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The philosophic narcissism of Claude Cahun’s essay-poetry
Felicity Gee

attend to the finegrainedness of language, its textures and intricacies, its opacity; in conveying thought-processes, and we find value in the experience that it affords’. 39 Equally, philosophers borrow from poetic tradition to condense complex ideas into compelling images; it is simply not the case that philosophy elucidates while poetry obfuscates – modern philosophers such as Gilles Deleuze (1925–95) and Félix Guattari (1930–92) or Hélène Cixous (b. 1937) have shown how poetry enters the discourse of philosophy. In

in Surrealist women’s writing
Wilkie Collins’s After Dark and Dalziel’s freelance engravers
Bethan Stevens

. 19 Note Freud’s insistence that these two characters must be the same, an insistence that has been explored by Hélène Cixous and others. Sigmund Freud, The Uncanny , translated by David McLintock, with an introduction by Hugh Haughton (London: Penguin, 2003), pp. 136–8. Hélène Cixous , ‘ Fiction and Its

in The wood engravers’ self-portrait
Andrew Teverson

which we live’ while rejecting the ‘nihilistic implications’ of a theory that, she believes, undermines political practice by questioning ‘the notion of effective human agency, the necessity for historical continuity in formulating identity and a belief in historical progress’. 15 In so doing, these contemporary feminist writers are engaged in a long-established countercultural practice defined by Hélène Cixous in her rousing and polemical ‘Laugh of the Medusa’ as ‘stealing and flying’, whereby women (in Morag Shiach’s description of the process) ‘must steal what

in Salman Rushdie
Naomi Booth

Shades novels highlights the failure of a radical or liberatory charge to self-shattering in the female subject, when an imputed propensity to shatter becomes the pretext for the patriarchal status quo to protect (control) female bodies. And this reveals to us that it's necessary to inflect Bersani's claims for the radical potential of ‘self-abolition’ with a bathetic counter-history of the exploitation of woman's imputed ‘masochism’ and lack of self-possession. 28 Hélène Cixous warns us that: ‘One can, of course

in Swoon
Class and Gender in Elizabeth Gaskell’s Work
Patsy Stoneman

invisible to most Gaskell critics, are ‘a species of mole as yet not recognised. When they awaken from among the dead, from among the words, from among the laws. . .’ (Cixous, in Marks and de Courtivron: 93). Coda: Ideology as Doom A text that was anathema to William and Elizabeth Gaskell was that ‘the sins of the fathers shall be visited upon the children’. It conceives God as a vengeful, not nurturing, Father, and denies the child’s right to selfdetermination. Many of Elizabeth Gaskell’s stories reject the obligation of children to suffer in silence their fathers

in Elizabeth Gaskell
Carl Lavery

, been concerned to unpack the political significance of Genet’s writing. From the late 1960s onward, Genet has been famously championed for deconstructing normative notions of gender and sexuality (Cixous, 1975 ; Lloyd, 1987 ; Millet, 1991 ; Bersani, 1995 ; Dollimore, 1995 ; Case, 1997 ; Hanrahan, 1997 ; Eribon, 2001 ; Gaitet, 2003 ; Eldridge, 2005 ; Hargreaves, 2006 ; Stephens, 2006 ); debunking racist stereotypes and critiquing western imperialism (Said, 1995 ; Chalaye, 1998 ; Hughes, 2001 ; Khélil, 2001 ; Boisseron and Ekotto, 2004 ); playfully

in The politics of Jean Genet’s late theatre
Susana Onega

case study on hysteria,35 or rather to its historical antecedent, the sorceress, as defined by Cixous and Clément in ‘Sorceress and Hysteric’.36 This reading is enhanced by the ring in Stella’s self-addressed instructions as she methodically proceeds in her destructive task, which is strongly reminiscent of the bloodcurdling threats of witches or ogres persecuting a terrified child: ‘Ramsack the bedroom [. . . .] Give me a pot and let me turn cannibal [. . . .] Give me a drill [. . . .] Where is the chalk? [. . . .] First sever the headboard. Second, disembowel the

in Jeanette Winterson
An introduction
Neil Cornwell

’, although there remains a deficiency in Koestler’s approach, in that ‘comic art’ is a concept which he ‘is reluctant to admit into his framework’ (Parkin, 151). Parkin considers too the potential for humour theory in writings by Mikhail Bakhtin, Northrop Frye and Hélène Cixous.33 As a further development he explores the concept of ‘incongruity resolution’ as against jokes depending on ‘nonsense’. Bruce Michelson (20–30) considers the humour speculations of such ‘elder[s] in literary theorizing’ as Bergson, Freud and Bakhtin to be buried in outmoded paradigms of the past

in The absurd in literature
Abstract only
The event of the wound
Carl Lavery

, Goytisolo recognised that Genet’s late plays express the same revolutionary desire as his later militancy ( ibid .: 329). 3 Stunning, close readings of what we might call the ‘camp’ or ‘feminine’ component in Genet’s language are provided by Hélène Cixous, ‘Le rire de la Méduse’, L’Arc , 61( 1975 ), 39–54; Jacques Derrida, Glas , trans. J. Leavey, Jr and R. Rand (Lincoln: University of Nebraska Press, 1990) and ‘Countersignature’, Hanrahan, Genet , 7–42; Mairéad Hanrahan, Lire Genet: une poétique de la différence (Montréal: Presses de l’Université de Montréal

in The politics of Jean Genet’s late theatre
John Kinsella

’écriture féminine (Cixous, 1994) made literal is the body writing the poem, the poem written in the body, a literature of action. At the back of her book XEclogue, Robertson records: XEclogue has had many houseguests. Eighteenth century poet, traveller, and political critic Lady Mary Wortley Montagu wrote a series of privately distributed satirical poems called ‘City Eclogues’, these were my introduction to their genre. Frank O’Hara and Virgil extended its horizon. Throughout XEclogue, the shorter, italicised songs of roaring boys mistranslate the anonymous Latin of the

in Disclosed poetics