The Hour of the Star

A wizard of loss and The right to protest A Lacanian reading of the deal The bit of the angiotensin-converting enzyme1 When Clarice Lispector wrote this story with a beginning, a middle and a grand finale followed by silence and falling rain. (HE, pp. 13) she hoped that it could become my her protest coagulation one(a) day (HE, pp. 12). In fact, her hour was near for she would soon die of cancer. The book emerged as an experimental novel gradually dialoguing with and producing illusions of itself, like images in reflects, paradoxically portraying the invisible.Both her book and Susana Amarals cinematic accommodation seem extremely conscious of Lacans c erstpt of humbleivity and adherent to his psychoanalytic theory that reinterprets Freud in geomorphologicist toll, adapting the linguistic model to the data of psycho compend. What lies beneath the choice to take in charge a Lacanian reading of The Hour of the Star is non the removes patent openness to Lacans ideas on stilbestrolire, lack and the language of the unconscious.Despite the theoretical suggestiveness of much of the epitome that is to follow, the let of this essay is to analyse The Hour of the Star using the methodology developed by Lacan whilst criticising its very mechanisms, stressing the wideness of issues such as ethnicity, marginality, and p overty, mixer, cultural and political alienation, left behind by his account of the development of the military man case. A fairly mainstream cinematic version re get ins the avant-garde, subversive structure of the book.In the delineation things fall into place more than handily in the name of coherence, and social issues (the chronic plight of a certain type of North-Eastern Brazilians who undertakes a journey to the great cities of the South in search of a better demeanor) replace the major metaphysical meditations found in the book. In The Hour of the Star eachthing is subjected to a multiplicity of inflameductions, exaggerated to the minimum, a burlesque in reverse that works in favour of a growing invisibility of things.Physical invisibility, abortion and repress knowledgeableity atomic number 18 highlighted in the film, depicting the drama of Macabea, a humble orphan girl from the boondocks of Alagoas, North Eastern Brazil, who was brought up by a forbidding aunt before making her counseling to the slums of Rio de Janeiro. In this city, she sh bes the same bed sitter with three girls and works as a typist. Cent chromatic on her (in)existence, the film explores Macabeas marginality by placing her among the marginalities of the characters that populate the world of Rio de Janeiro.There is a strong focus on the relationships between the characters Seu Raimundo and Seu Pereira (her bosses), Gloria (her boyfriend from work), Olimpico de Jesus Moreira C saves (her boyfriend), and Madame Carlota (the dowry 1 Throughout the essay, A Hora da Estrela, (HE) pass on refer to Clarice Lispectors novel (Port uguese version), while the title The Hour of the Star (HS) will refer to the film, a Brazilian cinematic adaptation of Clarice Lispectors book (The Hour of the Star, Dir.Susana Amaral, Raiz Producoes Cinematograficas, 1985). The dialogues in this work were translated and transcribed from the film, while the book excerpts were interpreted from the English translation of the novel The Hour of the Star, trans. Giovanni Pontiero (Manchester Carcanet, 1992). 1 teller). Macabea has poverty, in know, ingenuity, ill-health and anonymity written all over her. each she can afford to eat and drink atomic number 18 hotdogs and Coca-cola.Her only (unachievable) dream is to become a film star. Without any goals in life, her sole interest is listening to wireless Relogio (Radio Clock) that broadcasts the seconds, minutes and hours of the day a presbyopic with haphazard instruction well-nigh life. Olimpico, who she acquires in the park one day, starts going out with her but ends up in Gloriaa arms, after the latters visit to the fortune teller. When Macabea decides to visit the fortune teller herself, her life seems about to change completely.The promise of abundance is followed by utter disappointment when Macabea, wearing her new Cinderella-blue dress, is mental testing over by a car and dies alone, fantasising that she is running into the arms of the promised rich lover Hans, her long frizzy hair in the wind. Any Lacanian approach to this Cinderella-in-reverse story would proceed with reference point to the unconscious, interpreting the text as a metaphor of the unconscious and the subject as a linguistic construct. Lacan is unequivocally clear when he states that () the unconscious is structured in the