Hélène Cixous

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another.

The Feminist Uncanny begins by charting the uncanniness of femininity in foundational psychoanalytic texts by Ernst Jentsch, Sigmund Freud, Jacques Lacan and Mladen Dolar, and contextually introduces a range of feminist responses and appropriations by Hélène Cixous, Julia Kristeva and Sarah Kofman, among others. The book also offers thematically organised interpretations of famous artworks and practices informed by feminism, including Judy Chicago's Dinner Party, Faith Ringgold's story quilts and Susan Hiller's 'paraconceptualism', as well as less well-known practice, such as the Women's Postal Art Even (Feministo) and the photomontages of Maud Sulter. Dead (lexicalised) metaphors, unhomely domesticity, identity and (dis)identification, and the tension between family stories and art's histories are examined in and from the perspective of different artistic and critical practices, illustrating different aspects of the feminist uncanny.

Through a 'partisan' yet comprehensive critical review of the fascinating concept of the uncanny, The Feminist Uncanny in Theory and Art Practice proposes a new concept, the feminist uncanny, which it upholds as one of the most enduring legacies of the Women's Liberation Movement in contemporary art theory and practice.

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BOOK LAUNCH -- ICA, 7pm, 16 September 2016: https://www.ica.org.uk/whats-on/book-launch-art-and-feminisms

Book review: Amy Tobin, 'Homesickness', Oxford Art J (2017) 40 (1): 199-203. DOI: https://doi.org/10.1093/oxartj/kcx013

Qu’est-ce qu’une lettre ? Pourquoi certains enfants « réussissent » à ne pas apprendre à lire ? Comment d’autres, devenus adultes, choisissent de devenir écrivain , de passer leur vie avec les lettres ? A la fois symbole pur mais aussi élément d’un abécédaire subjectif et fantasmatique, la lettre reste mue par la pensée animiste des premiers âges. Des enfants que l’on dit « dyslexisques », incapables de voir le mot derrière les lettres, disent cet effroi : « Tous les mots parlent d’une histoire » murmure l’un d’eux avec angoisse. L’auteur, qui a observé ces enfants à l’unité de psychopathologie de l’Enfant et de l’adolescent à l’hôpital Sainte-Anne, s’embarquent ici dans une aventure : celle de relier, grâce à un éclairage analytique, les non-lecteurs et les écrivains. Avec les premiers, elle nous fait comprendre à quelle position psychique il faut accéder, quels renoncements il faut accepter pour apprendre à lire ; avec les seconds (Blanchot, Proust, Sartre, Cixous, Sarraute…), elle parvient à proposer une nouvelle approche à la fois du plaisir de lire et du passage à l’acte d’écriture. Ce livre pourrait avoir comme sous-titre : De l’illettrisme à la littérature. Il raconte comment, à leur insu, les non-lecteurs et les poètes refusent, d’une certaine façon de désintriquer le corps et les mots ; car cette séparation équivaudrait à commettre un meurtre, celui du petit croyant qu’ils sont, qu’ils étaient, à faire mourir Dieu en son paradis : la langue maternelle, le pays natal de l’être.

Ε Ει ικ κό όν νε ες ς Γ Γυ υν να αι ικ κώ ών ν --Μ Μι ικ κρ ρέ ές ς κ κα αι ι π πο ολ λύ ύ μ μι ικ κρ ρέ ές ς ι ισ στ το ορ ρί ίε ες ς τ το ου υ π πο οι ιη ητ τή ή Μ Μι ιχ χά άλ λη η Γ Γκ κα αν νά ά. . Το Γυναικών του Μιχάλη Γκανά μπορεί να σταθεί ως ένα συγγραφικό κολάζ, το οποίο συνθέτουν δεκαέξι μικρά και πολύ μικρά μέρη· δεκάξι μικρές και πολύ μικρές ιστορίες. Ο ποιητής, με αυτή τη συλλογή διηγημάτων, μοιάζει να προβαίνει στην απόπειρα να αποτυπώσει φωτογραφικά στιγμές γυναικών. Και αν αυτή η διατύπωση φαντάζει αρκετά γενική και προκαλεί την εντύπωση ότι χρήζει αποσαφήνισης, θα χρειαστεί να κάνουμε λόγο για τη συνύπαρξη δεκαέξι διακριτών γυναικείων πορτρέτων, τα οποία σχεδιάζονται άλλοτε πάνω σε ονειρικό και άλλοτε πάνω σε ζοφερό φόντο, κάποιες φορές με ανάλαφρες και κάποτε με έντονες, σκοτεινές γραμμές. Το βλέμμα του συγγραφέα διαθλάται σε ένα πλήθος αφηγηματικών φωνών και μετουσιώνεται σε ισάριθμους επίμονους παρατηρητές. Κατ' αυτόν τον τρόπο, δεν διστάζει να πλέξει ένα εγκώμιο για τη σαγήνη της ομορφιάς 1 , ενώ, παράλληλα, να επιμείνει στην υπαρξιακή αγωνία που προκαλεί ο αναπόδραστος ερχομός της φθοράς και η κατασταλτική επίδραση του γήρατος. Ο έρωτας και η αγάπη, κυρίαρχα μοτίβα στην ποίηση του Γκανά, επανέρχονται στο Γυναικών: ιστορίες ανεκπλήρωτων ερώτων, σχέσεων που προσπαθούν να επιβιώσουν μέσα σε δύσκολες συνθήκες, άλλα και μακροχρόνιων δεσμών που, όμοια με τα κύματα της θάλασσας, δεν σταματούν

"… eyes are lips on the lips of …"
Encountering Cixous' and Derridas Veils as a Poem of Infinity

