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Titlebook: Dancing an Embodied Sinthome; Beyond Phallic Jouis Megan Sherritt Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusiv

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,Reinterpreting Joyce’s Sinthome,ithin the body, so as to live with (and embrace) the real rather having it overwhelm him to the point of succumbing to the hallucinations, delusions, and paranoia, etc., of psychosis. That is, Joyce sinthome relies on how he uses the real in the body, a use that helps him develop a new relationship to the real.
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2946-4196 nd James Joyce’s writing.Appeals to those working in psychoa.This book provides the first in-depth analysis of Lacanian psychoanalytic theory and the art of dance and explores what each practice can offer the other. It takes as its starting point Jacques Lacan’s assertion that James Joyce’s literary
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Pleural Disease with Acute Symptomsprevent psychosis. Lacan mentions Lucia in his seminar (and how Joyce disagreed with Lucia’s diagnosis, seeing her merely as telepathic). I show how Lucia’s life and her dancing affect Joyce’s life and how his relationship with her (and her dancing) influences his writing.
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Jeffrey Kile,Katrina John,Amish Agheraribed in theory helps me to explain where my researcher converges with the research of those who study dance and where it differs. I then conclude this chapter by offering a brief outline of the structure of the book.
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Diseases of the Digestive Tracthe (Lacanian) real as produced by language. I argue that Lacan takes concepts from linguistics but changes them to show that the relationship between a signifier and signified is always unstable. Thus, Joyce’s writing is a way for him to develop a new relationship to the real . language.
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Peritoneal and Retroperitoneal Diseasesn look more specifically at psychosis, the sinthome, and two related elements: . and (feminine) .. Throughout this chapter, I also place dance in relation to Lacanian theory and look at the possibilities for a relationship between Lacan’s psychoanalytic concepts and dance.
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Left lower lobe: basal segments psychoanalytic setting. I also offer a new Lacanian discourse: the sinthomic discourse. I then look to the implications of what seeing dance as a sinthome means for dance as an art that relies on the real and can teach play to someone who has never learned. That is, I redefine the place of dance within the arts and aesthetics.
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