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Ophelia's suicide (5): fish

Since the last time I mentioned the maggots that eat the dead, I will continue with worms (worms).

The question of the corpse of Polonius is the question where did it go when Hamlet killed him. She is asked several times in Act II of the play at the point where we end up wondering if it would not play a particular role. Is this just a transition element whose only function is to move from one scene to another? It seems not. And if this body played a major role?

For Antigone, we know the issue of burial of her brother that she is ready to die. So to Ophelia and Polonius, what is it?

The death of Polonius is a mistake. Hamlet believed kill King Claudius, he kills only his advisor Polonius. In the style of the most savage vengeance of the "eye for eye, tooth for tooth." If you killed my father, I'll kill you. I had the idea, the piece you just see a staged, I do!

Polonius does not weigh heavy for Hamlet. It is a "poor brainless, clown browser [1] ," "a buffoon and a scoundrel billboard [2] . Yet Hamlet repents of his crime: "I'll put it away somewhere, and I will answer well The death I gave him [3] . It "Weeps over what he did [4] .

The King knows that the crime of Hamlet will be charged as it failed to contain this young fool. But the king, do not submit Hamlet "at the extent of the law." Hamlet is located immediately outside the law, did not reach trial, his crime will not count.

King wants to put the body in the chapel before the burial. Polonius advise the king keep his status beyond his death, he will not forfeit as the brother of Antigone.

Or is it dead?

Hamlet "dragged his guts into the next room [5] . Hamlet has "mixed with dust, which is close relative." But he refuses to say where he put the body. Hamlet ironically on the body.

And indeed it would be inappropriate not to take his words seriously: "The body is with the king but the king is not with the body, the king is one thing ... [6] . These

doublespeak leaves the identity and qualifications of King Undetermined. What is this king? The father of Hamlet or Claudius?

The king is a thing whose qualification is left open a while and then defined in a second time as "something for nothing [7] . One thing that has no substance, a spectrum. This confirms that the queen when she in turn clarifies the definition of the spectrum. The madness, the presence of the spectrum is a "Mint that hits your brain, these creatures without bodies, delirium excels at hitting [8] . The spectrum is a "creature without a body," money made by the brain ...

For now, it looks classic. Spectrum is a creation of thought, delusions made by one who is haunted. In death, there's more body spectrum. These are two separate, distinct, and whose destinies are different, one haunts Hamlet and the other is mixed with dust.

Then, ironically, doing crazy, Hamlet tells the king that this body is "supper" "where it is eaten" by "some assembly to political [9] .

And he drops a real conundrum

"Hamlet: Some assembly to political attacks on him (the corpse of Polonius). Your worm is your only emperor for good food, we feed all the other creatures to fat us, and we fat ourselves for maggots. Fat and lean beggar king merely vary the menu, two dishes for one table. Everything is there.

King: Alas! alas!

Hamlet: A man may fish with the worm that ate a king, and eat the fish that hath fed of that worm [10] .

These statements are complex, enigmatic and highly ambiguous! Who is the worm in question? Who is the fish? Who is the fisherman?

It seems that the worm can both be the court where the deceased, Polonius, princes and kings in general, Claudius alone or even the queen. Same for the fish that we do not know who he is. It is also well be that the queen Claudius.

There are at least four possible interpretations:

1 - Polonius's body was left somewhere in the palace and the royal court. Worms are the assembly of the court that delight in the death of Polonius

eventually reach the office of councilor he has left vacant. Counselors are worms that feed on the king. The king is the fish that eats

his advisers. A man can overthrow a king based on his advisors and his court.

2 - King Claudius feeds his court, maintains his advisers, as he maintained Polonius. He eats the worm has fed. Polonius was the emperor of

good food because it was also the advisor of Hamlet's father that he was fattened. Hamlet can use the worm to Polonius Claudius catch his fish.

3 - Claudius was fed to the death of Hamlet's father. He took the opportunity to take the throne and its place in the bed of the queen, like a maggot

fattens the body. He fed his "fish," the queen. Hamlet also wants to reach his mother.

