of a load then a pure metal. Here is a typical example of a stress train graph: (obtained from my physics textbook) Fair test:   Test the wire to get an average; I will do this three times. All of my figures will be to three significant figures.   I will carry this out on the same day in the same conditions, using all of the same apparatus. I will keep the metre stick stuck down to the table and not move it, so that it wont affect my results, when marking off the extension. Apparatus: I will be using the following:   Pulley   Metre ruler and a marker   Mass weights and actual storage unit   Wooden blocks to hold the wire in place   A G clamp. Safety: I will ensure that I keep this a safe experiment by: Keeping the cardboard over the wire, as when the wire snaps the wire would not suddenly lift up and cause any danger.   I will also make sure there are not people crowding the experiment when it is being carried out, as the weights can cause danger if they fall. Results: I have entered the results I have been given into Microsoft excel. From this the extension I have been given, is given in mm, but in physics we have to convert mm to metres. From the materials given I would find out the area of the wire as the area can depend on the wires, as they can have different thicknesses. Diameter: 0. 37mm The cross sectional area: pi r^2=1. 07510-7m2 To find the out the cross sectional area I simply had worked out the radius, which was 0. 000185, I achieved this figure by dividing the diameter (0. 37) by 2000. By calculating this I was left with this figure. I will need to find out stress over strain which will give me youngs modulus. Since the length of the wire is 2. 1metres this will be used to find out the strain. Here are my results for copper: Here is my table of results showing results from the copper wire. I have worked out the stress and strain which therefore simply allowed me to work out the youngs modulus of copper, and this I have shown on the computer. I have also shown the table showing the formulae I had input in the cells in Microsoft Excel. I have shown this below, in the last four columns where I had input the formula into the cells to aid me to work out youngs modulus of copper. I have shown the results I had obtained for copper above, now I will produce a table showing the results I achieved for constantan the alloy which I believe would have a higher youngs modulus then copper. I had used the same length of wire which is 2. 1metres as I made sure this was a fair test when conducting the experiment. I have worked out the cross sectional area as the same in the procedure before. Here are my results for constantan: Diameter: 0. 3510-3 Area: p r^2:9. 621010-8 m2 Here are my results stated above showing the results from the constantan wire. The results show the youngs modulus for constantan at the given force. Below is the formulae table showing the formulae which were input into the cells from stress and strain. When simplifying these results it will be evident I belie that the constantan wire will have the higher youngs module, and this will be clear in the graphs I produce. I have now simplified my results so that I can easily plot my graph from these results. I have made them show the stress to the power of 10 to the 7, and strain which is ten to the power of minus three. Here are my two tables: Results for constantan (for graph) Stress Nm times 10 Strain Youngs Modulus times by 10 (times 10 )   Stress Nm times ten Strain (e/L) Youngs Modulus times by ten times by ten Analysis: In this experiment my aim objective was to find youngs modulus from copper and constantan wire. I have shown this by taking the first step which was to produce the results table, and from this I have plotted the graphs showing the force against the average extension. Observing my graphs you can see that I have plotted two separate graphs showing force against the average extension for both materials. Furthermore, you can also see that I have created the graphs showing stress-strain for copper and constantan. This graph typically shows youngs modulus. The wires had reacted to the weights in the way that I had expected as I predicted that constantan wire will have the higher youngs modulus and is more tough typically because it is an alloy which contains 40% nickel which makes this element extra strong, whereas the copper is a pure metal and will not be able to take the strain of the load and this is proven as the copper wire could only take 24N as it broke, whereas constantan wire could take almost double the amount 42N. This illustrates that constantan wire needs more force to extend the wire; whereas copper is a material which is frail and would extend by a suitable weight which puts strain onto the material. We can perceive that copper is more easy to stretch by the information I have produced in the table as at 20N it had an average extension of 0. 013 metres, however constantan wire if what my theory is, then I believe that at 20N, constantan should have a smaller average extension then copper has. Looking at the table, the average extension for constantan at 20N is 0. 006 metres. This proves my theory correct as these two results show the difference between the two materials instantly. We can now say that constantan is more tensile, as an alloy it has an enables the dislocation of the atoms which help grip the structure together and therefore give it the property of being tough, this is explained in my diagram I have drawn on page 3. I believe that the atoms in the pure metal copper, had displaced and therefore become unstable when the load was placing strain upon the wire. This would ultimately, make the atoms move out of position and break up, resulting in the wire shattering. This is why when the copper wire had reached its maximum load which was 24N, the atoms had suffered a permanent deformation in the arrangement as they would have been changed in their formation, but unable to move back. This is the same principle with the wire, as it was being stretched and the atoms moved out of place, but the load was greater then the elastic limit could handle and this is why there is a permanent deformation where the wire does not return back to it original shape and changes length, resulting in the increase in extension. In the constantan wire, this would be identical however the atoms would be harder to move out of place, as this material can handle far more load then the copper wire could. So at the same weight (24N) this wire would still return to its original shape because it is in its elastic state. However once it exceeds it elastic limit, then the wire loses its formation of atoms and does not return to its original shape. Here is a graph showing elastic and plastic locations in this graph, this is a way of working out youngs modulus, or by working out the gradient of a graph. I have also found a diagram from my physics textbook, which shows the general yield stress for materials including copper and constantan. By observing the diagram this will give further evidence for my analysis upon the results I have achieved: What each of my graphs show:   My first graph shows force against the average extension for the copper wire, this graph shows that the average extension had increased with the force, however only to a certain point, as this remained elastic from 0N to 24N. After this remained plastic, where the wire could not handle any more load and had shattered. My second graph shows force against average extension for constantan wire. This wire indicated through the graph actually can handle much load, and it has a very large elastic region, as this alloy is very tough, therefore can handle large amounts of weights. This wire could handle 42N however after it then remains plastic, and broke.   The third and final graph illustrates further insight into the youngs modulus of copper and constantan wire, as I have plotted the two materials on the same graph. It is indicated that constantan has a higher youngs modulus compared to copper material. This is because copper can easily be shattered as it stretched very much compared to constantan. The gradient is smaller compared the constantans, which means copper has the smaller youngs modulus because it is a metal and nothing stronger whereas the constant material has elements such as nickel which gives it the strength it requires to dominate copper. Evaluation: I perceive that this experiment was completed under fair conditions as this was kept a fair test at all times. I believe that repeating the experiment three times, had made this fair and given the accuracy which was needed. I had made sure that the materials were used to 2. 