For Cixous, the interest in the passage from blindness to vision stems from what can be discovered about non-seeing as much as about seeing. It is her in-sight that non-seeing can be known, and therefore mourned, only after vision is recovered. And Jacques Derrida remarks in Un Ver à Soie: "One must learn from her....that the vision of seeing....was from the origin in mourning of the unseen [invu]" (Derrida 50).
The question of seeing and nonseeing is about mourning basically – amongst other reasons – because "(...) it is not permitted to mortals to be on both sides" (Savoir 16). Mourning links both sides – invisibly.
Cixous' Savoir is about the passage from blindness to vision, Derrida links this passage to the transformation of silkworms (which he "cultivated" before he was thirteen, as the text tells us). In the beginning there is a silkworm. But the silkworm does not stay the same. In fact, it does the exact opposite. It becomes other, it goes away, it turns into a moth. The silkworm goes into a cocoon, becomes a thing of the past. Derrida mourns, the worm’s old foreignness becomes foreign to himself; the worm is no longer, and that also means Derrida is no longer able to write about it. The text suddenly becomes intangible again, too far away, too early, too late. An infinite gap opens up. And Cixous answers elsewhere: "The relation between the thing that passes and the thing that remains has to be thought endlessly" (Cixous Messie 121). In my paper I will suggest a reading of Veils as a Poem of Infinity.

In commemoration of the 45th year of their exile, 500 pieds-noirs and their families gathered in Toulouse, France in May 2007. During their meeting, the Amicale de Saida viewed the film Saida… On revient! sur les pas de notre enfance, which chronicles the return voyage of members of the community and their encounters with the places of their past. The amateur film provides a return to Algeria for the pieds-noirs who could not physically make the journey. While many buildings in the images were in ruins, the pieds-noirs did not view the present and experienced a return to somewhere other than what was filmed. Saida… On revient! is one of numerous journeys to Algeria that have occurred in the past 50 years. Notable Algerian-born authors Albert Camus, Marie Cardinal, Leila Sebbar, Jacques Derrida and Helene Cixous have all participated in written and real returns to Algeria, and they all reflect on the ruins of Algeria that haunt them in their exile. By analysing the representation of real ruins in documented returns to Algeria, this article demonstrates how ruins of lost locations hold potential to ruin the stability of the past.

Hélène Cixous’s most recent autobiographical novel, Les Ruines bien rangées (2020), revisits her mother’s birthplace, Osnabrück, Germany, and explores the sites and fragmented memories of trauma entwined in the places and people of that site. As Cixous recreates the suffering of witches, midwives, wise women, Jews, prisoners, and especially her mother Eve, she destabilises the places in which trauma was encountered and binds the victims together. In doing so, she demonstrates the experience Dylan Trigg has analysed when Holocaust survivors revisit the ruins of the place where they suffered. When the witness stands on the site where trauma occurred, Trigg writes, “The reality of the traumatic event is not reinforced (…) but instead trembles as an incommensurable void is given a voice between the viewer and the place” (Trigg 2009). In the same way Cixous’s and her mother’s realities tremble on the site of suffering when ruins are confronted even many decades later. However, Cixous also shows how this trembling pulls other places of trauma into the void. Osnabrück becomes Algiers. The Shoah becomes the Algerian War. The witch trials of the 16th century recur in every suspicious woman, and this trauma, reflected in the ruins of Osnabrück’s demolished synagogue, even move into the future with Cixous and her children. Using memory and trauma studies as an axis, this paper will explore how Cixous relates unsited trauma through the reframed ruins that appear both in the real world and in the book she writes.

Yay.Haz. Deniz Bayrakdar
ISBN 978-605-9911-29-0

Türkiye"de ancak 80"lerin sonunda sanatsal üretim biçimi olarak keşfedilen video, 90"lı yıllarda sıklıkla kadın sanatçılar tarafından kullanılır. Bu alanda üretim yapmaya daha önceleri başlayan Türkiyeli ilk sanatçılardan biri Nil Yalter"dir. 70"li yıllarda Paris"te yaşayan ve o dönem Fransa"da feminist sanat hareketi içinde de yer alan Yalter, sadece videoyu değil fotoğraf, grafik, resim gibi başka medyumları da kullanır. Üretimleri video sanatının ortaya çıkışıyla çoğunlukla bu alana yönelir. Bu metin Yalter"in; Başsız Kadın veya Göbek Dansı (1974), Rahime, Türkiye"den Kürt Bir Kadın (1979), Harem (1979), La Roquette, Kadınlar Hapishanesi (1974), Ritüeller (1980) ve yakın dönem video performanslarında kadın bedeni ve akuzmatik ses ilişkisine odaklanırken, video sanatının ortaya çıkışına ve feminist sanatçıların bu medyuma yönelmesi sürecine değinir. Nil Yalter bir söyleşisinde, 70"lerde üretilen video performansların çoğunlukla kadın sanatçıların kendi bakışını arayışı olduğunu söylemiştir (Winchester, Kaya 2009: 93). 70"lerde kadın bedeni ve görünürlüğü o dönem video performansların biçim ve içeriğini belirlemiştir. Bu performansların pek çoğunda ses, formun çoğu zaman belirleyici öğesi olmuştur. Bu açıdan meselenin videonun teknik özelliklerini kullanarak çok katmanlılık yaratma ve yeni bir bakış açısı oluşturma çabası olduğunu söylemek mümkündür. Metinde, toplumsal cinsiyet bağlamında beden ve kadın bedeni tartışması Julia Kristeva ve Judith Butler gibi feminist düşünürlerin argümanları bağlamında ele alınmaktadır. Kadın bedeninin dille ilişkisini kurması bağlamında Hélène Cixous"nun dişil yazı (écriture féminine) kavramı yol gösterici olmuştur.

