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The very fact that Sofka should appear for the first time in a photograph representing a group posing for the photographer makes her doubly spectral: the intimate link between photography and death has often been commented on by critics who have emphasized the mortiferous, siderating power of the photographic act, and the disincarnation, or reification, that ensues for the subject who is being photographed.
And in the 1949 version Oedipus is present without qualification; and the end of psychoanalysis is a rewriting of Narcissus's iste ego sum (I am that) into an ec-static "Thou art that." For Lacan, it is in this that "is revealed to [the patient] the cipher of his mortal destiny."(20) I will argue that it is Ovid's Narcissus who is an icon of mortiferous self-knowledge.)
(It is perhaps in the recognition of this mortiferous autoerotic model of self-knowledge that Rousseau made Narcisse the artist.)
Is there a radical counterfactual future anterior, where Echo, against her intention, a poor thing at best, will forever have exercised the negative transference ("fly from me" between question and order) that will have short-circuited the punishment of mortiferous self-knowledge?
It is this mode of utterance that is covered over in Ovid's report that Echo says fly from me [?]." In the rest of the narrative, through the representation of a stable-yet-unstable, same-yet-different non-originary voice that remains, an unintentional vehicle of a possible cure - the figured though separated accompaniment of a successful mortiferous self-knowledge that cannot advance - is glimpsed, a cure that is one possible case among many.
Green has an intuition of the part of mortiferous self-knowledge; the part he calls "epistemophilia .
The acknowledgement of the mortiferous quality of the self as writing is inscribed in Ovid's narrativization; and Narcissus longs for death.