1 metres in length and had the same diameter. However, the errors which appeared in this experiment (uncertainties) are where when measuring the wire of the constantan or copper I had rounded up or down the value depending n whether it was greater then X. 5 or below. In my graphs, this is shown as these have been drawn in for average extension, so there is an uncertainty error of about 0.5mm. Another uncertainty spotted I believe is where I had calculated youngs modulus on the graph, I plotted a line of best fit. The line of best fit was drawn in hand by me, however this line can cause uncertainty as this is based on human error and accuracy as everyone will have their own judgment and perception when drawing the line of best fit. Furthermore, I can see that my line of best fit is not totally wrong as looking at the young modulus of copper which is 3*10 to the power of 10, and constantan 6. 40 to the power of 10. We can see that constantan youngs modulus was said to roughly double coppers youngs modulus value, and this is proven by these two figures given. We can see that these two figures are nearly double in difference therefore they seem to be correct. When measuring the wire with a metre stick I found there were an uncertainty of 0. 5mm, and an uncertainty of 1% with the weights. The experiment in general had gone according to plan. Im pleased with what I had found out through the results as I believe my prediction was correct and backed up by the results from the graph I had achieved. I believe that repeating the experiment three times meant that I had accurate results as from the average extension I plotted the graphs. Concluding this experiment I had found out that constant had the higher youngs modulus due to it being an alloy and containing the 40% of Nickel which gives it the strength property. Copper however, had been more flexible being a pure metal the atoms were easily dislocated and this resulted in copper breaking very easily as it had a small elastic limit. Improvements-IF TO DO IT AGAIN. Bibliography:I had obtained information from the following resources: o AS physics textbook: I had found this source extremely interesting and useful as much of the diagrams I had used came from this textbook, which explained the comparison between the pure metal and alloy. This textbook had given much information which was relevant to this coursework. 8/10 o AS physics CD-ROM: I had achieved the diagrams mostly from the CD ROM, this CD had many diagrams which were useful, however this did not contain much written information which was useful and could aid me with this coursework.6/10 o Internet: I found that the information from these sources seemed very reliable and information I had gained, helped me understand the complex issues with the relation of physics to youngs modulus. I had obtained the various information I have included on the background information on the sensor from the following Internet sites: o http://www. emsl. com/tensile_strength. html o http://www. encyclopedia. com/html/Y/Youngsmo. asp o http://hyperphysics. phy-astr. gsu. edu/hbase/permot3. html.

Zelda Fitzgerald Essay -- Biographies Biography Writers Essays

Zelda Fitzgerald Zelda Fitzgerald began life looking forward to what it could offer her. A popular debutante and success at everything she had yet to try enticed her to believe that she was infallible. It was only during her later life that she realized that life, both physically and mentally, had its breaking point. Though many things have been blamed as the cause of her mental breakdown, there is no specific root to her problem. Diagnosed as schizophrenic in 1930, Zelda would be condemned to spending the rest of her life in and out of mental health facilities, the place where she would take her final breath, killed by a fire in 1948. Zelda Fitzgerald’s first breakdown occurred while living abroad in 1929. Insistent on becoming a world-class ballerina Zelda threw her heart and soul into her dancing. Later in life Zelda would admit that she needed dancing, she wanted, â€Å"dancing to be her exclusive possession† (Milford, 152)[1]. After having a life in which she was constantly referred to as F. Scott Fitzgerald’s wife, Zelda imagined dancing to be her own passion, one which could give her a personality separate from simply being a wife. The pinnacle of her first breakdown occurred in April of 1930. Increasingly Zelda’s behavior had been becoming so strange that Scott finally took her too a hospital. Against her doctor’s wishes she soon left and returned to her apartment where she became increasingly more disoriented, complaining of hearing voices and seeing phantoms. Finally, against her wishes Scott instituted her at Les Rives de Pragins. The one thing Zelda missed was her ballet, of it she wrote, â€Å"It was all I had in the world at the time† (Milford, 160). During her first instance of being institut... ... 4)[3] to a sad lonely existence. Whether it was genetics or Scott Fitzgerald to blame for this transformation can never be decided. What Zelda’s illness took away from her and from society was the creative thinker that could never fully be unlocked. Zelda left behind a treasure of short stories, plays, and paintings. Perhaps without her debilitating schizophrenia Zelda Fitzgerald would have been able to create the independent identity for which she so craved. [1] Milford, Nancy. Zelda, Harper Collins, New York, New York, 1970. All further references refer to this edition. [2] Bryer, Jackson. Dear Scott, Dear Zelda, St. Martin’s Press, New York, New York, 2002. All further references refer to this edition. [3] Willett, Erika â€Å"Zelda Sayre Fitzgerald: Artist, Writer, Dancer and Wife†. PBS Biographies. www.pbs.org/kteh/amstorytellers/bios.html

Enron And Ethics Essay

Having some detailed written code of ethics like Enron had is usually not enough. Enron had a 64 page code of ethics and incase you might be wondering, the pages were not blank. However, despite this, it went down. The organizations ought to infuse some integrity and ethics in their corporate structure and in their success definition. To be precise, Enron ethics were simply ignored by the management and the employees. In any organization, the functions of any department should be based on ethical values, competence, integrity and a clear accountability of financial matters. Enron totally ignored these functions thus leading to its bankruptcy. As the company’s reputation did grow globally, hence there was competition of the employees therefore leading to individual greed and also the generation of egotism in the company. Every employee wanted to earn more, achieve a lot and hence there was the high motivation by the company to succeed. Such an atmosphere leads to a tendency to distrust people as everybody is concerned with their personal interests. There were so many dealings in the finance section hence the company’s goals were underestimated as well as the business ethics. Therefore it is imperative to give an immense background on Enron’s collapse and various views that can be deducted from its collapse. Enron’s, history, collapse the whistleblowers and conflicts The main issue which led to its downfall lay comfortably in the department of the operations management. At one time the company was receiving lots of praises from outsiders and then it was mounted with a decentralized control in the finance sector and also their decision structure gave an unclear and illogical picture on the activities of the company and its operations. Enron Corporation was one of the largest companies in Houston, Texas which used to sell natural gas, electricity and also distributed energy. It also offered other services for example bandwidth interest connections as well as offering financial services and providing management of risk services globally. The company gradually became powerful due to its initiative marketing strategies as well as the endorsement of communications and power bandwidth services and the offshoots of risk management. All these services got supervised by the department of operations management and other departments. Though the functions of these departments were executive in their nature, there was however lack of responsibility, integrity, control and creativity. The absence of these vital ethics