most radical way like a language, hat a material operates in it according to certain laws, which be the same laws as those discovered in the pack of actual languages ()2 To the French psychoanalyst, the unconscious is constituted by a signifying chain, whereby th e negative relations between the signifiers3 are never anchored in centre one signifier leads to an some other but never to the things it supposedly represents. Macabea launches the map of signifiers in the film the assemblages of signifiers clustered around her convey the elusiveness of the signified and the centrality of the unconscious.Her problem with the importee of words stands for Lacans model which gives primacy to the signifier and non the signified. The audience feels somehow oppressed by the some(prenominal) un causeed questions and the furiousness of the oblique illusions of truth inside definitions. What follows is a dialogue between Macabea and Olimpico during one of their walks together Macabea On Radio Clock they were talking about alligators and something about camouflage What does camouflage mean? Olimpico Thats not a nice word for a sodding(a) to be using.The brothels are full of women who asked far too many questions. Macabea Olimpico Where is the brothel? Its an evil place where only men go. 2 Jacques Lacan, Ecrits A Selection, pp. 234 2 skillful because slew ask you for something doesnt mean thats what they really want you to give them4, Lacan would argue, commenting on this dialogue. What Macabea hopes from Olimpico is not exactly a words signification but something else implied in that same dialogue. She desires the meaning, but lacks the meaning and that same lack structures her desire.Macabea asks others for definitions, but others are as ignorant as she is. The films plays on ambiguity, misunderstandings and misjudgments add to Lacans play of signifiers Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Olimpico Macabea Well Well what? I just utter intumesce. But well what? Lets change the subject. You dont understand. Understand what? Oh my God, Macabea. Lets talk about something else. What do you want to talk about? Why dont you talk ab out you?Me? Whats the problem? People talk about themselves. Yes, but I am not like other people. I dont think I am many people. If you are not people, so what are you? Its just that Im not used to it. What? Not used to what? I cant explain. Am I really myself? Look, Im off. Youve no wits. How do I get wits? Insofar as the Lacanian analyst doesnt take himself/herself as the representative of intimacy but sees the analysands unconscious as the ultimate authority, all these questions about the meaning of words are also metaphors of the unconscious.Macabea is under the illusion that meaning can be fixed and the illusion of stability destabilizes her. concord to Lacans view of interpretation, meaning is imaginary and ir applicable It is the chain of the signifier that the meaning insists without any of its elements making up the signification. 5 In one of the last scenes, Macabea is driven to the fortune teller by her dude friend, Gloria, in an effort to fix her life. Madame Carlota divines everything about Macabeas past, ac fellowships 3 Lacan followed the ideas laid out by the linguist Saussure, who viewed the ign as the combination of a signifier (sound image) and a signified (concept). Lacan focuses on relations between signifiers alone. 4 J. Lacan, Ecrits A Selection, Seminar XIII 3 the signs of the future but fails to interpret them. Macabeas fate is consummated scorn the fortune tellers misinterpretations because, Lacanians major power argue, understanding is irrelevant to the process. But, in this case, understanding becomes very relevant indeed for the Lacanian critics who argue that death represents the destiny of those who get hold of the appendage.By misunderstanding the signs, Madame Carlota tells Macabea her supposedly brilliant future. As if listening to a fanfare of trumpets coming from heaven (HE, pp. 76), Macabea learns that she is going to be very rich, meet a wealthy handsome foreigner named Hans, with whom she will marry, and become a r enown famous star. Macabea believes every single word she is told, hence truly acknowledging that all her fantasies will come true that very day. Macabeas desire to train the Phallus is now a reality. Once desire is extinguished, there are no more reasons to keep on living.This scene shows how Lacans view on interpretation as an subdued reductionist task leading to imaginary understanding can rebound on him. The scene previously referred to is rooted in another depicting the beginning of the relationship between Macabea and Olimpico, which shows the essentialist views latent in Dr. Lacans theory of sexuation. Lacans concept of object (a) is considered to be his most significant contribution to psychoanalysis. 