Gender: Laughter, part of the Macmillan Interdisciplinary Handbooks series on gender, examines the significance of laughter in gender and sexuality studies. The volume presents laughter as an affective force that reverberates in and between bodies, shatters social hierarchies, and enables and reveals relations between and among people. Multiple interconnections between gender and laughter generate a number of pressing questions: How does laughter arise? How does laughter create community? How and whom does laughter exclude? What practices of inclusion and exclusion are effected through laughter, and what does this reveal about society at large? How can laughter function as a strategy of resistance? What does laughter subvert? What is the role of bodies, sense perception, and affect in generating laughter? How does laughter challenge and transform corporeal boundaries? What does laughter make palpable? What feelings does laughter generate and transform? The twenty-five chapters in this volume explore these questions and related concerns in five thematic parts: Gender and Genre; The Carnivalesque and the Grotesque; Tonalities of Laughter; Performance and Artifice; and Materialities. An introduction, numerous engaging illustrations, a glossary of key terms, and a comprehensive index provide additional context and assistance to students, instructors, and general readers. The Macmillan Interdisciplinary Handbooks series on gender presents an exceptional opportunity for many people, especially undergraduate students, to become more familiar with the usefulness and pleasure of "doing gender and sexuality studies." The introductory volume along with subsequent volumes on Animals, God, Laughter, Love, Matter, Nature, Space, Time, and War offer a conceptual approach that encourages a thoroughly cross-, trans-, and interdisciplinary exploration of so-called universal themes. A variety of sexually, racially, and gender-sensitive critical perspectives are employed to investigate foundational questions addressed by feminist scholars and scientists. Chapters in each volume are newly commissioned and hence based on fresh and topical research and debates from fields such as philosophy, anthropology, literature, art, music, social sciences, (old and new) media, history, science, religion, and others. Both individually and as a series, the handbooks constitute a resolutely interdisciplinary project in the sense given to the term by Roland Barthes: "In order to do interdisciplinary work, it is not enough to take a 'subject' (a theme) and to arrange two or three sciences around it. Interdisciplinary study consists in creating a new object, which belongs to no one."

This thesis examines the female gaze in conjunction with fashion photography. It incorporates a multidisciplinary theoretical framework, embracing feminist and psychoanalytical discourse and semiotics. 'In Search of the Female Gaze: Women as Practitioners of Fashion Photography' uses the imagery of photographers Helmut Newton, Miles Aldridge, Deborah Turbeville, Corinne Day and Maisie Cousins as case studies in order to investigate the nuances between the way men and women look at and photograph women.

The aim of this paper is to explore the underlying meanings behind traditional representations of women in the fashion photography milieu and to evidence how fashion photography mirrors culture, thus carrying symbolic value and ideological codes. Additionally, through a descriptive approach, it intends to showcase fashion photography as a vehicle to debate gender and sexuality within patriarchy. A central idea of this paper is to emphasise that femininity is a social construct and to present the manner in which the female gaze eschews its conventional stereotypes.

As a foundation to my argument, I draw a parallel between the depictions of women in film studies and in art history, taking in consideration the discursive fabric of theorists such as Laura Mulvey, John Berger, Mary Ann Doane, Linda Nochlin, Rosalind Gill and Rosemary Betterton. French feminists Luce Irigaray and Hélène Cixous are also of great influence in this thesis, as well as Sigmund Freud and Jacques Lacan. By engaging critically with the representation of the female body and how meanings are mediated between producers and viewers, 'In Search of the Female Gaze: Women as Practitioners of Fashion' Photography. An Analysis of the Politics of Representation promotes a discussion of fashion iconography within gender and media research.

The purpose of the current paper is studying Zora Neale Hurston's masterpiece in the light of the post-structuralist feminist theories of the French philosopher, writer and critic Hélène Cixous. The article aims at scrutinizing the concept of body which is an integral part of écriture féminine. In order to accomplish this investigation, the researcher attempts to present manifestations of corporeality through the course of the selected novel which is Their Eyes Were Watching God. The fact that Hurston's involvement in adapting the notion of corporeality is evident to the point that some scholars approve of her obsession with the mentioned issue may serve as a proof of the fruitfulness of this research. The present article encompasses examining Hurston's attitude toward the selected concept, working with the selected text and taking the female characters and their deeds under consideration in order to grasp the desirable result.

A woman enters centre stage. She is known at the club as
La Llorona, “the weeping woman”. She emerges from the
dark space between two red velvet curtains, her auburn hair
piled high on her head, loose curls hanging down around
her face. And her face... Her face is sparkling! Her eyes are
painted bright red and yellow, her lips a deep red to match,
and there is a single glistening tear suspended from the corner
of her right eye...

Kipling’s fiction, like the author, betrays a curiously twofold l’ecriture de soi. Critics up to Salman Rushdie and beyond have commented on the Kipling ‘paradox’ . Seeing Kipling as the absurdly incongruous ‘Ruddy Baba as well as Kipling Sahib’, his writing, Rushdie asserts, has ‘the power to simultaneously infuriate and to entrance’ . Certainly, Kipling’s early stories are marked by a simultaneous horror of and longing for a sprawling, chaotic, unknowable India. Fear and desire and become emblematic of an internal struggle to comply with the unyielding jurisdiction of imperialism and the antithetical attraction to a continent whose ‘vernacular idiom [he] thought and dreamed in’.
‘The City of Dreadful Night’ is a story about detritus. Sleepers on the path into the city, their subjectivity translated and transposed by a narrator failing to extricate their bodies from the borders of being, become corpses, falling beyond the limits of self. ‘I’ disappears in the cadaver that penetrates the other side of the border, the place where ‘I’ am not and what, in turn, permits me to be. The story is stuffed with corpse-like figures. The corporeal debris, which conversely bespeaks of the vitality of life, announces the dereliction of a narrator whose centre has shattered in a terror of ambiguity, an in-between, composite existence where all order and structure have disintegrated. Like a defiled guide, the corpse; that most abhorrent of spectacles takes us to perimeter of subject and shows us what is cast out in order to live. Abjection overwhelms us in a revolt of being. The ensuing horror is, Kristeva tells us, a constant reminder of rupture of the mother/child dyad, and an expression of the despair that follows deprivation from that most intimate of connections.