did lead to the entire bankruptcy of the whole company. Kenneth lay who died three months before he was to be finally sentenced was the founder of Enron in the year 1985. He initiated the electricity sale and then afterwards US congress did pass legislation on the deregulation of natural gas. Enron before its collapse could report some annual revenues in the year 1990 of $ 10 billion and in the year 2000 to about $ 101 billion (Mark, 2002). In October 2, 2002, early in the morning, Andrew, Fastow who was Enron’s former chief and the financial officer did voluntarily surrender to the FBI agents and was led in hand cuffs to the car trailed by the television cameras and reporters. He was later taken to federal house and was charged with mail fraud, securities fraud, conspiracy, and money laundering. He was sentenced for ten years (Loren, 2003). In the 1990s, Enron was a universal lauded company that did transform all the old businesses and started creating new ones. However, the criminal complains did cap disclosures and revealed that it was poorly managed and had amplified its reliance on some convoluted business ordeals in order to maintain growth objectives and encourage some unbridled ingenuity that resulted to fraud. It is patent that the company had some poor internal controls and unreliable top managers. Enron came crushing in 2001 and filed for what could have been termed as the nation’s vast bankruptcy. What were the main causes of its down fall? First the financial statements of Enron were not transparent and did not give a clear detail on the finances and operations with analysts and shareholders. Second it had a complex business model that actually stretched on the accounting limits thus required the company to use the limitations of accounting in order to manage on its earnings as well as modify on its balance sheet to limelight a constructive depiction of its whole performance. It is completely patent in the Enron movie; these scandals had grown tremendously out of some steady accumulation of the values. Habits and actions that had already began many years before later going out of control. The top managers who were the whistleblowers like Jeffrey Skilling who was the chairman and Andrew Fastow contributed to the downfall. The auditor, Arthur Andersen, also got accused of reckless application standards in the audits out of conflict of interest over the vital consultancy fees that had been generated by this company. Finally, in November 28, of 2001, Enron was declared bankrupt. The company lost confidence in its investors and at the end had very little cash to run business and satisfy some hefty debts. Trade secrets and privacy in Enron Trade secret is by definition any information that the company keeps as a secret in order to offer them an advantage over other competitors. Basically Enron was a multi billion dollar company that had assets that were far flung that did rival those of other companies and countries thus there had to be some information on their weakness in order to bring them down that was unknown to some average citizens. According to Debka, the first hidden weakness of Enron was based on finance which could have made the competitors destroy the company fast. Enron hid hefty blocks of liabilities from investment company’s eyes through creation of shell companies to which they were basically shuffling debts. Since the outside companies had no tie to this company, there is no one in the investment community who realized how immensely in debt Enron was and how it was affecting on its pictures of profitability. The Enron executives knew that if this information if it was made public then the investors would end up selling their stock. Enron basically had to hide some hefty liabilities in their shell company to show the investors that they were still at a profit. The second weakness it had was the fact that it held some contracts on foreign soil thus depending on those countries to pay all their bills according to the agreement. All the conflicts of interest of this company were finally not solved as they accumulated and led to bankruptcy. All this later led to court cases where the convicts were sentenced. All this shows there was some extent of privacy. Kenneth lay already knew that Enron was undergoing some financial trauma but still went ahead to lie to the shareholders and the investors that the company was at its best shape. They kept their financial crisis a secret. Honesty and Enron The moral demand of transparency as well as honesty is the foundational principle in investing in the free markets. Any decision of any corporation to ignore some moral demands that are based on transparency and honesty in their financial arrangements should never be used like an excuse to smother the spirit of the entrepreneurial in aggressive situations (Philip, 2001). Analysts and the commentators analyzed on the hinge matter that led to the down fall of Enron. It is lucid that the demise of Enron did not lie in the deregulation of electric power but in some questionable practices of accounting by the company. Thus we can denote that honesty which is an ethical principal was not curtailed. Despite their higher earnings, in 2001 Jeffrey Skilling resigned for some disclosed reasons and Enron reported a loss of $ I billion because of poor performance. Despite the angle you look at the whole phenomenon, it is quite clear that there lacked honesty at Enron. In the documentary ‘Enron: the smartest guys in the room’ it depicts on some o the social evils like hubris, greed and lies that did bring Enron down. The film does a tremendous job of digging up a lot of dirty acts where the whistle blowers could tell some plain lies to the government, investors, and employees and make it sound very good. Virtues and Enron Despite the mischievous and questionable deeds by Enron, failing to credit them for some charity work they did will be questioning on our ethics too. Most media reports have reported on some good work that was done by Ken Lay, who is the former Enron’s CEO. With his family he gave generously to the church through the family’s charitable foundation which did hold over $ 50, 000,000 of all Enron stock in the year 2000 (Tim, 2010). Enron made some sufficient donations to the legitimate charities. (Francis, 2002). Utilitarianism and Enron Some theories and principles can be used to give an inner analysis on the situation at hand that led to this failure. Utilitarianism theory by John, Stuart Mill, does offer some straightforward method of approach in deciding the morally right action for all situations we find ourselves in. This is a theory that does consider what is good for everybody. To discover what we ought to do, we should identify first the divergent courses of actions that can be performed in the situation and all the future benefits as well as harms that can mount from that. Utilitarianism states that we should always take the course of actions that offers the most benefits when the costs have already been taken into full account (Manuel et al, 1989). In this case it is patent that utilitarianism concept was never used. The company since it already knew that it was going down to the drains could have come up with a strategy that was rational to save them from the predicament instead of fooling those around it that it was enjoying some benefits. They could have used this theory to look unto the future possibilities and work towards attaining sustainability. They should have been a global responsibility to advance in their financial aspects (Yvon, 2003). Egoism and Enron Unlike Utilitarianism, egoism theory states that individuals should only act to their own best interest and self interest. Egoism is basically not effectual for solving the moral conflicts. In Enron Company most people got away with this theory. Egoism is only based in addressing concerns that are based on satisfying our own desires and getting what we really want (Jelena & Kristijan 2008). The employees at Enron lost their jobs and life savings and the higher executives cashed in millions and received other millions in the bonuses for all the stock inflation thus bringing the company down. There were blatant interest conflicts that were overlooked, members of the board received hefty gifts from executives, millions were spent to discourage oversight and government regulations and warnings from within were ignored (Lawrence, 2002). That is pure egocentrism that should be discouraged in the workplaces.