4 - men and fatten their bodies will feed the worms. Including Hamlet and Claudius. Both maggots fatten their corpse.

on a more general philosophical men manage to penetrate the mystery of their fate by apprehending them to be death is what makes them

live. To put it as Freud, "if you want to support life, organizing yourself to death"

translators believe the word play on the diet as "diet" and the diet as the assembly Political and homophony between worms (worms) and the city of Worms is a political allusion. Polonius would be compared to Luther condemned as heretical in 1521 by Charles V at the Diet of Worms [11] . They favor a political interpretation in which the king could dismiss one his advisers

Why such a reference except to note with irony the intellectual poverty of the king as a courtier Polonius. This is not what a thinker! Luther himself had not hesitated to assert that the body (of Christ) is called the dispersion (dust to dust you return). Polonius is only a pale copy of Luther grimacing. He was eating to fatten the king. The king is fat because the beggar Polonius only fatten. As we have seen, reducing the interpretation of this passage to a simple "palace revolution" is widely insufficient.

"Eating" is placed at three dimensions need to know to distinguish. According to the plan of each of these dimensions, the characters, their meaning and direction vary. Shakespeare was able to condense the three plans into a single text.

There's the plan:

1 - Real. The maggot eats the remains. Death is a fact.

2 - Imaginary. One eats the other. The movement is reflexive. It becomes difficult to know who eats the other.

3 - Symbolism. A person eats first and will be eaten by a third. The action can change the signifier represents the subject. All around, fish and worm.

These distinctions allow us to understand the difference between which the object of exchange to the object cause of desire in Shakespeare's text.

As an object of exchange, the worm uses to catch fish, Claudius grabbed the Queen by Polonius. Then the sinner to the exchange against the fish. The subject is a worm eaten by the Other as a mere object of consumption which is the remainder. As

object cause of desire, the worm has eaten the king. Claudius ignited for the queen. It's been a little Lacan. For what remains of the king after his death, his body that will devour the worm. The queen is part of what remains, it is treated the corpse of King Claudius which feeds as a maggot.

In this metaphor, the body is what is left of the subject, the object petit a. Is what remains of the exchange of fish against the worm. Separate the subject from its object was small, kills the subject and turns his body remains.

Finally, Hamlet finally released to the court that the corpse is found in the stairwell of the gallery. The corpse is found, it will indeed be buried according to the wishes of Claudius.

So, Ophelia did not react to the lack of burial. We see now the difference with Antigone. The body of the father of Ophelia will receive its burial, it is not the problem. There must be another explanation for the madness of Ophelia. To the extent that the parallel can be drawn with the fate of the queen, Ophelia would be what remains after the death of his father. The thing that causes a desire to Hamlet, but also the object of consumption which Hamlet disposes to catch another fish (Claudius).

The following

next issue.

---

[1] - p. 861

[2] - p. 873

[3] - p. 871

[4] - p. 877

[5] - p. 873

[6] - p. 881

[7] - Ibid, « a thing of nothing »

[8] - p. 869

[9] - p. 889

[10] - p. 883

[11] - note 6, p. 1468

Estelle-35 Ed How Effective Contraception

Ophelia's suicide (4): corpses, corpses, corpses and maggots

In previous note, we saw that Shakespeare's text includes a series of expressions around the idea that Ophelia's father treats his daughter like a fish to sell in the first seducer came. What is supposed to mean that women prostitute their benefits and that their father would do it the pimp.

But the circulation of letters addressed to Hamlet's Ophelia, that forces us to think This is a farce. Hamlet appears in reality in the eyes of Ophelia and it is something much more serious than these tales of mackerel. In so doing, she makes her letters.

I think it is necessary to continue to examine several meaningful, the main branches of the series of associations of ideas about Ophelia evoked by the text before tackling the themes of his delirium.

When his father is murdered by Hamlet, Ophelia goes mad and makes a speech that is dense enough really hard to follow. What she says is not so crazy. Ophelia said, she is the one who "thinks nothing [1] . This may be understood as that which thinks nothing. So, what she said in her delirium deserves the sentence of a sustained examination. To prepare for this decryption, it is useful to further develop the themes associated with Ophelia and exposed before his delirium.

