Psychoanalytic reading of the play "Cinderella"
Based on the ideas of Jacques Lacan
Seyedeh Ghazal Naeemi
Phd student of art research at Tehran University
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Farindokht Zahedi
Associate Professor of Performing Arts Department, University of Tehran
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Hasan Bolkhari Qahi
Professor of the Higher Art Studies Department of Tehran University
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Summary
The interdisciplinary study always provides the way for a better understanding of the universe of the text. Psychoanalytical reading of literary-artistic works is one of The interdisciplinary study methods. Jacques Lacan is one of the theorists of this matter.having Freud's concepts in mind, he had provided new definitions of psychological issues. "Cinderella", written by Jalal Tehrani, is one of the contemporary Iranian plays that has interesting features from a psychoanalytical point of view. This research has been written in a descriptive-analytical form based on the principles of Lacanian criticism. In this article, the triple properties of psychic functions, name of the father, subjectivity, language, fantasy, etc. have been applied to the play "Cinderella". According to the outcoming result of the research, the general figure can be extended to the first father and the bear is his totem.
The people of the play have lost their subjectivity under the pressure of the big other(military-administrative relations) and Cinderella is the only one who gets the possibility to confront the symbolic (rumor). The imaginary can be seen in the cognate roles of Sergeant/general and Captain/Investigator. The Borromean knot is formed in the impossibility of distinguishing between reality and fantasy.
introduction
Jacques Lacan(1) is a French psychoanalyst. He created his own concepts by rereading Freud’s(2) psychanalysis and by referring himself to Saussure(3) linguistics . His opinions are used not only in clinical psychotherapy but also in the field of literary criticism.
"Cinderella" written by Jalal Tehrani is one of the contemporary Iranian drama texts that has been written in the 90s. In this work, gossip plays a key role in the occurrence of incidents. That it is becomes impossible to distinguish fact from rumor. Relationships and behavior of people are defined in the framework of administrative-military laws and people become empty of subjectivity. In general, the text has the capability for a psychoanalytic reading. Therefore, in this research, Lacanian terms have been applied to the play "Cinderella".
Research background
there are many researches In the field of psychoanalytical criticism of literary-artistic works of the world, and theses and articles have been written about the Lacanian reading of Iranian plays. Some examples are as follows : "Examining the plays of the 1380s based on the concepts and ideas of Jacques Lacan" written by Hamzeh Ebrahimzadeh, "Lacanian criticism of the father of Strindberg and the melody “ Shahr Barani Radi (rainy city of radi melody)" written by Shahin Dehghan, "Examination of gender and sexual structure in the dramatic literature of the eighties based on the approach of Jacques Lacan" Written by Sepideh Qaemi and "Examination of Jacques Lacan's ideas in the play “ az posht shisheha “ (from behind the glass) by Akbar Radi" written by Ataallah Kopal and Akram Alinia.
No research has been found about the psychoanalytical criticism of the play "Cinderella". However, in Nasim Beniasadi's thesis under the title "Semiotics of Places in Contemporary Iranian Theater with Emphasis on the Performances of Jalal Tehrani" the performance of the play has been examined from a semiotic perspective. Also, an article extracted from the mentioned thesis has been written with the cooperation of the thesis supervisor (Farzan Sojodi). There are also some articles and interviews about the text and the performance of the work. Ramtin Shahbazi wrote a text under the title "Speech Semantics in Cinderella a Theater play by Jalal Tehrani" and Hossein Mehkam has written a short text entitled "Jalal’s Cinderella ". Among the interviews published about the work, we can also mention Jalal Tehrani's conversation with Shargh, Etemad and Bahar newspaper.
Research Methods
This research has been written in a descriptive-analytical way, based on the theories of Jacques Lacan, using psychoanalytic criticism. In the writing of the article, library and internet sources were used, and the performance of "Cinderella" which was performed in September 2013 in the main hall of the city theater has also been referred to.
Theoretical framework
Psychoanalytic criticism is a form of literary criticism that applies some psychoanalytical methods to literary texts and obtains interpretations from these texts (payandeh, 2001: 26). Jacques Lacan, as one of the theorists of this method, for explaining his views uses a professional vocabulary. In order to study the text from Lacan's point of view, it is necessary to introduce these words.
