Summary
The article will attempt to explore George Saunders' novel “Lincoln in the Bardo” from a Lacanian perspective, focusing on the relationship between the voice, trauma, and the various forms (neologisms, euphemisms, and ellipses) under which the half-told [mi-dit] appears in the work of the American author. The article’s main goal will be to demonstrate that Saunders' book is constructed as a polyphonic (in the Bakhtinian sense) collage of voices, which continuously evoke the empty core of their subjectivity. As the novel occasionally blurs the boundary between fact and fiction, the text will also examine how Saunders treats history as a fictional (or phantasmic) field of disagreements, coordinated around the half-told truth of some (traumatic) event.
Линкълн в бардо: Диалогът между разногласието и (раз)единението
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Page range:119-139Page count20LanguageБългарскиCOUNT:
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KeywordsSummaryThe article will attempt to explore George Saunders' novel “Lincoln in the Bardo” from a Lacanian perspective, focusing on the relationship between the voice, trauma, and the various forms (neologisms, euphemisms, and ellipses) under which the half-told [mi-dit] appears in the work of the American author. The article’s main goal will be to demonstrate that Saunders' book is constructed as a polyphonic (in the Bakhtinian sense) collage of voices, which continuously evoke the empty core of their subjectivity. As the novel occasionally blurs the boundary between fact and fiction, the text will also examine how Saunders treats history as a fictional (or phantasmic) field of disagreements, coordinated around the half-told truth of some (traumatic) event.