Among these, is therefore a second set of association different from those around the fish to sell to men. There indeed has a whole vocabulary around the corpses, carrion and the multitude of animals that inhabit them are like maggots.

These evocations are present in the room. Well, it's not very appetizing ...

For example, when Hamlet meets the father of Ophelia at the beginning of the piece: "For if the sun breed maggots in a dead dog carcass worthy to be kissed ... [2] "

translators refer to another Shakespeare play," Caesar and Cleopatra [3] . In this series of associations, the sun appears, fertilization, snakes, crocodiles of the Nile, the idea of poison. All this goes on with the dead dog and maggots coming to devour the corpses. The idea is that the sun gives life to the maggots. It "embraces" the carrion to fertilize!

We had met an allusion to sirens whose singing to Ulysses promises to teach him life. This suggests that the mystery in question would be that the design human beings from fertilization to birth and life.

Hamlet And, ironically, recommends Polonius not to let her daughter walk in the sun, she could give birth by herself ... him "make small." As "worthy of kissing carrion." So, the body of Ophelia is literally a corpse, a dead dog, a carrion. She is already dead before committing suicide. Lacan might have said she was already in a "second death".

Lacan seminar in Anxiety Ophelia combines the object has little . In this context, it is the subject waste, scrap, junk that men seek to erase their view and destroy. "A pure real subjectivise [4] .

The status of the body of Ophelia prepares one that will come later from his deceased father murdered by Hamlet. The question is what to do with a corpse [5] .

I wonder now if this issue of the remains would not be contrary to that the second death. In Shakespeare, the question posed by Antigone seems reversed. For someone whose life was only carrion and moral decay in the eyes of Hamlet (he deals with the murders and mackerel), why take respects with the remains of the father of Ophelia? Ophelia wondered if it would not "sense [6] " part.

Both, Antigone and Ophelia lose their father. Both refuse to leave a body without respect. For Antigone, this is just to give his deceased brother a destiny worthy of what its owner was in life for others. It is clear Ophelia goes mad when her father dies and can not find his corpse.

But, unlike Antigone, Queen and King is concerned about the fate of the remains. Where did it go? It is actively seeking. It's not quite an Other who does not care about the spoils as in Antigone.

Only Hamlet does not care about the father of Ophelia. Neither its existence nor of his remains. The father of Ophelia is unconscionable, it is a mackerel. He sold it after Hamlet. This dog has a bench of the court that the reference is to kick and abuse. Dead dog, he is the father of Ophelia, "a carrion worthy to be kissed" by the sun (the queen and the king seek). Hamlet puts it outside, away from the royal court and the Other. It is not worth the pain of a burial.

Hamlet rejects, but not the king who counted on him. There is the other side of the king, queen and court. On the other hand, Hamlet and his ghost wandering in doubt. Hamlet is already as Ophelia its existence is spectral. No matter for him the fate of the remains, what matters is the specter, spirit. With Hamlet, we are in a field separate from that of Antigone. Not an Other of the Other. Rather offstage, out of the Other. In reality pure. Where the body does not count. Neither his, nor that of Ophelia.

suite for the next issue!

---

[1] - p. 825

[2] - p. 771

[3] - note II, VII, 25-26 Caesar and Cleopatra and note 44 of Act II of Hamlet

[4] - meeting on 3 July 1963

[5] - In modern times, we gave a precise answer to the question of waste. We "recycle" an environmentally friendly way, we transform them to give them a new use

[6] - p. 829. "Mean" its meaning.

Area Of Shaded Segment

Call to testify

Hello, My name is Katie and I lost my sister to suicide in May 2006. (In this respect, it seems that the first week of May always sees an increase in suicide, and according to police) Read the following

How Can You Make Someone Fall Asleep

Ophelia's suicide (3): sell dead fish

Ophelia's suicide deserves objection. Composite figure, half-empty, half-mermaid, his voice seduces white Hamlet. It represents the ideal virginal male whose upside is that the waste mud. Continue to clarify what constitutes character. In

this piece, some words or meanings back more often than others in the mouths of several characters as in any written or spoken production elsewhere. Those around the theme of prostitution are remarkable. They are based on the image of mackerel and seller.