Psychic functions
Lacan divides the psychic functions into three properties: imaginary, symbolic and real. He describes the connection of these three as a Borromean knot: a chain consisting of three rings in a way that if we separate one of the rings from it, the other two rings will lose their stability and their form (2011, 1391: 68).
The imaginary(4)
It is created in one’s imaginary space (5). This field is related to mirror stage. The child discovers his own image in the mirror stage. The child's image in the mirror is an image that gives a harmonious and general shape of his body for the first time. Obtaining such a general and harmonious image installs a sense of control in the child. But this feeling conflicts with reality. Because the whole existence of a child at this age is summed up in reliance and dependence on others (ibid.: 151-152). In this stage, the other (mirror) plays an important role in the formation of the individual's subjectivity. A mirror stage is basically associated with duality. Duality between the individual and the other.
The Symbolic (7)
This field is related to language and refers to customs, institutions, laws, manners, norms, formalities, rituals, rules, traditions and cultures of societies and such things(Johnston, 2016: 31). The symbolic is the field of education. And its definition is tied to the name of the father (8). The name of the father gives historical determination to the family, tribe, or society (Moleli, 2011: 106).
The Real (9)
The real is in confrontation with of the symbolic and refuses to obey the rules and language. The real exists in two states primary and secondary. The primary reality is gradually symbolized in the course of the child's life and gradually decreases, but it never dissapears, and a remnant of it always remains as a secondary reality (Fink, 2017: 76-77). Lacan links the reality with trauma(10). He believes that trauma is never spoken or symbolized, so it exists in reality (Homer, 1398: 116).
Desire (11)
In the framework of Lacanian perception, there is no such thing as desire without language. Because one’s desire is defined based on the desire of the other(Fink, 2017: 39). desire does in the meaning of the word does not have a subject precisely, it is never fulfilled and only alters from one symbol to another. It is only through fantasy that the subject in The position of the actor of desire is established as a supplicant being, It is through imagination that we learn how to desire (Žižek, 2018: 22).
The fantasy (12)
Fantasy is an imaginary scene in which the subject is the hero (Homer, 2018: 119). Fantasy is the field that stimulates desire and promises to fill deprivation in the big other. deprivation is the result of disruption and disablement of the symbolic language and rules. Fantasy also acts as a defense against disability. Fantasy is what hides the deprivation of the other which causes incapability (Stavarakakis, 2018: 92).
Object of desire (13)
When a person realizes someone is missing, or the child realizes that the mother's desire is towards another (the father), the object of desire appears and tries to compensate for this deprivation. But it fails and only creates the illusion of unity. The object of desire can only fill the void for a short time. As soon as one’s desire is fulfilled, the next desire appears and the void appears again. The role of the object of desire is very important. The object appears as a remnant of the legendary and lost subject of jouissance(14) (Lacan, 2006: 165).
The big other (15)
The other is the representation of the symbolic or in other words the society itself. A society that is mentioned as a symbolic order, makes us enter the order and system of signification and obey all the rules and be able to express ourselves through language (Booker, 1996: 37).
Psychoanalytic reading
Fantasy
The name of the play "Cinderella" refers to one of the famous children's stories, which is referred to by different names in different cultures(16). The most famous version is attributed to Grimm brothers and what has remained in the memory of most of the audiences today is the animation produced in 1950 by the Disney(18). In this story, a lowering image of women is presented and marrying a prince/someone rich is the factor of happiness(19).
In Tehrani’s play, we see the manifestation of the fantasy "Cinderella" from the point of view of the male character of the story. Cindy leaves the general at 12:00 pm. she walks away in front of the general and never comes back. The trauma resulting from this emotional breakdown leads to the creation of "Cinderella". The general gives this name to her. The general, who cannot bear cindy's role as a subject, separates her from reality and brings her into fantasy.
The Captain: The first time the general said; ...Cinderella...he meant you (Tehrani, 2011: 84).
Through The general’s rumor, Cindy becomes an imaginary object (Cinderella). If what the subjects desire more than anything else in their fantasies is given to them in reality, they will run away from it despite all their desire
( Freud,1963:101). Therefore, after the relationship with Cinderella (not Cindy), betrayal happens. Cindy is also aware of this: you want me for betrayal (Tehrani, 2011: 60).
