By Ben Ramm
The Holy Grail made its first literary visual appeal within the paintings of the twelfth-century French poet, Chr?tien de Troyes, and keeps to fascinate authors and audiences alike. This learn, supported by way of a theoretical framework in line with the psychoanalytic works of Jacques Lacan and the cultural concept of Slavoj Zizek, goals to strip the legend of a lot of the mythological and folkloric organization that it has got over the centuries, arguing that the Grail can be learn as a symptom of disruption and obscurity instead of fulfilment and revelation. targeting thirteenth-century Arthurian prose romances, los angeles Queste del Saint Graal and Perlesvaus, and drawing largely at the wider box of previous French Grail literature together with the works of Chr?tien and Robert de Boron, the publication examines the private, social and textual results produced through encounters with the Grail with the intention to recommend that the Grail itself is instrumental not just in developing but in addition in traumatic, the discursive, psychic and cultural bonds which are represented during this advanced and pleasing literary culture. BEN RAMM is study Fellow in French, St. Catharine's collage, Cambridge.
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Additional resources for A Discourse for the Holy Grail in Old French Romance (Gallica)
Lacan’s theory thus appears to pass over many other permutations that are no less readable, and therefore no less significant, than the four structures chosen to illustrate the operation of discourse. Why, then, should only four be retained, and establish a claim to enclosed circularity? 65 Could it then be inferred that the discarded permutations do not function in this way and do not foster socio-linguistic bonds but rather have been foreclosed in order to ensure the symbolic functioning of the four hegemonic discourses?
10. The metamorphosis of the Grail is clearly bound up with the question of Eucharistic change, or transubstantiation. Such a vast topic extends beyond the scope of the present discussion, although it may be helpful to note Delcourt’s comment that ‘contrairement à l’Eucharistie dans laquelle, nous dit-on, les substances restent apparemment les mêmes, tout en étant réellement changées, la métamorphose produit une transformation qui semble réelle tout en n’étant, au fond, qu’un effet de l’imagination’ [‘contrary to the Eucharist in which, we are told, substances seemingly remain the same whilst in reality they are changed, metamorphosis produces a transformation that seems real but that, ultimately, is only an effect of the imagination’] (L’Éthique du changement, p.
51). Dubost agrees, concluding that ‘le Perlesvaus a pu être composé entre le traité de Jaffa (1229) et la chute de Jérusalem (1244)’ [‘the Perlesvaus may have been composed between the treaty of Jaffa (1229) and the fall of Jerusalem (1244)’] (‘Le Perlesvaus, livre de haute violence’, p. 199). Recent work reassessing the validity of Nitze’s editorial judgements and constructing an accurate biography of Jean de Nesle has been undertaken by Grand, producing convincing evidence for dating the death of Jean to between September 1239 and January 1240, thereby establishing an absolute terminus ad quem for the romance (see Grand, ‘A Work in Context’ and ‘Jean de Nesle and the terminus ad quem’).
A Discourse for the Holy Grail in Old French Romance (Gallica) by Ben Ramm