Indeed, Hamlet accuses Polonius, Ophelia's father, behaving like a "pimp", a "fishmonger [1] . "Monger" a merchant, a seller of fish that want seducing catch. It becomes mackerel by metonymy. It would one who sells Ophelia.

Polonius on his side somehow makes the same criticism to Ophelia when he warns her against Hamlet as seducer

"Who did not show the color as their clothing,

Simple procurers of sacrilegious desires,

Which, like pious pimps ("bawds") playing the holy

coax better fool [2] .

"Bawds" Ophelia is not quite a madam, not a prostitute. It could become the madam of a seducer wants to take.

And Ophelia?

She knows the love of Hamlet from the beginning. His heart "swollen with pride, impudent libertine, crowd the trail of spring delights [3] . Hamlet was in fact stated in a letter in which he announces that he will love "as her body is hers (that of Hamlet? The Ophelia ? As long as he (she) is alive (e)?).

This letter is serious, she reported an untold love: "I have no art to count my sighs [4] . Hamlet will "probably" ambiguously:

1 - he doubts the reality, the sun, fire, stars, the truth, except love. A love that are certain

2 - he doubts, so he questions, he suspects of infidelity Ophelia [5]

Hamlet But when he wrote this letter? When Polonius has he learned?

In some stagings, the scene where Ophelia returns his letters before the one where Hamlet Polonius asks Ophelia to avoid it. When Hamlet comes to recognize the appearance of his father, he goes to Ophelia as "from hell", "tilting [6] " the light from his eyes it as a spectral light frightening. Hamlet himself is now a ghost. It embodies the spectrum itself.

Considerate soon his father, Ophelia tells him he had already made his letter. We learn the contents of this letter by Polonius who realizes (after the confession of Ophelia to Polonius) to the King and Queen. The scene where Ophelia of Hamlet makes the letter is later in the course of the piece. It may be that Hamlet has written several letters which we do not know.

In this piece, we are still learning the events afterwards. Their concatenation reality is rather hidden. It seems the reverse of the chronological part.

If we summarize a way of timing, this gives:

1 - Hamlet loves Ophelia and she knows

2 - Hamlet sees a spectrum and spectrum becomes in turn

3 - As it comes to spectrum Ophelia frightened by the light of her eyes

4 - she makes her letters to Hamlet, she drop her love

5 - Ophelia warns her and tells her father have already made letters

But in absolute Ophelia may well have delivered his letters before the death of Hamlet's father. Or, after seeing his brother and before the appearance of spectral Hamlet. The moment when Ophelia receives these letters is very important because it allows us to interpret the acts of Ophelia.

Is that why time does not "seal [7] ? There is not a strong point in time that reflect and serve as a cue to locate any other time cues to build a timeline. What Lacan calls an anchoring point, the point is everyone else. In culture, the anchoring point is often critical of the death of a prophet (Jesus Christ, Mohamed ..).

If the letter is after the warning of Polonius, she obeys him when the refusal of Hamlet and submits to an authority. In doing so, she is a prostitute by her father and she betrays Hamlet. At the same time, she lied to her father by claiming to have already made letters.

Otherwise, it will not lie to his father, but Hamlet has been refused for reasons other than that given by his father and brother. In this case, Ophelia is not the good girl she claims to be the eyes of his father. She's already taken by the love of Hamlet. It does not obey orders to avoid Hamlet that Polonius has not yet given. Suddenly, the scene of the ban by the father no longer has any substance or value. It's a comic parody. Ophelia is not that which lies between the dilemma of listening to his father or to follow his love. Loyalty which Hamlet is certainly of a different nature than his father. It is anyway one who wonders how to respond to love, with or without the advice of his father. Ultimately, it is unclear what Ophelia Is it true.

So the question is without doubt the loyalty of Ophelia in Hamlet to Polonius that cons. Translators part astray when they make a classic Oedipal interpretation (notes 8 p. 1462 and 4 per 1464).

