The Eye that is Not I (notes for abstract)

Remembered images all find themselves in reality,
Beckett wrote in his notebook while a trip to Hamburg .
In regards to trauma, what is the relationship of remembered images with the current reality - do they superimpose themselves into the fabric of our current surroundings ? to they "find themselves in reality", neatly arranged among the other perceived factors and forces?
remembered images of trauma flash like snapshots atop experience in the present. it is their uncanny ability to
activated by the primary processes of displacement and condensation

"Literary creation is that adventure of the body and signs that bears witness to the affect [..] as the mark of separation and the beginnings of the dimension of the symbol[...], placing me in that universe of artifice and symbol which I try to make correspond, as best I can, to my experience of reality", writes Kristeva.

literary creation as testimony, fiction as modality.

Elaborating on Kristeva's notions, can it be said that, in the construction of alternate authorities of authorship in narratives of trauma, the 'semiotic' and the 'symbolic' become the communicable marks of an affective past that cannot be assimilated?

trauma can be defined as a displacement of the relationship of affect and language.

Hanna Segal : separation (i.e. the experience of rupture) leads to language in infant development ---> the condition for the symbol is the lack, which it is to fill.

yet there is an alternate mode :
the symbol, the fiction, does not step in in lieu of the void (the rupture) : it evokes it, it is made of the fabric of the rupture itself, transforms it into a third agent.
fiction creates a world that is other to the lost world and a model for an alternate reality.

if the individual is separated form his/ her past through the traumatic experience, fiction / the symbol is that which is erected in order to access it again.
"this identification, [...] secures the subject's entry into the universe of signs and of creation"

"aesthetic - and, in particular, literary - creation [...] proposes a configuration of which the prosodic economy, the dramaturgy of characters and the implicit symbolism are an extremely faithful semiological representation of the subject's battle with symbolic breakdown."
->how can representation be effective as a realignment of the modalities of the Real, and how can the unspeakable be spoken through representation, find its way back into a form that can, if not be told, then affect?

destabilising the position of the "voice" of the author -
what is put in a position of precarity - and thereby, attacked - is the integrity of the authorial position. The experimenting ground is the persona of the author itself.
cf. performance art that experiments or puts in peril the performer itself.
contrast with clinical symptoms of schizophrenia: the splitting of the "I", the dispersion of the narrator.
cf. dispersion of the original traumatic event. compulsion to reenact: make a second incision.

"the poetic art that transposes the affect into an elliptical, lacunary prosody formed by condensation and allusion." p. 12