"This thesis brings together discourses concerning indexicality, touch, theatricality, and language to bear upon the photographic image in an attempt to open the parameters of current photographic discourse and carve a place for nontraditional photographic practices. Each of these facets – indexicality, touch, theatricality, and language – links photography to the body and solicits an embodied response from the viewer by placing the viewer’s body at the center of the experience of beholding images. Mes vœux (My Wishes/My Vows, 1988-1991) is a photographic installation by multimedia French artist Annette Messager comprised of layers of black and white photographs depicting intimate close-ups of body parts, each framed under glass and hung from the wall by twine in a circular formation. Scraps of paper framed in the same manner overlay the photographs and contain handwritten, repeated words. The photographs and text exist as both images and elements of sculpture.

Mes vœux rejects the metaphor of photography as an illusionistic window giving view to another place and time, and thereby draws attention to the material surface of its photographs, and by way of analogy, the surface of the bodies it depicts. Accumulated layers of metaphoric skin and indexed bodies together construct hybrid photographic bodies the beholder may imaginatively touch, and which, in turn, may affectively touch the beholder to engage a visceral and embodied response. The emotionally suggestive text employs double entendres, puns, and homonyms to condense meaning in an oscillating wordplay that simultaneously causes a collapse and excess of signification.

Mes vœux’s nontraditional format provides contrast to the trend of the “tableau form” of photography discussed at length by Michael Fried in Why Photography Matters as Art as Never Before (2008), in which Fried applies his theory of theatricality, first articulated in his controversial essay challenging minimalism, “Art and Objecthood” (1967), to contemporary art photography. Photographic practices such as Messager’s that may be considered theatrical and that do not conform to the “tableau form” are notably absent in contemporary art photography theory as exemplified by Fried, narrowing the discourse and the field of possibility for the medium in art practice. Mes vœux links concepts of touch in visual art with concepts of embodied viewership and theatricality as traced through art history – including the advent of minimalism and the “tableau form” of photography – since the 1960s and binds them together through the medium of photography and the representation of bodies."

aux éditions de la Pléiade 1 , tout en s'offusquant d'une part, que l'auteure du Deuxième Sexe ne soit que la quinzième femme à y figurer et d'autre part, que l'oeuvre que nous venons de mentionner et qui fut un point de « rupture dans l'histoire des idées féministes » 2 en soit absente, il semble que la question du rapport de l'écriture, et plus largement de la littérature, au féminin demeure un enjeu important. Ce dernier ne cesse, en effet, de soulever questions et réflexions et d'alimenter des débats révélateurs, tant de la nature profonde de notre société, que de ce qu'elle aspire à devenir. Pourtant, les femmes ont toujours été présentes en littérature. Tantôt objets, fantasmés ou mythifiés, sous la plume des auteurs masculins, comme le souligne Virginia Woolf dans son essai critique intitulé A Room of One's Own : « Others [men], on the contrary, maintain that women are half divine and worship them on that account. » 3 . Tantôt démiurges et ce, très tôt dans l'histoire littéraire, notamment avec la figure de la poétesse grecque Sapphô dont l'oeuvre témoigne de la possibilité d'une écriture féminine. Puis, plus tard au XIIe siècle, sous les traits de Marie de France dont les Lais apparaissent comme le point de départ de l'entrée des femmes dans la littérature française. Si les femmes sont donc liées à l'écriture et à la littérature depuis plusieurs siècles, il faut cependant attendre les années mille neuf cent soixante-dix pour que ce rapport de l'écriture au féminin se retrouve théorisé et finisse par devenir la notion phare de l'une des nombreuses mouvances de la pensée féministe : la notion d'« écriture féminine », consacrée par Hélène Cixous en 1975 dans son ouvrage Le Rire de la Méduse et autres ironies. Dans cet essai, Hélène Cixous s'emploie à la déconstruction des mythes qui véhiculent une image négative et galvaudée des femmes, tout en exprimant le souhait de voir naître une écriture nouvelle : une écriture affranchie et insurgée. Soit, une écriture « féminine», porteuse de liberté : Il faut qu'elle s'écrive parce que c'est l'invention d'une écriture neuve, insurgée qui, dans le moment venu de sa libération, lui permettra d'effectuer les ruptures et les transformations indispensables dans son histoire, d'abord à deux niveaux inséparables : a) Individuellement : en s'écrivant, la femme fera retour à ce corps qu'on lui a plus que confisqué, dont on a fait l'inquiétant étranger dans la place, le malade ou le mort, et qui si souvent est le mauvais compagnon, cause et lieu des inhibitions. A censurer le corps on censure du même coup le souffle, la parole. Ecris-toi : il faut que ton corps se fasse entendre. […]

Henry Fielding's The History of Tom Jones: A Foundling (1749), portraying the panorama of the 18th century English society in a realistic manner, can be analyzed in the light of feminist philosophy due to the reflections of the problematic position of the female characters under the oppression imposed by the male-dominated society in the novel. The secondary status attributed to women and the primary roles attributed to men show that female characters are repressed because of the stereotyped roles determined by the patriarchal society. In this regard, considering the rise of feminism and the discourse put forward by the French feminist Hélène Cixous, it is clear that her feminist theory can be adapted into Fielding's novel, therefore in this study the most significant characteristics of the feminist approach introduced by Cixous will be identified and explored in The History of Tom Jones by questioning the gender roles in the 18th century English society.