In reality, the warning of Polonius speaks to the mother of Hamlet beyond Ophelia. That is exactly what Hamlet accuses his mother. To leave his reason being "the madam of desire (" reason Panders will ") [8] " when she gets in the bed of her husband's brother died.

Obviously, it is desire that His power is at stake on the reason can only get into his service, follow them, to deceive even the subject who feels sincere. It is the desire Lacanian inherently misleading, because the Other's desire. Literally, a desire which is not the subject and with which it is door-to-fake. The desire to deceive others because he has already cheated because of desire.

Doubt in Hamlet is the desire of Ophelia. That Polonius is not seen. This is not love courtiers who is wrong as alleged Polonius. Desire is the real question. And first that of Hamlet as Gertrude questioned in the scene where he kills Polonius. The problem

Ophelia changes in nature. It is not a prostitute by Polonius, Hamlet knows this. His doubts are not directed at Polonius, but beyond Ophelia, his mother. Ophelia is only by the figure of Hamlet's mother who is behind it. Basically, Hamlet knows and always knew that Ophelia can love it and have no doubt. As it is the fool, if she loves him, Ophelia understand that lying when he questioned her.

Why Ophelia she makes him a letter instead of keeping it in secret without telling his father? Hence comes the necessity to commit suicide? To understand that Hamlet can not really love him as he loves his mother at the point of wanting death? That Hamlet can not love the price of sacrificing his love for his mother, he does not? The infidelity of Hamlet? What seems crucial is the meeting of a pure real spectrum. Would not this bad encounter in the real spectrum which grows in the act of making the letters and kill his love of the same blow?

suite next month.

---

[1] - p. 769

[2] - p. 721

[3] - p. 715

[4] - p. 765

[5] - p. 811

[6] - p. 753 and 754

[7] - p. 745

[8] - p. 865

Write Something For Friend Wedding

resistance denouncement

Here is an email received from resistance denouncement :

Click on the link to listen

http://www.marchavet.com/chansons/adieu_ma_petite_maman.mp3

Farewell My mommy

Farewell my dear mother I'm dying

I am a child yet I am dying

I did not have enough French identity

Yet at the school where I was going

I was good in French

Farewell My Mummy I'm dying

I am a child I would not have run away

When peacekeepers chased us

They would catch me when I jumped

In vacuum for me escape

Weep not my mommy I'm going

Seems that here we can not collect

All the misery of the world and that without delay

To put France back to work

should I go

Do not cry my dear parents I will suffer more

I could be kidnapped or raped worse

You would have received at the Elysee

On our fate of France would have wept

But for them it is us pathetic story

If I was that I was probably fled guilty

Farewell my little 'mom I'll die

I hope my death will serve

And as soon hunting abroad

As All hunts will be outdated

Why the rich rob us and repel us

Yet everything is all

One day perhaps to repent

Later in schools with President

uninhibited children will read

The thought of a strange alien:

Farewell my dear mother I'm dying ...

Words and Music by Marc Havet

http://www.marchavet.com

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suicide of Ophelia (2)

Ophelia's suicide was a "muddy death "muddy, muddy, cloudy, cloudy, dark, dirty, stained, dark, dark, etc. ...

Do not take this expression in terms of moral, certainly prevalent with regard to the Suicide is the subject of a conviction even today. Many people consider a suicide in their family is a task that will be difficult to wash. If decency still exists today, I think this is where we can meet her.

Ophelia is presented as the hitherto virgin, pure sexually, the "white." At least that is what is asked by his father and brother.

Ophelia is a "wise beauty," "honest" (chaste, wise, virtuous, but also honest, honorable, loyal, trustworthy), a "nymph" who knew no sexuality.

It is also virtuous to which the court has to find the truth from Hamlet. Why is it so weird? Read a book while walking, you can imagine that this is not normal! Necessarily a sign of madness.

Ophelia is the virtue which allows to read and understand the madness of Hamlet. Rushed to him, his father Polonius and Queen Gertrude are responsible for solving the mystery of his strange behavior.