The Hour of the Star

â€Å"A sense of loss† and â€Å"The right to protest† A Lacanian reading of the film The Hour of the Star1 When Clarice Lispector wrote this ‘story with a beginning, a middle and a grand finale followed by silence and falling rain. ’ (HE, pp. 13) she hoped that it could ‘become my [her] own coagulation one day’ (HE, pp. 12). In fact, ‘her hour’ was near for she would soon die of cancer. The book emerged as an experimental novel gradually dialoguing with and producing illusions of itself, like images in mirrors, paradoxically portraying the invisible.Both her book and Susana Amaral's cinematic adaptation seem extremely conscious of Lacan’s concept of subjectivity and adherent to his psychoanalytic theory that reinterprets Freud in structuralist terms, adapting the linguistic model to the data of psychoanalysis. What lies beneath the choice to attempt a Lacanian reading of The Hour of the Star is not the film's patent opennes s to Lacan's ideas on desire, lack and the language of the unconscious.Despite the theoretical suggestiveness of much of the analysis that is to follow, the aim of this essay is to analyse The Hour of the Star using the methodology developed by Lacan whilst criticising its very mechanisms, stressing the importance of issues such as ethnicity, marginality, and poverty, social, cultural and political alienation, left behind by his account of the development of the human subject. A fairly mainstream cinematic version replaces the avant-garde, subversive structure of the book.In the film things fall into place more handily in the name of coherence, and social issues (the chronic plight of a certain type of North-Eastern Brazilians who undertakes a journey to the great cities of the South in search of a better life) replace the major metaphysical meditations found in the book. In The Hour of the Star everything is subjected to a multiplicity of reductions, exaggerated to the minimum, a c aricature in reverse that works in favour of a growing invisibility of things.Physical invisibility, abortion and repressed sexuality are highlighted in the film, depicting the drama of Macabea, a humble orphan girl from the backwoods of Alagoas, North Eastern Brazil, who was brought up by a forbidding aunt before making her way to the slums of Rio de Janeiro. In this city, she shares the same bed sitter with three girls and works as a typist. Centred on her (in)existence, the film explores Macabea’s marginality by placing her among the marginalities of the characters that populate the world of Rio de Janeiro.There is a strong focus on the relationships between the characters: Seu Raimundo and Seu Pereira (her bosses), Gloria (her colleague from work), Olimpico de Jesus Moreira Chaves (her ‘boyfriend’), and Madame Carlota (the fortune 1 Throughout the essay, A Hora da Estrela, (HE) will refer to Clarice Lispector’s novel (Portuguese version), while the tit le: The Hour of the Star (HS) will refer to the film, a Brazilian cinematic adaptation of Clarice Lispector’s book (The Hour of the Star, Dir.Susana Amaral, Raiz Producoes Cinematograficas, 1985). The dialogues in this work were translated and transcribed from the film, while the book excerpts were taken from the English translation of the novel: The Hour of the Star, trans. Giovanni Pontiero (Manchester: Carcanet, 1992). 1 teller). Macabea has poverty, inexperience, ingenuity, ill-health and anonymity written all over her. All she can afford to eat and drink are hotdogs and Coca-cola.Her only (unachievable) dream is to become a film star. Without any goals in life, her sole interest is listening to Radio Relogio (Radio Clock) that broadcasts the seconds, minutes and hours of the day along with random information about life. Olimpico, who she meets in the park one day, starts going out with her but ends up in Gloria’a arms, after the latter’s visit to the fortun e teller. When Macabea decides to visit the fortune teller herself, her life seems about to change completely.The promise of abundance is followed by utter disappointment when Macabea, wearing her new Cinderella-blue dress, is run over by a car and dies alone, fantasising that she is running into the arms of the promised rich lover Hans, her long curly hair in the wind. Any Lacanian approach to this Cinderella-in-reverse story would proceed with reference to the unconscious, interpreting the text as a metaphor of the unconscious and the subject as a linguistic construct. Lacan is unequivocally clear when he states that: (†¦) the unconscious is structured in the most radical way like a language, hat a material operates in it according to certain laws, which are the same laws as those discovered in the study of actual languages (†¦)2 To the French psychoanalyst, the unconscious is constituted by a signifying chain, whereby the negative relations between the signifiers3 are n ever anchored in meaning: one signifier leads to another but never to the things it supposedly represents. Macabea launches the play of signifiers in the film: the assemblages of signifiers clustered around her convey the elusiveness of the signified and the centrality of the unconscious.Her problem with the meaning of words stands for Lacan’s model which gives primacy to the signifier and not the signified. The audience feels somehow â€Å"oppressed† by the many unanswered questions and the violence of the oblique illusions of truth inside definitions. What follows is a dialogue between Macabea and Olimpico during one of their walks together: Macabea On Radio Clock they were talking about alligators†¦ and something about ‘camouflage’†¦ What does ‘camouflage’ mean? Olimpico That’s not a nice word for a virgin to be using.The brothels are full of women who asked far too many questions. Macabea Olimpico Where is the brothel? Ità ¢â‚¬â„¢s an evil place where only men go. 2 Jacques Lacan, Ecrits: A Selection, pp. 234 2 ‘Just because people ask you for something doesn’t mean that’s what they really want you to give them’4, Lacan would argue, commenting on this dialogue. What Macabea desires from Olimpico is not exactly a word’s signification but something else implied in that same dialogue. She desires the meaning, yet lacks the meaning and that same lack structures her desire.Macabea asks others for definitions, but others are as ignorant as she is. The film’s plays on ambiguity, misunderstandings and misjudgments add to Lacan’s play of signifiers: Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Well†¦ Well what? I just said well. But well what? Let’s change the subject. You don’t