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Glyn White

which also makes use of personal photographs and reproductions. Hélène Cixous, with the help of Mireille Calle-Gruber, has produced a similar volume (Rootprints 1997 ) to which Derrida contributed. The inclusion of extracts, fragments and pictorial material co-opts, a dimension of life writing, just as G!as destabilises monological philosophical discourse through its

in Reading the graphic surface
Abstract only
Azzedine Haddour

existential phenomenological terms: the black man wants to be ‘a man amidst other men’. Fanon ventriloquizes Freud as he contends that he knows nothing about the sexuality of the black woman – which Freud characterizes 108 Fanon, postcolonialism and the ethics of difference in Orientalizing terms as a ‘dark continent’. As Hélène Cixous remarks, Freud’s question is rhetorical: To pose the question ‘What do women want?’ is to pose it already as answer, as from a man who isn’t expecting any answer, because the answer is ‘She wants nothing’ … ‘What does she want? … Nothing

in Frantz Fanon, postcolonialism and the ethics of difference
Rebecca Munford

-vu – all of these, says Freud, are “uncanny themes” par excellence’ (Castle, 1995 : 4–5). Described by Hélène Cixous as ‘a strange theoretical novel’ ( 1976 : 525), ‘The Uncanny’ is a Gothic masterwork in its own right. In it Freud outlines the uncanny as ‘undoubtedly related to what is frightening – to what arouses dread and horror’ ( 1990 : 339). It is more particularly, he

in Decadent Daughters and Monstrous Mothers
Jonathan P. Eburne

, however, than to the redirection or subversion of the normative patriarchal law to whose hegemony Hélène Cixous famously referred as ‘L’Empire du propre’: an empire of the selfsame ( propre ), but also an empire of the clean ( propre ), signifying patriarchy's imperial recourse to transparency and self-evidence. 3 Surrealism's promise lay in its capacity for both twisting and sullying such a law, for introducing within its functioning the resistances of deviation, errantry, and opacity. 4

in Surrealist women’s writing
Susanne Becker

‘excesses’ precisely to question this binary, and by definition androcentric (Cixous 1986 , 63), system of thought – which might offer a first step towards the suggested ‘habit change’. The idea of the emotional in gothic anti-realism – which I see as key to the gothic’s survival in an era of postmodernism – is also essential to the gothic

in Gothic Forms of Feminine Fictions
Gothic kinship in Stephen King’s Pet Sematary
John Sears

threatens it. Hélène Cixous, in her discussion of Freud’s notion of the uncanny, argues that the uncanny ‘is a unit in the “family” but it is not really a member of the family’. 2 Excentric to itself, the uncanny marks the unfamiliar, even as that unfamiliar returns within the spaces of the family as a marker of the difference that confirms and destabilizes the family’s shared identity, its assertion of

in Gothic kinship
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft
Marie Mulvey-Roberts

male mythic and economic power over women’s bodies, run throughout her work. She exposes the control behind the cautionary tale and the destructive otherizing informing the treatment of women and sexual or romantic relations in myth, fairy tale and the work of Poe and Lovecraft. Julie Kristeva’s (1988) and Helen Cixous’ (1976) theories of the transfer of fear, as well as loathing and disgust onto the abject body of the constructed other is enlightening here. Kristeva talks of: Our disturbing otherness, for that indeed is what bursts in to confront the ‘demons’, or

in The arts of Angela Carter
British pagan landscapes in popular cinema
Tanya Krzywinska

Morgana is intent on overthrowing Arthur’s glorious age of men, which makes her available to be read as a threat to both patriarchal and Christian values. Her representation resonates within the feminist appropriation of witchcraft as a discourse of gender dissidence, as is evident in Cixous and Clement’s (re)appropriation of witchcraft as an anarchic discourse of female empowerment with capacity to subvert

in Cinematic countrysides
Susana Onega

writing written with languelait, the ‘white ink’ of ‘mother’s milk’ that Hélène Cixous proposes as an alternative to the ‘phallogocentric’ writing of patriarchy, carried out, as she contends, with a pen/penis.96 As becomes evident at the end of the novel, Jordan’s individuation process involves his understanding of the constructedness of binary oppositions like father/ mother; man/woman; culture/nature; head/heart and the eventual revelation of his bisexuality.97 Unlike Henri, who devotes a lot of space to narrating the physical stages of his quest, Jordan is mainly

in Jeanette Winterson
Susan Stanford Friedman

impact do the national cultures of origin have on the formation of French modernism for such key Parisian figures as Pablo Picasso (Spain), Tristan Tzara (Romania), Sonia Delaunay (Ukraine) and Marc Chagall (Lithuania)? Recognizing ways in which French post-structuralist theory of the 1960s to 1980s represents early twentieth-century modernism flowing into the discourse of philosophy, what is ‘French’ about Jacques Derrida (Algeria), Hélène Cixous (Algeria) and Julia Kristeva (Bulgaria)? Transnationalizing French Modernist Studies does not mean abandoning such key

in 1913: The year of French modernism