Similar in that the Sphinx sent by Hera and the regent Creon to discover the truth about the murder of Laius king of Thebes. The Sphinx is also sometimes presented as "a cruel singer", similar to a siren as we have seen Ophelia . The fate of the Sphinx is the same as that of Ophelia, she défenestrer . The truth is still killing!

Moreover, Oedipus does not reveal any secrets. The Sphinx either. The truth will emerge only after. Another trait shared by Ophelia with the Sphinx. And Ulysses too. Because otherwise, why should we not that its sailors can hear the song of sirens? Would not this the secret of sexual intercourse (a fake secret since there are none according to Lacan). For the Sphinx, the origin of the parentage of Oedipus is his brother. For Odysseus, sexual seduction direct voice sirens (for Ophelia, we will immediately see a few lines in which the sex is concerned).

Ophelia fills the same function as the new Gradiva by Jensen commented on by Freud. It is an enigmatic character capable of unlocking the secrets of each. Freud compares his action that of the psychoanalyst. Whoever maintains that the subject has always known who he was veiled.

But the attitude of Ophelia is not only of this nature. It betrays Hamlet from the start, because she promised her brother.

Hamlet immediately sniffs the duplicity of Ophelia. He soon realizes that it is presented to him by his father ordered to spy on him. In fact, Hamlet knows he betrayed. He wanted a woman who does not want a child who does not want to marry, which is virtuous, chaste and faithful. Hamlet wanted her to remain "chaste as ice, pure as snow [1] .

In short, Hamlet would not hear of a virgin sexual magnet. He did not fall into the trap of desire structurally misleading. He did not become a monster, one that beckons you, that you "watch". Bringing the cuckold horns. He who loves a woman without knowing she loves another.

Hamlet says when he did not like. Negation in the future perfect. The love of Hamlet for Ophelia is literally barred. It could have been, it was not. "I do not love you." His love has not happened and he says to Ophelia.

Ophelia falls sharply. It goes from the sublime beauty to filth on the bench of love. It is "muddy," "disorder," "defiled," "stained, as will his death. How not to think about waste, waste, the mud and shit? One form of the object that psychoanalysis obsessive highlighted.

This expression comes from the mouth of the queen, "muddy death", should no surprise.

As Lacan has taught the fascinating beauty is the last barrier to cross before reaching the horror of the subject has . The sublime beauty and staining dark are two sides of the same thing, they point the object becomes waste that Ophelia after the fall.

Furthermore, we know the grievances against the mother of Hamlet. He presents it as one that wallows in the mud and the mire with the king's brother.

Ophelia just intensify the image of Gertrude. Hamlet, in fact, criticizes his mother for having married his father buried immediately. She has "glutted the quagmire [2] " for:

"Mariner in debauchery, to the hug and love

wallow in a foul ... [3] .

To his mother, Hamlet asks Ophelia what will then "break your neck falling [4] .

In return, Hamlet wishes Ophelia to what he denounced for his mother.

"Hell rebel

If thou canst mutiny in the bones of a matron,

For flaming youth let virtue be as wax as

And back to his own fire. More modesty

When the compulsive ardor storms,

Since even the gel burns as strongly

And the reason is the bawd desire [5] "

Hamlet would have loved the beauty of Ophelia, if that virtue was" inoculated [ 6] . If the enjoyment of beauty it was not grafted. If virtue is negotiating with its beauty, is that his virtue and reason are corrupt and subject to the beauty and enjoyment. "The reason is the madam of desire."

sends Hamlet Ophelia will walk in a "nunnery [7] , a cloister, but certainly mostly a brothel, a brothel. That of sexual debauchery.

The set is a kind of crossroads where Hamlet wishes for what the other one did. For his mother, the lair, for Ophelia's suicide. Ophelia will do what Hamlet really wants for his mother. For his mother who enjoys the love he wanted. To Ophelia he loves, he does not want his enjoyment and love denied. Ophelia is the ugly face of Gertrude and monstrous. Both embody the same for Hamlet. These are the two faces of the same object.

Continued next issue ...

