Ah… well, I wanted to know if my understanding of basic Lacan is vaguely approaching useful. My Lacanian inadequacies and your ignorance of the show probably makes it an impossible task. But, for the sake of proving Serpent right about me…
Well… Ok, there’s this character Angel. He’s a vampire. I’m thinking a vampire is a psychotic in the Lacanian sense. Angel was sired by a single woman who then became his consort. So he literally lacked the paternal function, and had no compunction against becoming object a to the mOther’s jouissance (and literally did so). So lacking the paternal function and thus castration, he is not introduced normally/neurotically into the Symbolic. In general, as a vampire he’s outside society’s demands (reiterating being outside the Symbolic). Specifically, the vampiric predatory act gives him jouissance (literally) through an Other (acting as object a for him); in the vampiric fiction the blood/life he drains is the very essence of the victim, thus creating an idea of direct interaction (rather than the signification of the symbolic order. so thus true jouissance). So if we take the vampire to be the psychotic, he is introduced not into the normal/neurotic Symbolic via the paternal function, but instead his (quasi?) symbolic is structured around the vampiric heredity (ie. the delusion for the psychotic). If this is the delusion of the psychosis, then the symptom of the psychosis is the vampiric violence acts (acting out; the real not made symbolic, so discharged).
Now, in the show fiction, this Angel character is cursed with a soul so that he would live eternally feeling guilt for his past atrocities as a vampire, with the conscription that he never experience an instant moment of true happiness (jouissance).
So… he is introduced into the normal/neurotic Symbolic: he is thrust into the demands of society; with the essential requirement that he not experience jouissance: the paternal function/castration. This splits him from consort with his vampiric mother, as well as making him unable to achieve jouissance through the vampiric predatory act (due to guilt, the constraints of the symbolic). So his symptom is cured through the paternal function, introducing him into the Symbolic.
If we consider the Name-of-the-Father/paternal metaphor… after the cure, the meaninglessness of life is repressed by the idea (in the fiction of the story) that he make amends for these past actions for which he feel guilt. Thus the guilt acting as paternal function also acts as paternal metaphor.
Now Angel (the ‘cured’ Angel… as a soul-less vampire, he went by the name Angelus) has a son Connor. The plot here would take longer to describe, but the interesting part is that Connor pursues Angel’s lover Cordelia (Connor never knew his literal mother). The main plot involves what plays out in Angel’s implied demand that Connor (a young adolescent) not be Cordelia’s lover (ie. Angel fulfilling the paternal function). The real clever part is that the intricacies of this demand revolve around Connor distinguishing the character’s of the vampire Angelus and the present Angel… as well Connor was taken from his parents and raised by another man to make the entire purpose of his life killing Angelus… thus, the problem of Name-of-the-Father for Connor (in the fiction) LITERALLY concerns distinguishing the Name of his father.