understand. Understand what? Oh my God, Macabea. Let’ s talk about something else. What do you want to talk about? Why don’t you talk about you?Me? What’s the problem? People talk about themselves. Yes, but I am not like other people. I don’t think I am many people. If you are not people, then what are you? It’s just that I’m not used to it. What? Not used to what? I can’t explain. Am I really myself? Look, I’m off. You’ve no wits. How do I get wits? Insofar as the Lacanian analyst doesn’t take himself/herself as the representative of knowledge but sees the analysand’s unconscious as the ultimate authority, all these questions about the meaning of words are also metaphors of the unconscious.Macabea is under the illusion that meaning can be fixed and the illusion of stability destabilizes her. According to Lacan’s view of interpretation, meaning is imaginary and irrelevant: It is the chain of the signifier that the meaning insists without any of its elements ma king up the signification. 5 In one of the last scenes, Macabea is driven to the fortune teller by her colleague friend, Gloria, in an effort to fix her life. Madame Carlota divines everything about Macabea’s past, acknowledges 3 Lacan followed the ideas laid out by the linguist Saussure, who viewed the ign as the combination of a signifier (sound image) and a signified (concept). Lacan focuses on relations between signifiers alone. 4 J. Lacan, Ecrits: A Selection, Seminar XIII 3 the signs of the future but fails to interpret them. Macabea’s fate is consummated despite the fortune teller’s misinterpretations because, Lacanians might argue, understanding is irrelevant to the process. But, in this case, understanding becomes very relevant indeed for the Lacanian critics who argue that death represents the destiny of those who get hold of the Phallus.By misunderstanding the signs, Madame Carlota tells Macabea her supposedly brilliant future. As if ‘listening to a fanfare of trumpets coming from heaven’ (HE, pp. 76), Macabea learns that she is going to be very rich, meet a wealthy handsome foreigner named Hans, with whom she will marry, and become a renown famous star. Macabea believes every single word she is told, hence truly acknowledging that all her fantasies will come true that very day. Macabea’s desire to have the Phallus is now a reality. Once desire is extinguished, there are no more reasons to keep on living.This scene shows how Lacan’s view on interpretation as an easy reductionist task leading to imaginary understanding can rebound on him. The scene previously referred to is rooted in another depicting the beginning of the relationship between Macabea and Olimpico, which shows the essentialist views latent in Dr. Lacan’s theory of sexuation. Lacan’s concept of ‘object (a)’ is considered to be his most significant contribution to psychoanalysis. 6 ‘Object (a)’ is th at which is desired but always out of reach, a lost object signifying an imaginary moment in time.According to his theory, people delve into relationships because they are driven by the desire to overcome Lack (consequence of castration). Because Lack is experienced in different ways by men and women, both sexes have different ways of overcoming their Lack: they either place themselves in relation to the Phallus (feminine structures) or the ‘object (a)’ (masculine structures). Lacan argues that in the sexual relationship7 the sexes are defined separately because they are organized differently with respect to language/to the symbolic:8 masculine structure limits men to Phallic ‘jouissance’ while feminine structure limits omen to ‘object (a)’ ‘jouissance’ and also allows them to experience another kind of ‘jouissance’, which Lacan calls the Other ‘jouissance’9. By jouissance Lacan implies what ‘is forb idden to him who J. Lacan, Ecrits: A Selection, Instance de la letter dans l’inconscient ou la raison depuis Freud’ In the preface to Ecrits, Lacan mentions ‘object (a)’: ‘We call upon this object as being at once the cause of desire in which the subject is eclipsed and as something supporting the subject between truth and knowledge. 7 It must be kept in mind that Lacan’s work on sexual difference crosses over the borderlines of biological distinction. He defines femininity and masculinity on the basis of psychoanalytic terms. 8 Lacan explains the alternative versions of castration: 6 5 (†¦) suggerer un derangement non pas contingent, mais essentie de la sexualite humaine (†¦) sur l’irreductibilite a toute analyse finie (endliche), des sequelles qui resultant du complexe de castration dans l’inconscient masculine, du penisneid dans l’inconscient de la femme. In ‘La signification du phallus’, Ecrits, pp. 85 9 When Lacan discusses the notion of another kind of â€Å"jouissance† (Other ‘jouissance’), he explains that women (human beings structured by the feminine) are the only ones that have access to it, while men are limited to Phallic ‘jouissance’. According to Bruce Fink, this concept roughly implies that the phallic function has its limits and that the signifier isn’t everything. ’ B. Fink, The Lacanian Subject: Between Language and Jouissance, pp. 107) 4 speaks (†¦)’10, that is, that completion of being which is forever inaccessible to the split subject.To paraphrase Fink, insofar as a woman forms a relationship with a man, she is likely to be reduced to an object – ‘object (a)’, reduced to no more than a collection of male fantasy objects, an image that contains and yet disguises ‘object (a)’. He will isolate one of her features and desire that single feature (her hair, her legs, her voice, etc. ), instead of the woman as a whole. In a different way, the woman may require a man to embody the Phallus for her, but her partner will never truly be the man as much as the Phallus.Therefore, ‘il n’y a pas de rapport sexuel’ (Lacan’s famous remark) because the dissymmetry of partners is utter and complete. By lack of symmetry Lacan means what she/he sees herself/himself in relation to [either the Phallus or ‘object (a)’]. Going back to the film, the masculine and feminine realms seem to be clearly limited in terms of a traditional heterosexual system (the odd-one-out being the character of the fortune teller in whom we perceive traces of homosexuality). When Olimpico first meets Macabea in the park, she is holding a red flower in her hands.Olimpico draws nearer, asks her name and invites her for a walk. At a certain point he mentions her red flower, gently asks for her permission to pull out its leaves, and finally returns it to Macabea. Under Lacan’s eyes, insofar