6 tendency (a) is that which is desired but always out of reach, a lost object signifying an imaginary moment in time.According to his theory, people delve into relationships because they are driven by the desire to overcome want (consequence of castration). Because Lack i s experienced in distinct ways by men and women, both sexes have different ways of overcoming their Lack they either place themselves in relation to the Phallus (feminine structures) or the object (a) ( manly structures). Lacan argues that in the sexual relationship7 the sexes are defined separately because they are organized differently with respect to language/to the symbolic8 manly structure limits men to Phallic jouissance while feminine structure limits omen to object (a) jouissance and also allows them to experience another kind of jouissance, which Lacan calls the Other jouissance9. By jouissance Lacan implies what is forbidden to him who J. Lacan, Ecrits A Selection, Instance de la letter dans linconscient ou la raison depuis Freud In the preface to Ecrits, Lacan mentions object (a) We call upon this object as universe at once the cause of desire in which the subject is eclipsed and as something supporting the subject between truth and knowledge. 7 It must be kept in mind that Lacans work on sexual contrast crosses over the borderlines of biological distinction. He defines femininity and masculinity on the basis of psychoanalytic terms. 8 Lacan explains the substitute versions of castration 6 5 () suggerer un derangement non pas contingent, mais essentie de la sexualite humaine () sur lirreductibilite a toute analyse finie (endliche), des sequelles qui resultant du complexe de castration dans linconscient manlike, du penisneid dans linconscient de la femme. In La signification du phallus, Ecrits, pp. 85 9 When Lacan discusses the notion of another kind of jouissance (Other jouissance), he explains that women (human universes structured by the feminine) are the only ones that have access to it, while men are limited to Phallic jouissance. According to Bruce Fink, this concept roughly implies that the phallic function has its limits and that the signifier isnt everything. B. Fink, The Lacanian Subject Between Language and Jouissance, pp. 107) 4 speaks ()10, that is, that completion of being which is incessantly inaccessible to the split subject.To paraphrase Fink, insofar as a woman forms a relationship with a man, she is likely to be editd to an object object (a), reduced to no more than a disposition of manly deception objects, an image that contains and yet disguises object (a). He will isolate one of her features and desire that single feature (her hair, her legs, her voice, etc. ), instead of the woman as a firm. In a different way, the woman may require a man to embody the Phallus for her, but her partner will never truly be the man as much as the Phallus.Therefore, il ny a pas de rapport sexuel (Lacans famous remark) because the dissymmetry of partners is utter and complete. By lack of symmetry Lacan means what she/he sees herself/himself in relation to either the Phallus or object (a). Going stern to the film, the masculine and feminine realms seem to be clearly limited in terms of a traditional heterosexua l system (the odd-one-out being the character of the fortune teller in whom we perceive traces of oddity). When Olimpico first meets Macabea in the park, she is holding a red flower in her hands.Olimpico draws nearer, asks her name and invites her for a walk. At a certain point he mentions her red flower, gently asks for her permission to pull out its leaves, and finally returns it to Macabea. Under Lacans eyes, insofar as she holds the flower, Macabea sees herself in terms of the Phallus, the flower being its metaphor, what she desires to hold in her hands. Olimpico is, in her eyes, the biologically defined man incarnating the Phallus (her true partner being the Phallus and not the man).As Lacans theory sets out to show, Olimpico belongs to those characterized by masculine structure. He will search in spite of appearance this womans features, a particular one and reduce her to object (a) in his fantasy, trying to overcome the primordial Lack. However, it seems terribly hard to in vest a odd object that arouses his desire in this particular woman ugly, dirty and expression rather ill, there is cryptograph in her left to be reduced to a male fantasy object. Hence the customized flower Olimpico invests what arouses his desire11 in the flower and not the girl.If we pursue Lacans theory a step further in terms of masculine/signifier and feminine/signifiance12, we will conclude that his work on sexuation rests on the belief that subjectification takes place at different levels in different sexuated beings while the signifier refuses the task of signification, the signifiant plays the material, non-signifying face of the signifier, the part that has cause without signifying jouissance effects. 