The imaginary
In the performance of the show directed by Tehrani, there is a part higher than the stage on the left side, where the character of the narrator wearing a dress and an apron of a maid (similar to Disney's Cinderella before marrying the prince) is standing on it and is busy sweeping just like her. This area can be referred to the imaginary area. Because the story of "Cinderella" is imaginary and Cinderella by facing the other mirror(The prince) is able to find her identity. Sinervo believes unwillingness to go beyond fantasy, a synoptic look into reality and evidences of absence of sexual relations are present in this story (Sinervo, 2011: 2). The presence of Cinderella on a higher level points to the imaginary role of Cinderella as an object of desire in the minds of the men of the story.
The reflection of the imaginary can also be found in the mirrorlike relationships of the characters of the text. In the description of this scene of the play, it is written as follows:
Captain: There is a man who even plays the investigator. Sergeant: There is a man who plays the general with a pair of thick glasses (Tehrani, 2011: 7).
The author has pointed out the common characteristics of those roles by emphasizing on the fact that two roles are played by one actor. If we can reflect on the common goals and behaviors of these characters in the text. So, this relationship is extensible to the doppelganger role and is related to the mirror stage. The colonel repeatedly calls the investigator the captain.
Investigator: I am an investigator.
Colonel: It doesn't seem like that. You look more like a captain (ibid: 72).
The investigator also points out this similarity in front of Cinderella: I am also a captain. The captain and I were two different but same men from the very beginning (Ibid.: 59). And Cinderella also calls him captain in the end: You are completely right captain, you are the captain. Only There is no one to take the exam from you(ibid.: 61).
Among the similarities between these two, we can mention their performance in the administrative structure. Both characters theorize, try to change the situation and have a remonstrant view on administrative affaires. As mentioned in the two dialogues below.
The general: He made the main confession when he became an administrator.
Colonel: It was not a confession, it was a protest (ibid.: 32).
Interrogator: If anyone other than you hears my confession, it will be my turn to get executed after the captain (ibid.: 61).
On the other hand, the captain and the investigator are both strangers in the office and are not related to the others. However, Colonel/Cinderella and /Sergeant/Kamarngeh are related.
Similarities can also be noticed between the characters of the Sergeant and the general. Both characters are close relatives of kamrangeh, the sergeant is her husband and the general is her brother. Both of them feel uncomfortable about the rumors related to the family. They Both have lost their objects of desire. Cinderella has left the general and has gotten into a relationship with the captain and kamrangeh has a relationship with the general. Both the general and the sergeant have a role in reporting against the captain. The general has attached the photo of Cinderella and her slippers to the file and has persecuted the captain and cindrella. The sergeant also saw them in the cafe and testified against the captain.
The name of the father
In "Totem and Taboo" it is stated that all primitive human beings are similar in that there is only one male in each group. When the male child grows up, he starts a fight with others to gain dominance, and the strongest person, after killing or driving away all the rivals, becomes the leader of the group. One day, the castaway brothers get together and kill the father and eat him, thus destroy the paternal community. They hated the father, who strongly opposed to their seek for power and sexual desires (Freud, 2017: 122-138).
According narration above, the father is a metaphor for a domineering person who suppresses the desire of children. Further, Freud explains that women who were denied from having children are there for the father’s pleasure. In the play, the character of the general, as someone who is in a position of power and has the highest military position, is related to all the women in the play (Cinderella, kamrangeh, the prostitute). He matches the character of the first father who is killed by his children (subordinates). On the other hand, after the general's death, his bear attacks women and takes victims. The bear is a symbol of power, lust and revenge, which keeps the position of the general after his death. The bear matches the totem. As Freud explains that the father- The angry god appears in the form of an animal and castrates the children (ibid: 146). In "Cinderella", the general’s bear takes revenge by harming the men’s objects of desire. Sacrifice is one of the rituals performed for the totems. Sacrificing women is a sign of incapability of men and prevention of sexual relations. Matau's ancestral tribalism is mentioned several times in the text. The reference to a tribal set also makes it possible to adapt the theory of totem and taboo to the text.
From Lacan's point of view, the father on top of playing the role of the executer of the symbolic law, puts no limit to the deviation and crookedness of our pre-Oedipal forms and does not make it subordinate to the law of reproduction, it is itself the most fundamental form of deviation(21) (Žižek, 2018: 58). The bear same as the father has a double function: on one hand, he loves Cinderella, and on the other hand, he is an aggressor.