as she holds the flower, Macabea sees herself in terms of the Phallus, the flower being its metaphor, what she desires to hold in her hands. Olimpico is, in her eyes, the biologically defined man incarnating the Phallus (her true partner being the Phallus and not the man).As Lacan’s theory sets out to show, Olimpico belongs to those characterized by masculine structure. He will search within this woman’s features, a particular one and reduce her to ‘object (a)’ in his fantasy, trying to overcome the primordial Lack. However, it seems terribly hard to invest a precious object that arouses his desire in this particular woman: ugly, dirty and looking rather ill, there is nothing in her left to be reduced to a male fantasy object. Hence the customized flower: Olimpico invests what arouses his desire11 in the flower and not the girl.If we pursue Lacan’s theory a step further in terms of masculine/signifier and feminine/’signifiance’12, we will conclude that his work on sexuation rests on the belief that subjectification takes place at different levels in different sexuated beings: while the signifier refuses the task of signification, the ‘signifiant’ plays the material, non-signifying face of the signifier, the part that has effects without signifying: ‘jouissance’ effects. 13 This is displayed as the J. Lacan, Ecrits: A Selection, pp. 319 A similar flower will appear again in the film: Macabea has put it in a glass n her desk at work. Gloria, her colleague from the office, is getting ready for a first date with a man she never met before. She decides to wear the red flower in her bodice so that he can recognise her. Her appropriation of the flower symbolises her future appropriation of Olimpico’s fantasy (she will steal Macabea’s boyfriend, following the fortune teller’s advice) and her reduction to a male fantasy object. At t he same time, the man she is about to go out with is reduced to his sexy voice. 12 Lacan’s concept of ‘letre de la signifiance’, found in Seminar XX, is explained by B.Fink in these terms: ‘I have proposed to translate it as  «signifierness », that is, the fact of being a signifier (†¦) the signifying nature of signifiers. When Lacan uses this term, it is to emphasise the nonsensical nature of the signifier, the very existence of signifiers apart from and separated from any possible meaning or signification they might have. ’ B. Fink, The Lacanian Subject: Between Language and Jouissance, pp. 118-9 13 B. Fink, The Lacanian Subject: Between Language and Jouissance, pp. 119 11 10 5 heoretical reason implying that the signifier of desire can be identified with only one sex at a time, meaning that Woman can never be defined as long as Man is defined. As Fink puts it, (†¦) the masculine path might then be qualified as that of desire (becomin g one’s own cause of desire) while the feminine path would be that of love. 14 Watching this scene in isolation, one has the impression that love is for Macabea as desire is for Olimpico. This is not entirely the case, for in this scene and in the film in general, a woman (Macabea) is defined as long as a man (Olimpico) is defined.In a relationship where the partners are not identical (different feminine/masculine structures) both of them are ruled by desire. On the one hand, Olimpico desires all the attributes that Macabea sadly lacks, so he turns to Gloria, Macabea’s ideal imago (a version of what the latter wants to be, a version of herself that she can love). On the other hand, Macabea is not ruled by love. What she experiences with Olimpico is nothing compared to what she feels when Madame Carlota tells her about Hans: she feels inebriated, experiencing for the first time what other people referred to as passion.She falls passionately in love with Hans because the fortune teller had told her that he would care for her. Both Macabea and Olimpico are ruled by the desire to be loved and not by love. And if in this heterosexual relationship (which for Lacan is the norm) the dissymmetry is not entirely complete, what can we say of the homosexuality referred to by the fortune teller, who finds Macabea much too delicate to cope with the brutality of men and tells her, from experience, that love between two women is more affectionate?In fact, Lacan never theorized homosexuality very seriously, although his failure to account for it may be explained by the fact that the Symbolic is structured in favour of heterosexuality. In his theory of the Symbolic, the baby undergoes the mirror stage between 6 and 18 months old. By this time, the baby sees its own image in the mirror and enters the symbolic stage (realm of the imaginary: imaginary identification with the image in the mirror). As Lacan sets out to explain,This event can take place (†¦) from t he age of six months, and its repetition has often made me reflect upon the startling spectacle of the infant in front of the mirror. Unable as yet to walk (†¦) he nevertheless overcomes the obstructions of his support and (†¦) brings back an instantaneous aspect of the image. For me, this activity retains the meaning I have given it up to the age of eighteen months. 15 Mirrors play an important role in Macabea’s life. Looking at her own reflection, she tries to find out who she is.After having used Gloria’s trick (making up an excuse to skip work), Macabea decides 14 15 Bruce Fink, The Lacanian Subject: Between Language and Jouissance, pp. 115 Jacques Lacan, Ecrits, A Selection, Chapter I: ‘The mirror stage as formative of the function of the eye as revealed in psychoanalytic experience. ’, pp. 1, 2 6 to spend her day off in her room, listening to Radio Clock, dancing and looking at herself in the mirror. The camera shows her reflection and what we see is a split image in the mirror: she stands between what she is, what she wants to be and what others want her to be. 6 When she tells the mirror: â€Å"I’m a typist, a virgin and I like Coca-cola† she complements her identity split with her mirage identity: Macabea is staging her identity by identifying with other people’s perceptions of herself. She is not eighteen months old but an eighteen-year-old in the middle of Lacan’s mirror stage, looking for models (which are the models in shop windows: the parental Other is absent), learning new words (at work as a typist, at home listening to the radio), looking at herself in mirrors. It is as if the Symbolic were staging ‘reality’ too late in the character’s life.During a walk at the Zoo, Olimpico accuses Macabea of being a liar: Macabea It is true. May God strike me dead if I’m not