Kadının Yazma Tarihi ve Özgün Bir Durak : Dişil Yazı (Écriture Féminine)". Kurgu, Düşün Sanat Edebiyat 7 (Mart-Nisan 2011) : 20-27. 1968 Mayıs'ının ardından 1970'lerin Fransasında öncülüğünü Hélène Cixous, Luce Irigaray, Julia Kristeva, Monique Witting ve Catherine Clément gibi isimlerin yaptığı feminist yazar ve düşünürlerin rehberliğinde bir kadın edebiyatı oluşur. Amacı geleneksel temsil biçimlerini sorgulamak, genellikle kadın sesini sessizliğe gömmeye meyilli erkek egemen sembolik düzeni sarsmaktır. Kadınlar kitlesel ve kolektif olarak kalemlerini ellerine alırlar ve yazdıklarına "écriture féminine" yani "dişil yazı" adını verirler. Peki, kadın olarak yazmak ne demektir? Kadına özgü bir yazı var mıdır? Dişil yazı, kadın edebiyatı, feminist edebiyat gibi bu çok çeşitli tanımlamalar kadınlara özgü bir edebi pratiğin nasıl bir şey olduğunu anlamanın güçlüklerini bize göstermektedir. Bu yazıda yalnızca kadınlara seslerini iade etmekle yetinmeyen, dili ve sentaksı o zamana kadar temsil edilmemiş kadın deneyimini gündeme getirmek için yeniden icat etmeyi deneyen "dişil yazı", kuramcılarından Hélène Cixous'ya odaklanarak genel bir portre çerçevesinde ele alınacaktır. Ancak kadının yazıyla ilişkisini tarihsel süreçte konumlandırmak önemli olduğu için kuramın ortaya çıkışının öncesi ve sonrasına da kısaca değinilecektir. Kadının yazması kadının özgürleşme süreciyle koşut gittiği için yazının tarihsel çatısını Türkiye'de ve Batı'daki kadın hareketi oluşturacaktır. "Écriture féminine"in Türk edebiyatındaki yansımaları üzerinde de kısaca durulacaktır. Burada değindiğim başlıca konuların her birinin üzerine derinlikli çalışmalar yapılmalıdır. Benim bu yazıyla yapmak istediğim panoramik bir değiniden ibarettir. Kadının yazma eylemiyle arasındaki ilişki Batı'da ve Doğu'da her çağda sorunlu olagelmiştir. İlk defa Virginia Woolf, Kendine Ait Bir Oda adlı yapıtında kadınların edebiyat alanında yaratıcı birer figür olarak yer almakta yaşadıkları zorluklara İngiltere bağlamında dikkat çekmiştir. Akademi ve edebiyat eleştirisi kurumları tarafından kendisine kutsal ve ulvi değerler yüklenen yazarın esasında para ve oda gibi iki basit ihtiyacı olduğunu vurgulayarak, kadınların edebiyat alanında var olamamasının nedeninin uzun yıllar ataerkil söylemin öne sürdüğü gibi "eksik akıllarından" ileri gelmediğini toplumsal şartların buna izin vermediğini ortaya koymuştur. Woolf, 19. yüzyıl öncesinin koşullarından dem vurarak bir kadının Shakespeare dehasına sahip olamamasının biyolojik eksikliklerden değil, böyle bir dehanın "köle gibi çalışan, hiç eğitim görmemiş ve hizmet sunmakla yükümlü insanlar arasından doğma[yacağından]" (55) ileri geldiğini söyler. Kadının yazıyla olan ilişkisi 1 Bu yazı için yürütülen araştırma, TÜBİTAK (proje no 109K517) ve ESF (COST ISCH-IS0901) tarafından desteklenmektedir.

From  the  beginning  of  the  1980 ́s,  Hélène  Cixous  presented  several  seminars  on Clarice Lispector’s work . Some of them were translated to English and published by Verena Conley, in Reading  with  Clarice  Lispector (1990). From this  anthology, we analyze how Clarice Lispector’s work was read by the French writer. At first, we delineated an Ars poéticaof cixousian ́s reading, based on three pillars: (i) the theory of “extended” reading; (ii) the theory  of  transtextuality  and  (iii)  the  specular  dialogism.  This  delineation  allowed  the definition of the concept of critical reading in vis-à-vis as well as of fragment, both intrinsic to cixousian Ars poética . Then we analysed, in practice, Hélène Cixous’ reading in vis-à-vis of Clarice ́s  source  texts  (claricean),  relating  to  each  of  the  three  types  of  fragments circumscribed  (internal  intertextual,  external  intertextual  and  intermedial).  Finally,  reading leads to writing, that is, a reading-writing operation, therefore, we studied the processes of fictionalisation  made  by  Clarice  Lispector  in  the  theorical-poetical  fiction  “Une  histoire idéale” [An ideal story], part of Hélène Cixous’ work : Jours de l ́an [New Year's Days]. We present, finally, a translation from French to Portuguese of “An ideal story”.

Keywords: Hélène Cixous, Clarice Lispector, intertextuality, dialogism, translation.

This thesis explores how the novels of Virginia Woolf and Jean Rhys – To the Lighthouse (1927), Between the Acts (1941), After Leaving Mr Mackenzie (1930) and Wide Sargasso Sea (1966) – despite being set in times of wars and social change that influence personal lives, maintain an attachment to and love for life. This thesis proposes that Woolf and Rhys ‘locate’ this attachment to life in the moments and atmospheres of ‘strange intimacy’ – in sensual, affective, and oddly intimate moments and settings where characters realise their bodily connection to the world of others, things, and places.