---

[1] - Act III, Scene 1

[2 ] - p. 863

[3] - p. 865

[4] - p. 873

[5] - p. 865

[6] - p. 811

[7] - p. 813

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suicide of Ophelia (1) Petitions

I think it is worthwhile to return as many times as it may be necessary the suicide of Ophelia in Hamlet Shakespeare. First, because this piece is commissioned works that tell us much about our existence. But also because Lacan has made a long comment in his seminar Anxiety in 1958.

The famous Ophelia drowns under a willow tree. His death was first presented as an accident, she slipped from the tree while she wove a garland. But worms [1] following maintain any ambiguity about the reality of his suicide:

"His clothes were opened

And like a siren for a time they reach;

But she sang flanges old tunes,

Insensitive to his own distress,

Or like a creature born in this element

And made to live. But soon

His clothes, heavy with what they had been drinking,

drew the unfortunate these melodious songs

To muddy death. "

Ophelia was "insensitive to his own distress, she did nothing out of the water. Ophelia, the prototype of femininity which the substance is passivity? Ophelia is left she sink? This has the appearance of an accident. But the common interpretation is to say that this is a suicide. In its negativity, do nothing, it remains a voluntary act. It is a positive act, is nothing to make the act of doing. An active abstention that reverses the appearance of passivity. Wrong track, then. Which indicates a false passivity rather a real act.

is the classic example of Durkheim about the proxy in suicide. Is a suicide, the act of the person who allows himself condemned to death. It is not the executor, but he committed suicide anyway. This recall only that the agent can to sever the action.

Doubt settled soon. "Or" as belonging to water, Ophelia sang? Water, the element for which Ophelia is naturally formed. Ophelia had a destiny for which "we" had formed. Water.

Like a fish whose natural environment is to breathe in water or any marine animal that can not live without water. Ophelia was a stranger on earth. She returned with his family. Ophelia was not home at the court of Hamlet. She was not there as ambassadors of those countries abroad visiting his neighbor. The diplomatic visit ended, she returned. Rather

ambassador, Ophelia is a new siren. A fish whose body and appearance is that of a woman. A fish that sings elsewhere, this is the case of Ophelia.

A quick glance at Wikipedia can immediately rectify the meaning of that term. A mermaid is a fish whose natural environment is water! It's a bird!

The siren is a creature half bird, half woman, who sings lead for the sailors to drown. In mythology Greek, they are several, three or more.

One of them is Leucosia , the white, like Ophelia's poem Rimbaud [2] . In this poem, Ophelia is even more obviously a siren and ghostly floating:

"White Ophelia floats like a lily, Floats very slowly, lying in her long veils ... - We hear in the distant woods mort.

more than a thousand years sad Ophelia Has passed, ghost white, long black river, over a thousand years her sweet madness Has murmured its ballad to the evening breeze. "

Odysseus goes into the house of Hades, death, to give burial to his friend Elpenor. In doing so, the troop "dies twice while the other men to die once." They die like all men by losing a body, the imaginary death. They also die in oblivion, they are deleted from the spirit and memory of men, symbolic death. For it is impossible to revive the dead. It's suicide to try to live what died.

On the way back, Ulysses will encounter sirens that can prevent it from returning with his family, among the living, "around a large pile of bones and skins of men rotting . That is to say in a grave, a heap of garbage, what he and his friends can become. They face real death, dislocation in pieces scattered. The "desert of the real" Matrix [3] .

Odysseus does not want its sailors know what the sirens sing and their ears. Ulysses is doing an anti Antigone. It acts like her to give sepulture to be dead. But he refuses to take the consequence. He refuses to know what this means unlike Antigone who bears the consequences of his act. Both face the masters. Ulysses was madness to think he can escape.

sirens sing the promise to teach them what life ("We know, indeed, all that the Achaeans and the Trojans have suffered at the great Troy by the will of the gods, and we also know everything that happens on Foodland "). At the end of his journey, Odysseus has lost all his fellow sailors.