Cindy: That bear is my only lover. Of course, beside my father (Tehrani, 2011: 58).(22)
The putting together of "Bear" and "Dad" is an emphasis on the relation between the bear and the father totem. In the performance of the play directed by the playwright, there is a spiral staircase on the right side of the stage, which is placed at a high height. The colonel is at the top of the stairs at the beginning of the show. He gradually descends and finally Cinderella takes his place. The colonel, who at first has a powerful and charismatic personality, gradually begins to experience body tremors. The colonel is Cindy's father and plays the symbolic role of a failed father. A father whose daughter has turned her back on his rules and has left him.
In the context of the relationship between the colonel and Cinderella, we can also consider the role of the father as who causes the castration. The colonel basically does not have a good relationship with the men in Cinderella's life. The dialogues below confirm this statement.
Cindy: I was sure that my father would not like an idiot like the captain (Ibid.:59).
Colonel: If it was me, if I was as sure as the captain that I would later take responsibility for the murder; I would kill that bonehead general with my own hands. That bastard (gets angry and raises his voice) That shameless, that useless bastard has destroyed the reputation of this office. That animal complicated the situation for this office for eleven years.
(Ibid.: 34).
The language
The big other controls the symbolic by language and law, and when facing the symbolic, the time and the place situation are clearly defined. But in Jalal Tehrani's plays, we never face a specific climate. In the plays, the desired location is created in the heart of the story, and the reader-audience never knows where this place is geographically located (Beniyasdi and Sejoudi, 2014: 27). In "Cinderella" as well instead of directly referring to the place, the space describes the geography, a macho, military and violent place that is located in a poor, non-European country.
Its currency is not euro, and five euros is too much in the current money of the country.
Language as one of the symbols of the symbolic world is very important in the play. The text of "Cinderella" is dialogue-oriented and the audience understands the events of the play through speech. On the other hand, people are not in a healthy verbal communication with each other, and just as the language is accompanied by incapability from the beginning, it is also a carrier of incapability in the text. As Ramtin Shahbazi says: the characters are caught in the trap of language and the simple relationships between them reach a dead end (Shahbazi, 2012). Language also plays an important role in introducing the situation of the show.
Politic emblems, sexual references, the emphasis on the fact that certain questions are forbidden in the office space .. are among the uses of language to express the situation of the play.
The language of the play is violent. If Hossein Mehkam believes that Jalal Tehrani plays with the symbols of the Cinderella fabricated in the minds of his audience, as a matter with a position, in the terms of romance, in a violent way (Mehkam, 1392: 12). Humiliation and forbiddingness of asking questions, bringing up murder, execution, rape and…… are some of the signs of violence in the text. The language in the work also has absurd effects. In many cases, the dialogues seem irrelevant and silly, and we see some playing with the words that mock the symbolic world. Pay attention to the following example about it:
The captain: Did you shoot in your tarot with the gun you took from me ?
Cindy: Yes, everything is smoky.
Captain: When you read fortunes, you wore glasses. Smoky glasses.
Cindy: No, it's not glasses smoke. A bit of smoke Like gun smoke.
Captain: Like the smoke of this pipe.
Cindy: Yes. Same thing.
Captain: There was a pipe in your hand (Tehran, 1391: 18).
Another playing with the words example in the text is the story of the captain's betrayal. The captain tries to hide things by mistranslating a French sentence. Tehrani has written the dialogues of this scene in a way as to surprise the audience. After each convincing answer, he reveals a new truth that questions the previous certainty. Tehrani repeatedly reminds us that everything can be a game of the symbolic world and the big other, or in other words, a rumor.
Colonel: don’t act opposed captain, you are an idiot. You who proudly makes up the rumor that the truth is one thing – that is the absolute truth - never understood that with only this ridiculous rumor, you are setting up a soon to come disaster (ibid.: 75).
Borromean knot
In the play, it is said that the captain analyzes the entire body of Foucault’s ideas with one word. Mentioning Foucault next to the story of playing with words in the bathroom, the suggestion of using the pipe as one of the symbols of the rumor in the explanation of the scene, the interesting dialogue that was said earlier and was referring to the association of the pipe, smoke and guns, next to the uncertainty of the universe of the text, can be a reference to Foucault's article entitled "This is not a pipe"(24), which was written about the painting "The Betrayal of the Image"(25). Also in the dialogue below this subject has been specifically mentioned :
Colonel: The picture of Cinderella is still in his drawer. You gave her that name. it was you who said "Cinderella". Don't look at me like that.
captain: I said "Cinderella" because everyone says it. This photo has nothing to do with the general's wife. This is the photo of the real Cinderella.