This work suggests that this love for life is cultivated when life is seen as ‘a life’ and selves as ‘haecceities’ in the Deleuzian sense, and when we consider modern life as enchanted, not disenchanted. To examine the love for life and strange intimacies further, this thesis rethinks the works of Hélène Cixous in the light of contemporary theories of affect and new materialism that are inspired by Gilles Deleuze and Félix Guattari’s philosophies. This theoretical framework allows the examination of the complex ways in which intimacy, selfhood, and desire are portrayed in Woolf’s and Rhys’s modernist fiction. This thesis also demonstrates how post-structural feminism’s focus on radical alterity and its emphasis on and (re)turn to materiality, the non-human, bodies, and affects, which are drawn together in the notion of écriture féminine, pre-figures the concerns of affect studies and new materialisms.

The reading of Cixous’s, Deleuze and Guattari’s, and Bennett’s works performed in this thesis demonstrates how their theories of affect and the non-human help us to further our understanding of intimacy in the works of Woolf and Rhys and to reconsider the life-affirming, affective, and anti-Oedipal qualities of their modernism. Such an approach allows not only the discovery of a new understanding of Woolf’s and Rhys’s writings, but it contributes significantly to how we understand these theories and modernism in general.

Jacques Derrida and Catherine Malabou both attempted to rethink the event by accounting for a certain poetizing essence of philosophy, or for a poetics of the event. Notably, they tried to approach the eventness of the event by highlighting a phantasmatic dimension inseparable from what we call 'the real.' As they both reject the conventional opposition between 'phantasm' and 'real event,' they redefine the role of phantasm and literature in relation to reality by attributing to the phantasm a certain materiality and a privileged access to what we call an 'event.' But they do so with very different implications as to the status and definition of reality. This chapter discusses these two conceptions of the articulation between 'phantasm' and 'the real' — the first predicated on Malabou's readings of Heidegger and Kafka, the second following Derrida's readings of Blanchot and Cixous. While Malabou's 'ontological phantasm' offers an ontology of the event described as Being's plasticity and indexed on a 'new materialism,' Derrida strives to think a phantasm-event that precedes and exceeds its capture by ontological discourse, thus liberating literature and the event's otherness, its 'materiality without matter,' from the authority of philosophical decision on the truth of Being.

Dil bilimi çalışmalarına göre, içinde yaşadığımız dil dünyamızı oluşturur. Buna göre, düşünce yapımız ve algımızın sınırları doğduğumuz andan itibaren içinde yaşadığımız dil ile belirlenir. Feminist dil bilimi ise dilin cinsiyetçi bir yapısı olduğunu savunur. Bu cinsiyetçi dil içerisinde toplumsallaşan bireyler kadın erkek eşitsizliğini içselleştirerek yetişirler. Fransız postyapısalcı feministlerden Julia Kristeva, Héléné Cixous ve Luce Irigaray, psikanaliz ve dil bilimi üzerinden yaptıkları çalışmalar ile, dilin sınırlarının nasıl aşılabileceği ve cinsiyetsiz bir dilin imkânları üzerinde dururlar. Bu anlamda, dildeki cinsiyetçiliği aşabilmek adına çeşitli yöntemler geliştirirler. Bu çalışmada dilin cinsiyetçi yapısı ve düşünce oluşumundaki rolü üzerinde kısa bir giriş yaptıktan sonra Fransız postyapısalcı feminizm ile dilin cinsiyetçi sınırlarını nasıl aşabileceğimiz üzerinde durulacaktır.

Tolerance of same-sex relations in the earlier Platonic dialogues is called into question in Plato's *Laws.* Jennings offers insightful historical and political motivations as to why this Platonic anomaly may have come about. The colloquial image of the gay-friendly Plato is all the more dangerous because it is so tacitly presupposed ~ so uncritically accepted ~ that it seems almost genetically to pass down through the educated classes. To out Plato ~ he who very well may have invented the closet ~ as, himself, a closeted proto-homophobe is utterly scandalous and utterly necessary and...deserves our attention and applause.

In this paper I analyze and contrast Schachter-Shalomi's conception of gender through relating his thought to its Habad origins, utilizing Elliot Wolfson's study of Menahem Mendel Schneerson as a prism. I further contrast Schachter-Shalomi's thought with other New-Age movements and specifically the neo-Kabbalah of Michael Laitman and Berg family. Lastly, I read his "dream tale" regarding the Maiden of Ludmir with the use of Bracha Ettinger's theories as well as other psychoanalysts.

But the course ‘literary criticism’, the reason why I am writing this piece, was unsatisfactory and the contents only kept us ‘outmoded’. We had Eliot’s ‘Tradition and the Individual Talent’, Arnold’s ‘The Study of Poetry’, Wordsworth’s ‘Preface to Lyrical Ballads’, Johnson’s ‘Preface to Shakespeare’ and Aristotle’s Poetics. I have heard that Shelley’s ‘A Defense of Poetry’, excerpts from Coleridge’s Biographia Literaria, Dryden’s ‘An Essay of Dramatic Poesy’ and Sidney’s ‘An Apology for Poetry’ too were there in the syllabus, in the past years. But still, what is it really with our obsession for things no longer deemed ‘valid’? Training in classical thoughts is undoubtedly praiseworthy (and necessary too!), but if that happens without some knowledge of the contemporary, it will be difficult to stand on the same footing with the constantly improving world literatures and their critical literary manifestos.

