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1Barthes, Lacan, Foucault: authorship and structure
François DOSSE
Structuralism is reconsidered from the angle of the rejection of the notion of authorship. In the various branches of knowledge – philosophy with Derrida and Foucault, psychoanalysis with Lacan, and semiology with Barthes – structures prevail over subject. What is at stake in the process is the quest for legitimacy of the social sciences which offer a third culture between the humanities, in the classical sense, and the exact sciences, François Dosse then suggests that intersubjectivity offers a way out of the fallacious alternative between the deification of Man and his dissolution.

2Hamlet and his Other
Robert SILHOL
Beyond the popular theme of revenge, beyond the triangular structure which is repeated several times in the play and an obvious oedipal theme which organizes many of the movements in the tragedy, the relationship with the dead father – who can be read as « murdered », or simply as « diminished », « castrated » – appears as one of the play’s mainsprings; it is deepest because it is chronologically the first in the subject’s history. In the Oedipus, which is so strongly depicted here, the relation to the father is not always simple, and cannot, in the final analysis, be understood, at least in certain subjects, as simply antagonistic. In Hamlet, the ghost is a very accurate representation of what we can call Hamlet’s Other.

3The cruelty of Hamlet and the silence of Harpocrates
Margaret JONES-DAVIES
An intertextual reading of Hamlet, Freud’s Rat Man and Plutarch’s Isis and Osiris allows an interpretation of Hamlet’s cruelty that differs from traditional criticism, which had to rely on arbitrary psychological explanations. This cruelty is expressed through the silence of what could be called a dumb show, during which Hamlet reveals to Ophelia the first secret of the ghost’s message. Hamlet’s silence is that of a doubt induced by the ghost’s word, a doubt that is materialized partly in his failure to act and, even more fully, in his ambivalent relationship with Ophelia who loses the certainty of a love that Freud linked with hatred. As Hamlet embodies the ghost’s questionable words, he illustrates the Greco-Egyptian theories of the body/language relation. The god of silence, Harpocrates, whose life recalls the founding myths of Hamlet, speaks an imperfect language that disfigures him. The metamorphoses of the ghost, Hamlet, and Ophelia, all illustrate the painful path taken by the birth of language.

4Freud and the Shakespearian Enigma: the name, the woman, death

5Paul-Laurent ASSOUN

6The present article places Freud’s reflexions on Shakespeare within the context of Freudian theorizing and metapsychological fantasizing on names, womanhood and death.

7The Merchant of Venice as read by Freud: the biographies of interpretation
Patrick DI MASCIO
The present article is an archeology of Freud’s interpretation of The Merchant of Venice. Such an attempt draws on Shakespeare’s text and on Freud’s theoretical and auto-biographical writings as well as on his letters. What is suggested is that the object of interpretation is not a “real” text, but an imaginary one, authored by his reader.

8Edgar Allan Poe: the relevance of the life and the irrelevance of the biographical
Henri JUSTIN
Between the life and the work, Poe chooses the work. In most of Poe’s tales, a narrator is the grotesque or neurotic representative of living man but under his narration, a text that knows more than he does is being composed. It is at that textual level, between consciousness and mortality, that the artist maps out the universal Psyche by yoking forces which are both convergent and antagonistic. In this way, he is close to the Freud of the 1920s – and to Lacan, rather than to Marie Bonaparte. Poe, like Dupin, is on the side of the analyst.

9The Biographical Secret, Effacement, and Justification: on Emily Dickinson
Christine SAVINEL
The author analyses the poetical implications of the grammar of secrecy that generates “the life and work” of Emily Dickinson.

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