Colonel: The real Cinderella is also one of those things (ibid.: 31).
In the dialogue above, we see the representation of Lacan's Borromean knot. This is also mentioned in other parts. For example, the colonel talks about virtual and real friends and enemies. which can be understood as a real matter and a symbolic matter. The border between rumor and truth is so blurred in the work that it is impossible to distinguish them from each other. If Cindy is faced with the occurrence of captain’s betrayal, she doubts if it is true, and the audience can never be sure which is the truth. During the play several times the sound of sea waves is played and the body movements of the actors are as if they are standing on a floating surface - for example, a ship. Also, in some scenes, the sound of a car alarm is heard, and in others, the sound of a carriage passing by is heard, which are contradictory. The use of these enforcement measures emphasizes the chaos and instability of the scene events.
Thing/object
in the description of the scene it is written: the scene is covered with a thing; one thing; For example, pipe, hay, mustache, lipstick, small plates, chewing Gum. Whatever it is, it should be small in volume and repeated frequently, just like a rumor (Tehrani, 2011: 9).
These objects are reminders of Freudian thing/object (26) or Lacanian object a.
A thing is a non-thing and it becomes a thing by the desire of the subject. It is the desire to fill the void or hole in the heart of subjectivity and the symbolic matter that creates the thing, in opposite, it is the deprivation of the original thing that creates the desire to find it (Homer, 1398: 119). The use of rumor in the text is exactly like this. People turn to it to fill their deprivations, it does not fill what they deprive and it is exactly the non-thing.
Tehrani also accentuates this matter: if possible the repetition of nothingness.
vision
vision has two sides: power and incapability. perception means power in a certain aspect, because it enables us to dominate the situation and occupy the position of a master or a leader. It also has a side of incapacity , and as beholders of vision, we are forced to playing the role of passive witnesses of the enemy’s action. vision is the complete and perfect embodiment of a incapable master (Žižek, 1398: 150). This concept can be clearly examined in the play. Captain’s vision is mentioned many times. He is unable to see more than three meters and is incapable. But At the same time, he observes everyone. He, who is defined as a dominator, feels being incapable again after Cindy leaves. The text states that Cinderella takes captain's camera with her. This point is another emphasis on the deprivation and re-experience of incapability of the captain. The colonel holds grudge against women for this reason. The meaning of the incapable master in this dialogue is worth pondering: you don't wear glasses to see better, you wear glasses to not see at all (Tehran, 2011: 25).
Subjectivity
For the first time, the French philosopher René Descartes(27) specifically spoke about the subject: the fact that I think, therefore I am, is so definite and certain that the strongest supposed doubts cannot disturb it. I put this verdict
Without any doubt as the first principle (Descartes, 1962:101). In his theories, Lacan has challenged Descartes' view and by referring to another role in the formation of individual subjectivity, he questioned the foundation of Descartes' thinking. From his point of view, the other has manifested in the position of law and language and has a great impact on people’s life.
Lack of reasoning and thinking is a sign of lack of subjectivity. This is mentioned many times in the play. As it is stated in the description of the scene: the reason for the silences, pauses and repetitions is the play is having problem understanding . In this text no one thinks(Tehran, 1391: 10). Or the colonel says: For years, no one has thought in this office (ibid.: 29). And it is stated that there is no difference between the captain and a broom. Basically, in the society within the text, the subjective role of people is not important and everyone should behave towards administrative-military goals.
Cindy lives in a macho society, under the gaze of men. Except her, the other roles in the play are played by men. Men who are defined only by their military rank. They do not have subjectivity and do not even have a name for themselves. Although a name is decided by another’s choice (family), it forms a part of the personal identity of each person.
Cindy is the only one with a name. even though her name is only written in the description of the scene of the play and before the dialogues to clarify the role. Others try to ignore her subjective role and no one calls her by her name. In the macho linguistic structure of the society, people have changed her name and call her Cinderella. Lacan believes that a woman in a man’s fantasy is reduced to the object A, and as far as a macho culture perception goes, she probably will not be reduced to anything more than a collection of male fantasy objects dressed in cultural rules (Fink, 2017: 235). Cinderella is also the cindy reduced to the object of desire of men in the play.