13 This is displayed as the J. Lacan, Ecrits A Selection, pp. 319 A similar flower will appear again in the film Macabea has station it in a glass n her desk at work. Gloria, her colleague from the office, is getting pee-pee for a first date with a man she never met bef ore. She decides to wear the red flower in her bodice so that he can recognise her. Her appropriation of the flower symbolises her future appropriation of Olimpicos fantasy (she will steal Macabeas boyfriend, following the fortune tellers advice) and her reduction to a male fantasy object. At the same time, the man she is about to go out with is reduced to his sexy voice. 12 Lacans concept of letre de la signifiance, found in Seminar XX, is explained by B.Fink in these terms I have proposed to translate it as signifierness, that is, the fact of being a signifier () the signifying reputation of signifiers. When Lacan uses this term, it is to emphasise the nonsensical nature of the signifier, the very existence of signifiers apart from and separated from any possible meaning or signification they might have. B. Fink, The Lacanian Subject Between Language and Jouissance, pp. 118-9 13 B. Fink, The Lacanian Subject Between Language and Jouissance, pp. 119 11 10 5 heoretical reason impl ying that the signifier of desire can be identified with only one sex at a time, meaning that Woman can never be defined as long as Man is defined. As Fink puts it, () the masculine path might then be qualified as that of desire (becoming ones own cause of desire) while the feminine path would be that of love. 14 Watching this scene in isolation, one has the impression that love is for Macabea as desire is for Olimpico. This is not unaccompanied the case, for in this scene and in the film in general, a woman (Macabea) is defined as long as a man (Olimpico) is defined.In a relationship where the partners are not identical (different feminine/masculine structures) both of them are control by desire. On the one hand, Olimpico desires all the attributes that Macabea sadly lacks, so he turns to Gloria, Macabeas ideal imago (a version of what the latter wants to be, a version of herself that she can love). On the other hand, Macabea is not ruled by love. What she experiences with Olimpi co is nothing compared to what she feels when Madame Carlota tells her about Hans she feels inebriated, experiencing for the first time what other people referred to as passion.She locomote passionately in love with Hans because the fortune teller had told her that he would sympathize with for her. Both Macabea and Olimpico are ruled by the desire to be loved and not by love. And if in this heterosexual relationship (which for Lacan is the norm) the dissymmetry is not entirely complete, what can we say of the homosexuality referred to by the fortune teller, who finds Macabea much too delicate to handle with the brutality of men and tells her, from experience, that love between two women is more affectionate?In fact, Lacan never theorized homosexuality very seriously, although his failure to account for it may be explained by the fact that the Symbolic is structured in favour of heterosexuality. In his theory of the Symbolic, the baby undergoes the reflect stage between 6 and 18 months old. By this time, the baby sees its own image in the mirror and enters the symbolic stage (realm of the imaginary imaginary acknowledgement with the image in the mirror). As Lacan sets out to explain,This event can take place () from the age of cardinal months, and its repetition has often made me reflect upon the startling spectacle of the infant in front of the mirror. Unable as yet to walk () he nevertheless overcomes the obstructions of his support and () brings back an instantaneous aspect of the image. For me, this activity retains the meaning I have given it up to the age of eighteen months. 