In order to think about a range of literary configurations
of mourning, the languages used to do this work, and the public and private injunctions addressed to women writers in particular, this essay considers works by Algerian
women in which the language of literature is called upon to speak to unspeakable loss.  The texts under consideration here—Yamina Méchakra’s La Grotte éclatée (1979),
Mosteghanemi’s Memory in the Flesh, Assia Djebar’s Le Blanc de l’Algérie (1995), and Hélène Cixous’s Si près (2007)—each produce spontaneous, singular forms of female solidarity that may be said to arise both through language and outside of languages (“hors les langues” (245) in Djebar’s phrase). What is
more, they do this despite institutional expectations relating to language, religion and the
state that overdetermine the value of women’s memory work (and forgetting work).

This article from 1996 puts Mary Shelley's Frankenstein in dialogue with Donna Haraway's "A Cyborg Manifesto," Helene Cixous's "The Laugh of Medusa," Percy Shelley's poem on Medusa, Shelley Jackson's "Patchwork Girl," and Ridley Scott's Blade Runner.

"The gendered body takes a phenomenological turn in Brower’s cosmopolitan essay on oral sexuality within philosophical, feminist, and lesbian traditions..."
  ("Editorial" by Michelle Iwen)

Abstract:
The 'traditional philosophical prestige' of seeing and touching, as analyzed by Emmanuel Levinas, comes to dominate the qualities of the other three senses. An investigation of the roles of these prestigious senses, along with the resultant privileged sense-organs of the hand and the eye, within phenomenology, psychoanalysis, and gender- or queer-theory suggests that the part of the prestige of touch will have been related to its function in the phenomenality of feeling. Yet the sense of taste seems to be as applicable, if not more so, to the phenomenal experience of selfhood based on feeling as theorized by Edmund Husserl and Jean-Luc Marion. The tongue, rather than the hand, is reconsidered as a sense-organ of touch in order to salvage the all but lost tang of the tangible. As such, the tongue and taste not only illuminate the shortcomings of binary gender theories based on either inner feeling or outer surface anatomy (or, either interior orifices or exterior appendages), but further discover a remarkable phenomenology of the body to be found in the writings of Hélène Cixous and Monique Wittig that moves beyond certain masculine tendencies lurking about the hand and observation (as described by Freud and Butler). The phenomenal experience of the other that yields either empathy (for Husserl), love/eros (for Marion), or hearing and heeding 'Thou shall not kill' (for Levinas) has much to learn from the orality of women's writing. The third body, as written by Cixous, can experience the self as selftaste (as considered by Derrida) and experiences the other as the taste of the other. It is, thereby, opened to a love or a justice (or an erotic justice) beyond the proclamation of Levinas that 'ethics is an optics' as well as any ethics as a mere haptics to be found in Husserl or Marion, where feeling seems always determined by the hand.

EN:
Introducing artists who lead a dialogue with omitted or fictional cultural figures, the essay "My Significant Others: Artistic Strategies of Confronting the Canon" stirs up – in an imaginary and loving dialog with these figures – cultural narratives have been excluding significant herstories. Despite the increasing influence of feminist and postcolonial movements, art historical canons are up until today dominated by white male authors, and therefore characterized by masculine mythologies (Pollock 1999: 39). Accordingly, in view of these uneven structures it seems important to deconstruct and critically re-narrate these mythologies and to question and disidentify their intrinsic relationship to power. Another equally relevant task is the meticulous, empathetic, and dialogical recuperation of forgotten or unacknowledged feminist struggles and heritages. The discussed video works by women artists Alžběta Bačíková, Ieva Balode, Masha Godovannaya, Alex Martinis Roe and Lea Petříková present feminist forebears as well as undiscovered inspirational women, figures, and motives who struggled to become part of the art historical canon and of the official history of political movements.

DE:
Der Essay „Meine signifikanten Anderen. Künstlerische Strategien der Konfrontation des Kanon“ stellt Künstlerinnen vor, die einen Dialog mit ausgelassenen oder fiktiven kulturellen Figuren führen. Er rührt – in einem imaginären und liebevollen Dialog mit diesen Figuren – an kulturellen Narrativen, die signifikante HerStories ausgrenzen. Trotz des zunehmenden Einflusses feministischer und postkolonialer Bewegungen ist der kunsthistorische Kanon bis heute von weißen, männlichen und bürgerlichen Autoren aus dem globalen Norden dominiert und somit auch von deren Mythologien geprägt (Pollock 1999: 39). Angesichts dieser ungleichen Strukturen erscheint es daher wichtig, diese Mythologien zu dekonstruieren und kritisch nachzuerzählen sowie ihr immanentes Verhältnis zur Macht zu hinterfragen. Eine weitere, ebenso relevante Aufgabe ist die sorgfältige, empathische und dialogische Aufarbeitung vergessener oder verkannter feministischer Kämpfe und Traditionen. Die besprochenen Videoarbeiten der Künstlerinnen Alžběta Bačíková, Ieva Balode, Masha Godovannaya, Alex Martinis Roe und Lea Petříková präsentieren feministische Vorläuferinnen sowie unentdeckte inspirierende Frauen*, Figuren und Motive, die darum kämpften, Teil des kunsthistorischen Kanons und der offiziellen Geschichte politischer Bewegungen zu werden.

Esta pesquisa reflete sobre os romances A paixão segundo G.H. e Água viva, de Clarice Lispector, a partir dos conceitos de fracasso da linguagem e fracasso do romanesco, elaborados por Benedito Nunes em seu livro O drama da linguagem: uma leitura de Clarice Lispector. A investigação parte do princípio de que esses conceitos foram utilizados como mote de (des)construção dessas obras. Além disso (e para isso), busca demonstrar os pontos de encontro desse modo de escrever com os conceitos de escritura de Jacques Derrida e Roland Barthes, e de écriture féminine (escritura feminina), de Hélène Cixous, sugerindo aproximações entre a escrita de Clarice e as teorias desses pensadores.  Busca, ainda, situar as referidas obras no conjunto ficcional da autora e no contexto histórico em que foram publicadas, a saber, o contexto das discussões empreendidas após a virada linguística e do modernismo e seu desencanto.

