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[...] he seized my pen from the desk, and placed it between my limp fingers: Mamma, mamma, don't cry; write, mamma, write . . . . To understand how this works, we will need to take a detour through two themes that are central to Una donna: the question of sacrifice, and in particular whether it is possible to conceive of the mother apart from an ideology and economy of sacrifice, on the one hand, and, on the other, the question of substitution, and in particular whether a substitute for the mother can be found, and how maternal substitution might be related to the system of substitution that is language.\n Rivière analyzes this compulsive behavior as an unconscious attempt to ward off the anxiety which would ensue on account of the reprisals she anticipated from the father-figures after her performance (37).