15 Mirrors play an great government agency in Macabeas life. Looking at her own reflection, she tries to find out who she is.After having used Glorias trick (making up an excuse to skip work), Macabea decides 14 15 Bruce Fink, The Lacanian Subject Between Language and Jouissance, pp. 115 Jacques Lacan, Ecrits, A Selection, Chapter I The mirror stage as formative of the functi on of the eye as revealed in psychoanalytic experience. , pp. 1, 2 6 to spend her day off in her room, listening to Radio Clock, dancing and sounding at herself in the mirror. The camera shows her reflection and what we see is a split image in the mirror she stands between what she is, what she wants to be and what others want her to be. 6 When she tells the mirror Im a typist, a virgin and I like Coca-cola she complements her identity split with her mirage identity Macabea is staging her identity by identifying with other peoples perceptions of herself. She is not eighteen months old but an eighteen-year-old in the middle of Lacans mirror stage, looking for models (which are the models in shop windows the parental Other is absent), learning new words (at work as a typist, at home listening to the radio), looking at herself in mirrors. It is as if the Symbolic were staging reality too late in the characters life.During a walk at the Zoo, Olimpico accuses Macabea of being a liar Ma cabea It is true. May God strike me dead if Im not telling the truth. May my mother and my father drop dead right now. Olimpico Macabea You said your parents were dead. I forgot As Lacan would put it, we are watching how the Symbolic can bar the real, overwriting and transforming it completely, the reason for this being that the Symbolic is but a pale disguised reflection of the Real the reason for this not being a basic speculation about the designer of being a child without living parents, that is, about the alienation caused by orphanage.This does not mean that Lacan did not reflect on the concept of alienation (check Fink, footnote 28, chapter 7, seminar XVI). In his opinion, that is what places the subject at bottom the Symbolic. In alienation, the speak being is forced to give up something as she/he comes into language. Lacan sees it as an attempt to make sense by trying to act coherently with the image one has about oneself. These attempts surrender the person because m eaning is always ambiguous, polyvalent, betraying something one cute to remain hidden or something one wanted to express. Lacan does not condemn or avoid alienation in his analysis.At a certain point, in Seminar XVI, he establishes a comparison between surplus value (Marxist concept the jouissance of property or money that is the result of the employees labour, the excess product) and surplus jouissance (what we seek in every relationship/activity but never achieve). small-arm capitalism creates a loss aiming at surplus value (the loss of the worker), our advent as speaking beings also creates a loss (the loss of jouissance through castration). In Lacans economy of jouissance, both losses are at the centre of the development of civilisation, culture and market forces.At a certain moment in the film, we 16 In this respect, Lacan explains that the only homogeneus function of consciousness is the imaginary capture of the ego by its mirror reflection and the function of misrecogniti on which remains attached to it. In Ecrits, A Selection (1966) 7 watch Macabea handing over a certain jouissance to the Other she is told by her boss she has to work late. The consequence is that Gloria will meet Olimpico in the park, instead of Macabea. Following Lacans theoretical communion, the scene depicts Macabea being forced to give up something as she comes into language (as she finishes typing the documents).That something is her love object. The scene can be read as a reference to the primordial loss castration by meditating on the importance of the sacrifice of jouissance as it creates a lack17 and because gears life (the Symbolic/the plot) onwards Gloria steals her colleagues boyfriend and eventually gets a husband, following the fortune tellers instructions Macabea loses her boyfriend and ends up at the hands of the fortune teller who guides her towards her death.This analysis focuses on the surplus jouissance and not on the Marxist concept of surplus value, theref ore neglecting important class struggle/capitalist issues. Adopting a Lacanian frame in the analysis of alienation in The Hour of the Star involves losing what a Marxist concept of alienation might otherwise bring into light the change effect society operates on Macabea as an exploited underpaid employee who finds herself working (sometimes after hours) for the employers enjoyment.The film, on the contrary, is preferably clear in its portrait of an alienated subject working for less than the minimum wage in a decadent, poor-lit warehouse. A dialogue between Seu Raimundo and Seu Pereira suggests the capitalists attitude towards the proletarian Macabea Raimundo Pereira Raimundo () Pereira Raimundo Besides, she is really