It is often said that Shakespeare's works contain many contradictions and I cite as an example Witches' words in Macbeth; Fair is foul and foul is fair. Many scholars has discussed what this phrase means for a long time, and this question doesn't reach one answer but it allows us to interpret in some ways, which usually happens in Shakespeare's works. Sonnets has also many contradictions. In this paper I pick up Sonnets 127 and 130 to see the contradictions.
Sonnets 127 and 130 belong to a series of sonnets the poet composes for a lady and she is known as Dark Lady. Her complexion being dark and her hair being black, Dark Lady stands far from the beauty of those days, whose hair is blonde and complexion is fair. Despite of her being opposite from general beauty or because of her being so, the poet praises the lady in his sonnets. The lady is regarded as foul not fair but she is transferred to fair by means of the poet's skills. I try to explain how the poet succeeds the transference of the lady, taking up three points; logic, ambiguity, and psychoanalysis.
The poet enumerates the lady's faulty points by making contrast to the conventional poetic skill, that is hyperbole. The more he writes the lady' s lack of the conventional attributes, the more the lady seems beautiful. This is the poet's logic. As for ambiguity, I pay attention to the word “damasked roses” in Sonnet 130. Damasked rose is often used as a hyperbole which expresses females' cheeks, but ‘damasked roses’ can make readers imagine females' cheeks with cosmetics. Then when the poet says the lady' s cheeks are nothing like ‘damasked roses, ’ he gives evidence of the lady's being natural without cosmetics while the other ladies insult Nature using cosmetics, and again the lady comes from foul to fair. To examine the sonnets psychoanalytically, I refer to and quote from Freud's ‘Repression’ and ‘Negation.’ Sonnet 130 is a kind of negation of the lady' s beauty though the couplet says the lady is beautiful. Behind the negation there must be the poet's real love. I think sonnet 130 contains the poet' s double negation. One is his performance as a poetic skill and the other is the poet's real negation, from which we can inspect the mechanism of his unconsciousness. He loves the lady but this love is accompanied with discomfort, because nobody can sympathize with his love to her. In order to avoid discomfort, the poet pushes his love from consciousness to unconsciousness. In this process the negation appears in front of us as a kind of the repression. I examining sonnets 127 and 130 psychoanalytically, some hints show up which lead us to understand the existence of the two lovers, the lady and the youth at the same time in the latter part of Sonnets.

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In his essay, 'The theme of the three caskets', Sigmund Freud says King Lear could not recognize Cordelia as the Death - goddess, which brought about his tragedy. I, however, suppose King Lear saw the shadow of a dead woman on COrdelia's face both in the first scene and in the last one. This made him fear greatly and banish her. This illusion comes out of what J. Lacan calls 'le reel', I presume. In his essay, 'Introduction and reply to Jean Hyppolite's presentation of Freud's Verneinung', J. Lacan cites the wolfman's hallucination explained in Freud's essay, 'From the history of an infantile neurosis', as an evidence of this. But in Z. Ethique de la psychoanalyse, Seminar VII', he insists that 'Das Ding' which one meets in one's early infantile periods comes as an illusion out of le reel'. The Illusion King Lear saw on Cordelia's face was the latter one, I imagine.

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An analysis based upon Lacanian theories enables us to gain a deeper insight into the meaning of the climax and the elaborate organization of "Odour of Chrysanthemums. "Confronted with the death of her husband, Elizabeth recognizes the truth about human existenceman exists in the realms of the Imaginary, the Symbolic and the Real; and yet, the Real is utterly impossible to grasp. She goes through "the disappearance of the subject" and the rebirth into the realm of the Symbolic where man's existence becomes meaningful. The notion of absence implied at the outset slowly but steadily exposes its close connection with death, which works upon the reader through the rhythm of the fort-da. While encouraging the reader to share Elizabeth's point of view; the text, however, gradually manifests "the uncertainty of the subject" in Elizabeth. In fact, the text is carefully organized to make the reader share Elizabeth's knowledge and experience of death.

