Una cosa a forma di O. Lacan e l'oggetto "Ofelia"

[Autom. eng. transl.] This work takes its cue from an underlying ethical question, relating to the substantial absence of women from public space, at least as far as the Western tradition is concerned. The weight of the sexist prejudice according to which the female subject would not be able to participate in the trial procedures, typical of democratic functioning, weighs historically as a sometimes insurmountable obstacle. More generally, the woman is always seen and treated as the object of masculine speeches and transactions. Emblematic, in this sense, is the literary figure of Ophelia, which is purposely reread through the psychoanalytic interpretation offered by Lacan in the 1960s, but poses a question around which the entire book revolves: if it is true, how Lacan managed to demonstrate that Ophelia is the object of Hamlet's desire, what about Ophelia as an autonomous subject, capable of speaking and speaking about herself? Even Lacan, in some ways, does not seem so determined in going beyond the denunciation of the patriarchal discursive pattern, symptomatically leaving the analysis of Ophelia's delirium in the shade, shortly before the famous suicide by drowning. Hence the idea of relying then on some feminist interpretations, to test the possibility, which Lacan seems to miss, of an Ophelia without Hamlet, finally capable of recounting a way of being and doing, singular and feminine, of which politics - and psychoanalysis - could finally benefit.