Natàlia's Journey from the Imaginary to the Symbolic in Mercè Rodoreda's La plaza del Diamante

In Mercé Rodoreda's La plaza del Diamante (La plaça del Diamant), the main character Natàlia rejects the Symbolic Order, represented by the nom du père (“Name-of-the-Father”), the imposition of the Law by the father. This article analyzes Natàlia's journey from the Symbolic to the Imaginary in Lacanian terms. In the novel, the Symbolic manifests itself on the plain of the forces hostile toward the protagonist, signifying suffering and displacement, the war, the losses, hunger, the doves, and ultimately, her first husband, Quimet. Natàlia rejects the Symbolic Order represented by the father by denying him access to her life and by rejecting his presence. In Lacan's analyses, the father represents the culture and the language. Thus, by imposing the nom du père, the father imposes the Law and becomes the one “that makes possible the Symbolic Order and the separation from the state of nonconsciousness of the Imaginary” (Carbonell 23). Natàlia's moments of disorientation and lack of self-identity are triggered when she is opposed by the Symbolic Order, when, according to Lacan, the Name-of-the-Father is foreclosed. Natàlia, initially unable to come to terms with the male-dominated hostile Symbolic Order, through numerous transformations in her life achieves to break out of her Imaginary existence and become incorporated into the Symbolic world.