In the description of the play it is written that: cindy is a woman, this emphasis on the gender exists in dialogues and the attitude of the characters of the play as well, They see women as femme fatale. As captain says: A woman is not innocent (ibid: 26). Another part in the description of the scene, it is stated: She is never a prostitute (ibid: 10). This statement emphasizes Cindy's unwillingness to play the role of an object. She has been labeled based on rumors and through Language as a tool of the symbolic world and under the other dominance. The big other (administrative-military laws) plays such an important role in the progress of events that the report of taking fingerprints is also according to His will and it is written in a way that has nothing to do with taking fingerprints.
Colonel: (reading the taking finger prints sheet) captain was interested in the general's wife. In all these eleven years, his interest in that woman had not diminished. Captain daydreamed even more recently. He acted like people who think : 30(29.
In the performance of the show, the actors perform their dialogues without emotion. This is also an emphasis on the lack of subjectivity of the show's characters. They are not only devoid of the power of reasoning, but also devoid of emotion.
Among the other signs of the great other role (administrative-military relations) in the work, we can mention captains military rank, which he obtained without the experience needed: You are younger than all of us, your rank is higher than all of us. I was a colonel when you came. I am still a Colonel (ibid: 40).
At the end of the play, Cindy is the one who regains her subjectivity. With the symbolic death of Cinderella - as she says: Now I know that I will die with your execution and I feel good about it (ibid.: 68) – it finally becomes realized .as in the last scene captain emphasizes on the awareness of Cinderella and at the end he connects her to the real matter which is beyond the symbolic world: you are something else now. You are in another field! A place that has no limit (ibid: 86).
Conclusion
In the play "Cinderella", written by Jalal Tehrani, the big other dominates the characters in the form of military-administrative relations. To the extent that people don't even have a specific name and are identified according to their military rank. The ambiance of the play is macho and women are defined as objects of desire. The character of the general can be extended to the first father. As he is in a relationship with all the women in the play (Cindy, kamrangeh and Prostitute) and because of this he is killed. The bear is a metaphor for the totem of the father who returns to take revenge. Rumor in the play is the driving element of the story. Rumor is one of the functions of language and can be extended to the symbolic matter that is defined in the linguistic structure. Cinderella was also born based on a rumor. She is the manifestation of the captain’s fantasy. The characters of Captain/Investigator and Sergeant/captain have mirror stage characteristics. Because in the explanation of the scene, them being the same has been mentioned and they have common personality traits. At the end of the work, Cindy is the person who stands up in front of the big other.
Footnote
1 Jacques Lacan
2 Sigmund Freud
3 Ferdinand de Saussure 4 The Imaginary
5 Ego
6 Mirror Stage
7 The Symbolic
8 Name of the Father In the process of becoming symbolic, the child realizes the loss of himself and the loss of the other (the mother). And understands that the mother's desire is directed towards the other (the father). The name of the father ,in the process of symbolic incapability, when stands as an obstacle on the way to the primary desire of the child (the mother), brings him into the symbolic world. By the father name, Lacan does not mean the masculine gender or the real father
9 The Real
10 Trauma
11 Desire
12 Fantasy
13 Object of desire (object pettit a)
14 Jouissance it is also recognized to implie implicit meanings of sex, and it is considered it to be similar to joy bringing religion-mystical experiences . Jouissance, like Death Drive, is beyond the principle of pleasure (Johnston, 2016: 62).
15 The Other
16 The story of "Mah Pishuni" in Iranian culture has many similarities with the story of "Cinderella".
17 Jacob Ludwig Karl Grimm and Wilhelm Carl Grimm 18 The Walt Disney Company
19 Referring to Cinderella complex In Disney's narrative, at 12 o'clock,the effects of the magic of the fairy disappears and Cinderella, with an aristocratic appearance, becomes the same poor girl again. For this reason, she leaves the prince's party. 12 o'clock is mentioned several times in a Tehrani’s play. Cinderella states that someone will try to kill her at 12 o'clock, the general will be killed at 12 o'clock and the captain will be executed at 12 o'clock.
21 He expresses this characteristic of the father under the title Version-pere.
22 referring to Electra complex
23 Michel Foucault
24 This is not a pipe
25 The Treachery of Images 26 Das/Ding
27 Rene Descartes
22 referring to Elektra's marriage
28 femme fatale means deadly women and is a metaphor for a woman who brings mischief. A woman with beauty, seduction, healtressness and power-seeking desires(Žižek, 2018: 40).
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