telling the truth. May my mother and my father drop dead right now. Olimpico Macabea You said your parents were dead. I forgot†¦ As Lacan would put it, we are watching how the Symbolic can bar the real, overwriting and transforming it completely, the reason for this being that the Symbolic is but a pale disguised reflection of the Real; the reason for this not being a basic assumption about the condition of being a child without living parents, that is, about the alienation caused by orphanage.This does not mean that Lacan did not reflect on the concept of alienation (check Fink, footnote 28, chapter 7, seminar XVI). In his opinion, that is what places the subject within the Symbolic. In alienation, the speaking being is forced to give up something as she/he comes into language. Lacan sees it as an attempt to make sense by trying to act coherently with the image one has about oneself. These attempts alienate the person because meaning is always ambiguous, polyvalent, betraying something one wanted to remain hidden or something one wanted to express. Lacan does not cond emn or avoid alienation in his analysis.At a certain point, in Seminar XVI, he establishes a comparison between ‘surplus value’ (Marxist concept: the ‘jouissance’ of property or money that is the fruit of the employees’ labour, the excess product) and ‘surplus  «jouissance »Ã¢â‚¬â„¢ (what we seek in every relationship/activity but never achieve). While capitalism creates a loss aiming at ‘surplus value’ (the loss of the worker), our advent as speaking beings also creates a loss (the loss of ‘jouissance’ through castration). In Lacan’s economy of ‘jouissance’, both losses are at the centre of the development of civilisation, culture and market forces.At a certain moment in the film, we 16 In this respect, Lacan explains that ‘the only homogeneus function of consciousness is the imaginary capture of the ego by its mirror reflection and the function of misrecognition which remains attached to it. ’ In Ecrits, A Selection (1966) 7 watch Macabea handing over a certain ‘jouissance’ to the Other: she is told by her boss she has to work late. The consequence is that Gloria will meet Olimpico in the park, instead of Macabea. Following Lacan’s theoretical discourse, the scene depicts Macabea being forced to give up ‘something’ as she comes into language (as she finishes typing the documents).That ‘something’ is her love object. The scene can be read as a reference to the primordial loss – castration – by meditating on the importance of the sacrifice of ‘jouissance’ as it creates a lack17 and consequently gears life (the Symbolic/the plot) onwards: Gloria steals her colleague’s boyfriend and eventually gets a husband, following the fortune teller’s instructions; Macabea loses her boyfriend and ends up at the hands of the fortune teller who guides her towards her death.This analysis foc uses on the ‘surplus  «jouissance »Ã¢â‚¬â„¢ and not on the Marxist concept of ‘surplus value’, therefore neglecting important class struggle/capitalist issues. Adopting a Lacanian frame in the analysis of alienation in The Hour of the Star involves losing what a Marxist concept of alienation might otherwise bring into light: the alienating effect society operates on Macabea as an exploited underpaid employee who finds herself working (sometimes after hours) for the employer’s enjoyment.The film, on the contrary, is quite clear in its portrait of an alienated subject working for less than the minimum wage in a decadent, poor-lit warehouse. A dialogue between Seu Raimundo and Seu Pereira suggests the capitalists’ attitude towards the proletarian Macabea: Raimundo Pereira Raimundo (†¦) Pereira: Raimundo Besides, she is really ugly. Like a shrivelled pomegranate. Where did you get her? Ok, she’s a bit clumsy. But a brilliant typist would want more money. It’s the new typist, Macabea. Maca what? -beia. Maca-bea. No one else was willing to do the job for less than the minimum wage.Adding to the notion of the film as a metaphor of the unconscious are: mirrors and their fragmented reflections, Radio Clock and its fragmented, dispersed bits of information and the gaze of the camera as the audience accedes to Macabea’s world through furtive gazings behind windows, doors, in the street. This gaze could be interpreted as belonging to Macabea’s wicked aunt who has died but still haunts her conscience. Macabea’s paradoxical fantasy, her dream to become a film star, is also hooked up to the circuit of the unconscious as the end term of her desire.Lacan explains that the unconscious, ruled as a language, is overpopulated with other people’s desires that flow into us via discourse. 18 So, our very fantasies can be foreign to us, they can be alienating. Macabea’s fantasy to become a film star could â€Å"Without lack, the subject can never come into being, and the whole efflorescence of the dialectic of desire is squashed. † In Bruce Fink, The Lacanian Subject: Between Language and Jouissance, pp. 103 17 8 be read as a way of answering other people’s desire: that she takes care of herself, eats better, dresses better, and works better.Interpreting Macabea’s dream as a response to her own desire (she wants to be loved; film stars are loved; therefore, she wants to be a film star) implies walking away from Lacanian theory. The subject is here very much implicated in the process. Others don’t seem to have had a hand in it. Olimpico laughs and humiliates her when she tells him about her dream and doesn’t encourage her to pursue it: Olimpico What makes you think that you’ve got the face or the body to become a film star? (†¦) Take a good look at yourself in the mirror.Lacan’s approach to the unconscious considerably r educes the sources from which one can carve out knowledge in relation to this film. Macabea’s ethnicity calls forth the analyst’s knowledge of Brazil’s North-Eastern structural roots of poverty (drought plagued agriculture, slums, human rights abuse in terms of health and education, the plight of street children, women’s issues in terms of class, race and land tenure). An informed reading of The Hour of the Star raises the question of marginality within the frameworks of location, gender, race, individual/social conscience, language and testimony.In the context of this film, the concept of marginality has to be addressed in the plural. There are different definitions of margin at stake, as well as different layers of marginal behaviours, each of them empowering the social/individual transgressions suggested by Macabea’s lack of attitude towards existence. The