Palavras-Chave:  Fracasso. Desconstrução. Escritura. Escritura feminina.

This research reflects about Clarice Lispector’s novels The passion according to G.H. and Água viva, departing from Benedito Nunes’s concepts of the “failure of language” and “failure of the novel”. The investigation assumes that these concepts motivated the writing of these two particular novels. Beyond (and because of) that, it intends to demonstrate the relation between this kind of writing and the concepts of écriture and écriture féminine proposed by Jacques Derrida, Roland Barthes and Hélène Cixous respectvely, suggesting a dialogue among them. It also intends to situate these novels in the historical context of their publication and in relation to Lispector’s earlier and later works.

Keywords:  Failure. Deconstruction. Écriture. Écriture féminine.

A partir d'une analyse des occurrences du mot "sein" dans Le Corps lesbien de Monique Wittig, l'étude s'attache à expliciter les stratégies wittigiennes de l'écriture du corps. Contestant les représentations culturelles héritées, qui témoignent d'un regard phallogocentré, le traitement stylistique et énonciatif du "sein" permet de mettre au jour un projet esthétique qui vise à dépasser les crispations sur une érogénéité localisée et à accéder à une nouvelle dimension de l'humain incarné.

If "event" is a proper name we reserve for monumental changes, crises, transitions and ruptures that are by their very nature unnameable or unthinkable, then this volume is an attempt to set up an encounter between such eventhood as it comes to have a bearing on literary works and the work of reading literature.

As the event continues to provide a valuable analytical paradigm for work undertaken within the newer subdisciplines of literary and critical theory, including close reading, bio- politics, world literature, and eco- criticism, this volume makes a concerted effort to update the scholarship in this area and foreground the recent resurgence of interest in the concept. The book provides both a retrospective appraisal of the significance of events to literary studies and the literary humanities, as well as contemporary and prospective appraisals of the same, and thus would appeal scholars and instructors in the areas of literary theory, comparative literature and philosophical aesthetics alike.

Along with a specialist focus on thinkers such as Derrida, Badiou, Deleuze and Malabou, the essays in this volume read a wide corpus of literature ranging from Han Kang, Homer, Renee Gladman, Proust and Flaubert to Yoruba ideophones, Browning, Anne Carson, Jenichiro Oyabe and Ben Lerner.

Και γιατί δεν γράφεις; Γράψε! Η γραφή είναι για σένα, εσύ για εσένα∙ το σώμα σου είναι δικό σου , πάρ’το.
Ελέν Σιξού

Το σημείο εκκίνησης για το πειραματικό εργαστήρι φεμινιστικής ανάγνωσης και γραφής είναι το κάλεσμα της γαλλίδας φιλοσόφου και συγγραφέα Ελέν Σιξού να εγγράψουμε την εαυτή μας. Στο φεμινιστικό κείμενο αναφοράς "Το γέλιο της Μέδουσας" η Σιξού πλάθει μια φεμινιστική γλώσσα καλώντας τις γυναίκες να γράψουν, αντιμετωπίζοντας με τη γραφή τους το νόμο, τη σιωπή, το φόβο και τελικά το θάνατο.
Εμπνεόμενες από το κάλεσμα για μια δική μας  γραφή, εγγραφή και συγγραφή, σε κάθε συνάντηση, χρησιμοποιούμε ως καμβά κείμενα γραμμένα από γυναίκες και φεμινιστικά αναγνώσματα προκειμένου να πειραματιστούμε δημιουργώντας τα δικά μας γραπτά. Κατά τη διάρκεια των συναντήσεων διαβάζουμε και συζητούμε συλλογικά, αντλούμε μοτίβα, ανακαλύπτουμε μεθοδολογίες, επινοούμε μια δική μας γραμματική και μέσα από ένα συνειρμικό παιχνίδι ελεύθερης γραφής γράφουμε τις δικές μας ιστορίες. Σε κάθε συνάντηση εντοπίζουμε τα σημεία που μας εμποδίζουν να γράψουμε αλλά και εκείνα που μας κάνουν ανεξάντλητες. Κατά τη διάρκεια των συναντήσεών μας αναζητούμε τρόπους να απελευθερώσουμε τη γραφή μας προσπαθώντας να απαντήσουμε στο ερώτημα: πώς να γράψω την εαυτή μου;
Καθώς βιώνουμε τη γυναικεία ορθογραφία και τη μουσική δεκαοχτώ γυναικών,  ανάμεσά τους της Ελέν Σιξού, της Μαργκερίτ Ντυράς, της Βιρτζίνια Γουλφ, της Audre Lorde, της Λένας Πλάτωνος, της Νεσιέ Γιασίν και της Μάγκι Νέλσον, δημιουργούμε σταδιακά ένα πολυφωνικό κείμενο. Κατά τη διάρκεια του εργαστηρίου κάποιες από τις συγγραφείς, μας στέλνουν τα δικά τους μηνύματα προτείνοντας πιθανές απαντήσεις στο ερώτημα πώς να γράψουμε τις εαυτές μας. Στο τέλος των δέκα συναντήσεων αποχωριζόμαστε το συλλογικό μας κείμενο αφήνοντάς το να αποφασίσει πώς θέλει να ζήσει μετά την συγγραφή του.

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"Brower explores the way philosophers were inspired by entomological social systems and communication to reflect on human psyche, social behavior, community organization, communication, and inter-individual relationships. His essay rehearses the swarms of insects embedded in contemporary philosophy and literary theory, not only showing how many of the major concepts (or philosophemes) in continental philosophy – sexuality, politics, thinking, time, interdependence, and language – draw lessons from the world of insects, but also illustrating again how the insect world spurred human reflection."