In their conversation regarding the automaton, Lacan goes one step further and asserts that beyond this automaton there is certainly another more terrifying encounter — using the genuine:
“the true is beyond the automaton, the return, the coming-back, the insistence of this indications, through which we see ourselves governed by the pleasure concept. The true is the fact that which constantly lies behind the automaton, and it’s also quite obvious, throughout Freud’s research, it is this that’s the item of their concern. ” 15 Lacan highlights, nonetheless, that this encounter using the genuine is often a missed encoun- ter plus one that is inassimilable within our waking life (55). Desires provide a simple glimpse for this encounter: “just isn’t the fantasy essentially, one might state, a work of homage to the missed truth — the truth that will not create it self except by saying it self endlessly, in certain never gained awakening? ” (58). A thing, his dream reveals that there is a far more traumatic Thing — the encounter with the real of the maternal body, which is experienced in his dream as a traumatic vision of incest and necrophilia although Frankenstein calls his creature. Then dreams, like literature, allow for the possibility of that encounter to take place in our waking life if, as Lacan argues, we experience the real as a missed encounter.
Even though the scientist’s fetishistic look through charnel homes when it comes to perfect areas of the body guarantees an exquisite corpse,
This quest is quickly exposed being a monstrous male fantasy. At that time Shelley had been composing, the representation that is prevailing of had been epitomized by beatific death scenes, which, as Ann Douglas records, domesticated the dead by sentimentalizing and immortalizing them. 16 a whole industry and ideology of death had emerged utilizing the cult of mourning: there is a mass expansion of mourning portraits and consolation literary works, together with rural cemetery motion had been regarding the rise. 17 The grotesque dead human anatomy and the charnel homes of previous times, which portrayed death too vividly, had been changed by romantic and sentimentalized pictures of this spiritualized “dearly departed” and also by rural cemeteries that mistook themselves for pantheistic landscapes. 18 We see one instance for this portrait that is sentimental of in a scene where Clerval attempts to console Frankenstein after William’s death. “‘Dear lovely son or daughter, he now sleeps together with his angel mom! ‘” (71). Read more