ugly. Like a dried-up pomegranate. Where did you get her? Ok, shes a bit clumsy. But a brilliant typist would want more money. Its the new typist, Macabea. Maca what? -beia. Maca-bea. No one else was willing to do the job for less than the minimum wage.Adding to the notion of the film as a metaphor of the unconscious are mirrors and their fragmented reflections, Radio Clock and its fragmented, dispersed bits of information and the gaze of the camera as the audience accedes to Macabeas world through furtive gazings behind windows, doors, in the street. This gaze could be interpreted as belonging to Macabeas wicked aunt who has died but calm haunts her conscience. Macabeas paradoxical fantasy, her dream to become a film star, is also hooked up to the move of the unconscious as the end term of her desire.Lacan explains that the unconscious, ruled as a language, is overpopulated with other peoples desires that flow into us via discourse. 18 So, our very fantasies can be foreign to us, they can be alienating. Macabeas fantasy to become a film star could Without lack, the subject can never come into being, and the whole efflorescence of the dialectic of desire is squashed. In Bruce Fink, The Lacanian Subject Between Language and Jouissance, pp. 1 03 17 8 be read as a way of answering other peoples desire that she takes care of herself, eats better, dresses better, and works better.Interpreting Macabeas dream as a response to her own desire (she wants to be loved film stars are loved therefore, she wants to be a film star) implies walking away from Lacanian theory. The subject is here very much implicated in the process. Others dont seem to have had a hand in it. Olimpico laughs and humiliates her when she tells him about her dream and doesnt encourage her to pursue it Olimpico What makes you think that youve got the face or the body to become a film star? () Take a good look at yourself in the mirror.Lacans approach to the unconscious considerably reduces the sources from which one can carve out knowledge in relation to this film. Macabeas ethnicity calls forth the analysts knowledge of Brazils North-Eastern structural roots of poverty (drought plagued agriculture, slums, human rights abuse in terms of health and education, the plight of street children, womens issues in terms of class, race and land tenure). An informed reading of The Hour of the Star raises the question of marginality within the frameworks of location, gender, race, individual/social conscience, language and testimony.In the context of this film, the concept of marginality has to be addressed in the plural. There are different definitions of margin at stake, as well as different layers of marginal behaviours, each of them empowering the social/individual transgressions suggested by Macabeas lack of attitude towards existence. The characters in this story are aware of their condition as outsiders. They are seen through their relation to Macabea her apathy and emptiness are exquisitely painful in that they remind others of the collective pain felt in a dehumanised world.In the pyramid of the excluded, Macabea is victimised as a female and as a North easterner in search of her inner self. Her volunteer attempt, although grotesque and i narticulate, to question and witness her blunt existence stands as the last stance of her marginality. It is the hour of the tragic question Who am I? , echoing the major preoccupation of every mortal. Unlike the other characters, she fails in every sphere of her life but not in asking this question.She is aware of her inner otherness, although futile to verbalise or make sense of it. She witnesses it, tries to speak it, but never tells it, because what needs to be told is double-dyed(a) silence narrated from within. The title of the present study resonates with the limits of a psychoanalytic reading of The Hour of the Star. A sense of Loss and The right to protest are two of the fourteen titles19 advanced by 18 Lacan suggests that it is in the reduplication of the subject of speech that the unconscious finds the means to articulate itself. , J.Lacan, Ecrits A Selection, A la memoire dErnest Jones sur la theorie du symbolisme 19 List of titles found at the beginning of HE The Blam e is mine or The Hour of the Star or Let Her Fend for Herself or The Right to Protest or . As for the Future or Singing the Blues or She Doesnt Know How to Protest or A Sense of Loss 9 Clarice Lispector in her book A Hora da Estrela. They were chosen by me for two reasons. The first implies that analysing the film by giving the book behind it the cold shoulder would relegate the analysis. Another is the belief that choosing only one title would