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Looking Awry at Georgian Caricature

Lacan and the Satirists

David Morgan

rounds the mortal temples of a king Keeps Death his court, and there the antic sits Scoffing his state and grinning at his pomp. ( Richard II , 3.2.159–162) Lacan on Vision and Anamorphosis In his 1964 seminar series, Lacan explicitly

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Back to the Future

Subjectivity and Anamorphosis in Richard I

Vance Adair

Internalising the gaze of the Other, in this case that of Lady Anne, Richard’s acquisition of a looking glass is accompanied by an idealisation of body image that is redolent of the ‘jubilation’ experienced by the subject of Lacan’s mirror stage. Briefly, in the mirror stage the ego is formed in terms of identification with one’s specular image, the infant who has not yet mastered the upright posture upon seeing himself in the mirror will ‘jubilantly assume’ the upright position (Lacan 1977, 2). The apparently ‘orthopaedic’ effect of captation by the mirror image would appear particularly apposite for a character that is frequently disposed to descanting upon on his own deformity. This transition from an uncoordinated body image, the corps morcele, to the Gestalt of bodily wholeness, however, is irreducible to a myth of origins. As Jane Gallop has argued, the mirror stage involves a temporal dialectic at once anticipatory and retroactive which is of paradigmatic significance for Lacan’s understanding of the relationship between subjectivity and the signifying chain

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Editorial

Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

pleasures afforded to spectators of eighteenth-century English satirical prints. He compares the distortion of these images of the powerful to the phenomenon of anamorphosis, described in Lacan's analysis of the skull in Holbein's The Ambassadors , which

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

the politics of gender and desire. He reads this notion of the feminine lack (her “partial something”) in Vertigo as an integral “blot” (an anamorphosis or eruption of the real) that, après-coup , allows us to formulate a gender politics of the film