characters in this story are aware of their condition as outsiders. They are seen through their relation to Macabea: her apathy and emptiness are exquisitely painful in that they remind others of the collective pain felt in a dehumanised world.In the pyramid of the excluded, Macabea is victimised as a female and as a North easterner in search of her inner self. Her voluntary attempt, although grotesque and inarticulate, to question and witness her blunt existence stands as the last stance of her marginality. It is the hour of the tragic question: ‘Who am I? ’, echoing the major preoccupation of every mortal. Unlike the other characters, she fails in every sphere of her life but not in asking this question.She is aware of her inner otherness, although unable to verbalise or make sense of it. She witnesses it, tries to speak it, but never tells it, because what needs to be told is pure silence narrated from within. The title of the present study resonates with the limits of a psychoanalytic reading of The Hour of the Star. â€Å"A sense of Loss† and â⠂¬Å"The right to protest† are two of the fourteen titles19 advanced by 18 Lacan suggests that ‘it is in the reduplication of the subject of speech that the unconscious finds the means to articulate itself. ’, J.Lacan, Ecrits: A Selection, ‘A la memoire d’Ernest Jones: sur la theorie du symbolisme’ 19 List of titles found at the beginning of HE: The Blame is Mine or The Hour of the Star or Let Her Fend for Herself or The Right to Protest or . As for the Future or Singing the Blues or She Doesn’t Know How to Protest or A Sense of Loss 9 Clarice Lispector in her book A Hora da Estrela. They were chosen by me for two reasons. The first implies that analysing the film by giving the book behind it the cold shoulder would weaken the analysis. Another is the belief that choosing only one title would dramatically reduce the scope of this work of art.Macabea cannot escape looking at mirrors and gazing at a sense of loss that dazzles her in her opa que leading-nowhere-abstractions. But she is herself a mirror reflecting the social inequities of the Brazilian society in she lived. Taking a step further, we could add yet another title: â€Å"I can do nothing†, number eleven in Lispector’s title list. This one would eclipse the Other’s discourse, unconscious and unintentional, and give way to the informed discourse of a conscious audience viewing writing as a representative mirror of reality.Having said all this, one can only afford ‘A discreet exit by the back door’20 once a final, irrevocable question is posed. Is it still possible, having pointed out the missing dimensions of analysis and the resistances to a Lacanian approach of The Hour of the Star, to make sense of Lacan’s theoretical framework? On the one hand, answering with a ‘no’ would seem fatally solipsistic in what the existing quantities of written work on psychoanalysis are concerned, as Lacan’s work lies at the epicentre of contemporary discourses about otherness, subjectivity, sexual difference, to name just a few topics.Answering with a ‘yes’, on the other hand, would plainly simplify subject matters that are, as this work intends to show, very complex. Perhaps the question, in the fashion of all interesting questions, offers no answer insofar as a balanced account of the possibilities, limitations, meanings and implications of Lacan’s theory is not thoroughly considered. or Whistling in the Dark Wind or I Can Do Nothing or A Record of Preceding Events or A Tearful Tale or A Discreet Exit by the Back Door. 20 Final title in Clarice Lispector’s list of titles. 10 Primary Bibliography Lacan, J. Ecrits (Paris: Editions du Seuil, 1966) _______, Ecrits: A Selection, trans. Alan Sheridan (London: Routledge, 1977) _______, The Seminar of Jacques Lacan. Book II. The Ego in Freud’s Theory and in the Technique of Psychoanalysis, trans. Sylvana Tomaselli (N ew York/London: Norton & Co. , 1991) _______, The Ethics of Psychoanalysis: The Seminar of Jacques Lacan Book VII, trans. Denis Porter (London/New York: Norton & Co. , 1992) Lispector, C. , A Hora da Estrela, (Rio de Janeiro: Jose Olympio, 1977) __________, The Hour of the Star, trans. Giovanni Pontiero (Manchester: Carcanet, 1992) Freud, S. New Introductory Lectures on Psychoanalysis, ed. /trans. J. Strachey (London: Penguin Books, 1991 The Hour of the Star, Dir. Susana Amaral, Raiz Producoes Cinematograficas, 1985 Secondary bibliography Barry, P. , Beginning Theory: An Introduction to Literary and Cultural Theory (Manchester: Manchester University Press, 2002) Benvenuto B. & Kennedy, R. , The Works of Jacques Lacan: An Introduction (London: Free Association Books, 1986) Cixous, H. , ‘The Hour of The Star: How Does One Desire Wealth or Poverty? ’, Reading With Clarice Lispector, ed. and trans.Verena Andermatt Conley (Minneapolis: University of Minnesota Press, 1990), 1 43-163 Daidone, L. C. & Clifford, J. , â€Å"Clarisse Lispector: Anticipating the Postmodern†, Multicultural Literatures through Feminist/Poststructuralist Lenses, ed. Barbara Frey Waxman (Knoxville: The University of Tennessee Press, 1993), 190-201 Fink, B. , The Lacanian Subject: Between Language and Jouisssance (Princeton N. J. : Princeton University Press, 1995) Fitz, E. , ‘Point of View in Clarice Lispector’s A Hora Da Estrela’, Luso-Brazilian Review, 19. 2 (1982), 195-208 Lapsley, R. Westlake, M. , Film Theory: An Introduction (Manchester: Manchester University Press, 1988) _________, ‘From Cassablanca to Pretty Woman: The politics of Romance’, Screen, 33. 1 (1992), 27-49 Lemaire, A. , Jacques Lacan, trans. D. Macey (London, Henley & Boston: Routledge, 1977) Klobucka, A. , ‘Helene Cixous and the Hour of Clarice Lispector, SubStance, 73 (1994), 41-62 Mitchell, J. & Rose, J. (eds), Feminine Sexuality: Jacques Lacan and the Ecole freu dienne (Houndsmill: Macmillan, 1992) Mitchell, J. , Psychoanalysis and Feminism (London: Penguin, 1990) Mulvey, L. ‘Visual Pleasure and Narrative Cinema’, The Sexual Subject: A Screen Reader in Sexuality (London & New York: Routledge, 1998), 22-34 Nelmes, J. (ed. ), An Introduction to Film Studies, 2nd edn (London: Routledge, 1990) Patai, D. , ‘Aspiring to the Absolute’, Women’s Review of Books, 4 (1987), 30-31 Smith, J. & Kerrigan, W. (eds. ), Interpreting Lacan (New Haven & London: Yale University Press, 1983) Storey, J. , Cultural Teory and Popular Culture: An Introduction, 3rd edn (Dorchester: Dorset Press, 2001) Whatling, C. , Screen Dreams: Fantasising Lesbians in Film (Manchester & New York: Manchester University Press, 1997) 11