‘George Eliot’s French’: transcending the monocultural self in Daniel Deronda

Focusing on an analysis of French lexical items in George Eliot’s Daniel Deronda, this article examines the nature of composite textuality. More precisely, it proposes a way of describing the use of an intercultural idiom in Daniel Deronda as a way of shedding light on the nature of linguistic borrowing in the context of dialogical identity. This will provide the basis for the claim that the characters’ use of mixed utterances generates inferences which make the transcending of the monocultural self possible and create alternatives of being

Da cadeia significante à constelação de letras: os signos do gozo From the significant chain to the constellation of letters: the signs of jouissance

O funcionamento constelar, que começa com Mallarmé (1897) e vigora principalmente na primeira metade do século XX nas letras e nas artes, declina no início dos anos 1970, momento no qual entra em consideração no campo da psicanálise através do texto "Lituraterra" (1971), de Jacques Lacan. Essa entrada, a partir da qual a letra torna-se signo de gozo, é possibilitada pelo declínio do estruturalismo e da linearidade da linguística saussuriana e, de algum modo, abre as trilhas para uma escrita borromeana.<br>The constellation functioning, that starts with Mallarmé (1897) and invigorates mainly in the first half of the twentieth century in the field of Letters and Arts, declines at the beginning of the seventies, moment in which it enters into consideration in the field of Psychoanalysis in the text "Lituraterra" (1971). This entrance, from which the letter becomes a sign of jouissance, is made possible by the decline of structuralism and of the linearity of the saussurian linguistics and, in some way, it opens the trails to the borromean writing