dramatically reduce the scope of this work of art.Macabea cannot fountain looking at mirrors and gazing at a sense of loss that dazzles her in her opaque leading-nowhere-abstractions. But she is herself a mirror reflecting the social inequities of the Brazilian society in she lived. Taking a step further, we could add yet another title I can do nothing, number eleven in Lispectors title list. This one would eclipse the Others discourse, unconscious and unintentional, and give way to the informed discourse of a conscious audience viewing wri ting as a representative mirror of reality.Having said all this, one can only afford A discreet exit by the back door20 once a final, irrevocable question is posed. Is it still possible, having pointed out the missing dimensions of analysis and the resistances to a Lacanian approach of The Hour of the Star, to make sense of Lacans theoretical framework? On the one hand, answering with a no would seem fatally solipsistic in what the existing quantities of written work on psychoanalysis are concerned, as Lacans work lies at the epicentre of contemporary discourses about otherness, subjectivity, sexual difference, to name just a few topics.Answering with a yes, on the other hand, would plainly simplify subject matters that are, as this work intends to show, very complex. Perhaps the question, in the fashion of all interesting questions, offers no answer insofar as a balanced account of the possibilities, limitations, meanings and implications of Lacans theory is not thoroughly consider ed. or Whistling in the Dark Wind or I Can Do Nothing or A Record of Preceding Events or A Tearful Tale or A apprehensive Exit by the Back Door. 20 Final title in Clarice Lispectors list of titles. 10 Primary Bibliography Lacan, J. Ecrits (Paris Editions du Seuil, 1966) _______, Ecrits A Selection, trans. Alan Sheridan (capital of the United Kingdom Routledge, 1977) _______, The Seminar of Jacques Lacan. Book II. The Ego in Freuds Theory and in the Technique of depth psychology, trans. Sylvana Tomaselli (New York/London Norton & Co. , 1991) _______, The Ethics of Psychoanalysis The Seminar of Jacques Lacan Book VII, trans. Denis Porter (London/New York Norton & Co. , 1992) Lispector, C. , A Hora da Estrela, (Rio de Janeiro Jose Olympio, 1977) __________, The Hour of the Star, trans. Giovanni Pontiero (Manchester Carcanet, 1992) Freud, S. New previous Lectures on Psychoanalysis, ed. /trans. J. Strachey (London Penguin Books, 1991 The Hour of the Star, Dir. Susana Amaral, Raiz Produ coes Cinematograficas, 1985 Secondary bibliography Barry, P. , Beginning Theory An Introduction to Literary and Cultural Theory (Manchester Manchester University Press, 2002) Benvenuto B. & Kennedy, R. , The full treatment of Jacques Lacan An Introduction (London Free Association Books, 1986) Cixous, H. , The Hour of The Star How Does One Desire Wealth or mendicancy? , Reading With Clarice Lispector, ed. and trans.Verena Andermatt Conley (Minneapolis University of Minnesota Press, 1990), 143-163 Daidone, L. C. & Clifford, J. , Clarisse Lispector Anticipating the Postmodern, Multicultural Literatures through Feminist/Poststructuralist Lenses, ed. Barbara Frey Waxman (Knoxville The University of Tennessee Press, 1993), 190-201 Fink, B. , The Lacanian Subject Between Language and Jouisssance (Princeton N. J. Princeton University Press, 1995) Fitz, E. , shew of View in Clarice Lispectors A Hora Da Estrela, Luso-Brazilian go off, 19. 2 (1982), 195-208 Lapsley, R. Westlake, M. , Film Theory An Introduction (Manchester Manchester University Press, 1988) _________, From Cassablanca to charming Woman The politics of Romance, Screen, 33. 1 (1992), 27-49 Lemaire, A. , Jacques Lacan, trans. D. Macey (London, Henley & Boston Routledge, 1977) Klobucka, A. , Helene Cixous and the Hour of Clarice Lispector, SubStance, 73 (1994), 41-62 Mitchell, J. & Rose, J. (eds), Feminine Sexuality Jacques Lacan and the Ecole freudienne (Houndsmill Macmillan, 1992) Mitchell, J. , Psychoanalysis and Feminism (London Penguin, 1990) Mulvey, L. Visual Pleasure and Narrative Cinema, The Sexual Subject A Screen commentator in Sexuality (London & New York Routledge, 1998), 22-34 Nelmes, J. (ed. ), An Introduction to Film Studies, 2nd edn (London Routledge, 1990) Patai, D. , Aspiring to the Absolute, Womens Review of Books, 4 (1987), 30-31 Smith, J. & Kerrigan, W. (eds. ), Interpreting Lacan (New Haven & London Yale University Press, 1983) Storey, J. , Cultural Teory and Popular Culture An I ntroduction, 3rd edn (Dorchester Dorset Press, 2001) Whatling, C. , Screen Dreams Fantasising Lesbians in Film (Manchester & New York Manchester University Press, 1997) 11