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本論文では自閉症児の遊戯療法における象徴化過程を検討した。セラピストがクライエントを母子分離させることは, クライエントに否定の形式を与える。ここにおいてクライエントの言語への参入が生じ, 同時に主体性が生成した。その後クライエントは自らの象徴能力を分節化させていく。そこでは客観的視点の獲得, 在不在, 法則性に関する遊びが展開した。またセラピストがクライエントの鏡像として機能することで身体像獲得の作業が行われた。セラピストはクライエントにとって象徴的取り入れの対象ともなっていた。また自閉症児の遊戯療法においては, 言葉が疎外されることなく自らの身体像を参照点として自らの言葉を発することが重要であり, それは《他者》であるセラピストとの共同作業によってなされることが示唆された。

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　The discussions about the "common knowledge" which criticize the code model haven't ever explained with the real process of the communication. So I want to explain it by examining the game theory's approach which tries to explain the connection between the micro and macro phase and elaborating this approach by the Lacanian analytical logic.
　Lacan presents that the real communication depends on the emergent knowledges which others give. This idea presupposes that the subject is ambiguous with his knowledges and that he doesn't know himself (his unconsciousness). So he should depend on the other and accept the emergent knowledges. Lacan points out that this process is governed by "the logic of precipitousness", which is discovered by the treatments of the neurotics. The neurotics can't accept the ambiguousness of their knowledges and they adhere to the determinable. For example, ordinary man is convinced that he loves somebody in the ambiguousness, but the neurotics can't do it and so they can't love anybody.
　This phenomenon also makes clear the universal condition of the knowledge. The knowledges are always based on this process through which we accept emergent knowledges in the ambiguousness. The axiom about the "common knowledge" by the game theory has the possibility that describes this process mathematically and the connection with the micro and macro phase, though in fact at the actual level of the mathematics it is difficult.

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The purpose of this paper is to discuss the theoretical problem and potentiality of psychoanalytically based audience theory. The impasse of "screen theory" regarding the spectator of cinema is that the subject is only a function of ideology. This difficulty is equivalent to that of the Arthusserian notion of the ideologically constituted subject. To break through the impasse, the Lacanian notion of subject divided in language is useful. After reviewing Stephen Heath and Slavoj Zizek whose theories depend on the Lacanian subject, it is stressed that the paradoxical nature of subject should be taken into account for psychoanalytically based audience theory.

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本稿は, 人間の心理的なものの理論の内で, ジャック・ラカンの精神分析学理論をどのように位置づけるべきかを考察したものである.そのために, 言説に関するラカンの理論を, ニクラス・ルーマンのオートポイエーシス的システム理論の立場から検討する.ラカン派の立場は, 人間がことばを持っていることによって, 精神的に動物とまったく異なる働きをすることを前提としている.本稿ではそれに対して, 人間の精神が動物と共通する面をも持っていることを重視し, 〈語る主体〉と〈動物的存在〉の二重性を仮定すべきことを, そのような二重性を理論的に扱うことの難しさとともに指摘した.それからルーマンのシステム理論と比較することによって, ラカンにおける「構造」の概念が, システムの内在的な関係ではなく環境との関係に指向していること, 及びシステムが環境の刺激を利用するさいに「脱トートロジー化」の機構によっていること, という2点でルーマンのシステム理論と共通していることを明らかにした.またその結果, 〈語る主体〉と〈動物的存在〉の関係が構造的カップリングの概念によって適切に理論化されうるという可能性を示した.

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Although Communication Education has traditionally used either skill based approaches or cognition based ones, these approaches deal only with the conscious aspects of communication, and, therefore, seem to lack proper methodological considerations to manage the unconscious aspects of human interactions. Lacan developed his theories predicated on his clinical psychiatric practices, which serves to account for the unconscious dynamics of communication. In this paper, the author tries to synthesize Lacan's theories for the methodology of Communication Education and also present one particular example of classroom application oriented towards such synthesis. Discussions are made to indicate the importance and the need to include the unconscious aspects of human interactions in Communication Education for holistic pedagogical approaches.

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