There is an adult interpretation of the text of Homer which claims that it is the equivalent veiled prostitutes who stand on the shore. This would subsequently, in the folklore that the sirens would become fish, remaining halves of women. Then they are immortal. For two centuries, they have fun in the water. Then, bored, they feel alone and trying to seduce a human being to be loved.

More interestingly, in West Africa or India, the siren is a god almighty, creator of the human world. Mami Watta , the mother-water, water-mother of all things, is represented as a beautiful woman brandishing snakes.

Very interesting, exciting even for a psychoanalyst. Let us recall the comment of Freud's Medusa's head, the head of a woman surrounded by snakes which represents castration. Well, the sirens too!

In the Odyssey of Ulysses, this figure exists, but is separated from the sirens. It Skylla "which roars and whose voice is as strong as a lion. It is a prodigious monster, and no one is happy to have seen, not even God. She has twelve feet misshapen, and six necks out at length his body, and every neck is attached a horrid head, and every mouth full of black death there is a triple row of teeth thick and numerous. "

Ophelia returns the siren to know that mortal men should not know without dying once. She is the incarnate mystery of that knowledge. The mystery as to why she sings. Let us remember, "or" insensitive to his own distress, "or" as a creature naturally formed for water, an essentially floating in the eternal and the immortality of the sirens. Suicide, Ophelia is reduced to singing like sirens. It is pure object representing the voice castration closely associated with the second death. The real death in which everything dissociates, where what is assembled and scattered falls apart.

Lacan showed that object which had been hitherto poorly preview. In the seminar "anxiety", he comments on the practice of shofar. The pure materiality of the voice of the real father, the God of vengeance Moses ordered the latter to kill his son for no reason other than his own will. The superego in what he real. For

sirens, the object voice is seductive, it leads immediately to the person who hears the second death. It is a fact that tells us the clinical psychosis. The subject feels haunted "already dead". He who hears a voice has already been drawn into the second death by sirens.

But another question remains for small Ophelia: her death is a "muddy death". Or muddy depending fangieuse translations ...

Following the next issue!

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[1] - Shakespeare, Hamlet, Tragedy , NRF Gallimard, Paris, 2002 929

[2] - Arthur Rimbaud (1854 - 1891), Poems (1895), Ophelia (1870)

[3] - the term used early in the film when the characters come out of the womb, that is to say the symbolic life to be discarded as Odysseus in a spectral world. S. Zizek, Welcome to the desert of the real! , Paris, Flammarion, 2005

New Zealand Sliver Firn Tattoo Designs

cons DNA testing

The satirical weekly Charlie Hebdo and the anti-racist organization SOS-Racisme has launched a petition against the possibility of using DNA testing as proof of parentage, currently being debated in Parliament. She opposes the amendment Mariani (UMP).

The petition

The authors call on President Nicolas Sarkozy and the government "to remove that provision, failing to contribute, by introducing the idea that one could make a biological response to a question policy, to break the conditions of a lasting democratic debate, serene and constructive dialogue on issues related to immigration. "

And other petitions:

http://tmp.sauvonslarecherche.fr/spip.php?article1625

http://www.ma6tvachanger.fr/

What Is Tenting Of The Lung

Monumental ment

A text releases them: "This post is dedicated to Xavier Turbulin ^(*) Tuesday, October 2, 2007 Yesterday, a barefoot woman, a beggar, strolling in the middle of the road. When she joined the sidewalk, she importuned a very dignified lady who filled the trunk of his car ( new) cans of cat food. The trunk full of one. bare feet of each other. Minister for Employment, Christine Lagarde - corporate lawyer who succeeded brilliantly across the Atlantic before accepting honored, his new role, today presented the outlines of the forthcoming merger of the Agency State Employment and Assedic. Read result of the article releases them ^(*) unemployed who set himself on fire on 1 May 1993 in Bordeaux . This man, aged about thirty years, told rescuers before dying "that he could not stand to be without work for one year." He was doused with gasoline before igniting, shortly before midnight on the platform of Brienne, out of Bordeaux. That same day, May 1, 1993, former Prime Minister Pierre Beregovoy had also committed suicide, which was completely overshadowed in the press the gesture of despair Xavier Turbulin ( source)