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Ruth Pelzer-Montada

other technologies. Ingeniously linking French suicidal vets, Saint Anthony, Padre Pio – a twentieth-century Catholic saint – and Hillary Clinton, as well as citing such diverse thinkers as Hélène Cixous, Elias Canetti, Walter Benjamin, Gustave Flaubert and Hito Steyerl, Coutts diagnoses our loss – through reproductive technologies – of a fixed and stable physical location as a

in Perspectives on contemporary printmaking
Zalfa Feghali

norm –​an anti-​anaesthetic’ (My Beloved Wager p. 161). From the outset, écriture au féminin shows the influence of Hélène Cixous and Luce Irigaray, both of whom were instrumental in theorising what Cixous would later, in ‘Laugh of the Medusa’, call écriture féminine or feminine writing. Ecriture féminine is, in a general sense, a kind of writing that is anti-​logocentric and anti-​phallic. I use Cixous’ theory in its broader sense; that is, I do not see it as a static theory that is limited to formulating a very specific kind of writing that is marked by gender

in Crossing borders and queering citizenship
Context and style of Elemental Passions
Hanneke Canters and Grace M. Jantzen

belittling his audience (Gallop 1982: 37). Moreover, one should bear in mind that both psychoanalysis and continental philosophy are renowned for their opaque style (Macey 1988: 8). Within the French context, many writers including Derrida, Hélène Cixous and Julia Kristeva combine literature, philosophy, psychoanalysis and poetry. In comparison with them, Irigaray’s style is in fact not exceptionally strange or complex (see Duchen 1988; Halsema 1998). A further crucial respect in which Irigaray’s style should be situated in relation to Lacan is with regard to their ideas

in Forever fluid
Elisabeth Bronfen

. In all cases – in the absence of the beloved, the poet can best picture her, namely as his creation, with a reference not so much to any historical reality as to his poetic gift. The poet faces the void of death in order to defy mortality and represents himself as survivor, even if the survival at stake is a reanimation in the celestial beyond. Hélène Cixous distinguishes

in Over her dead body
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
Peter Barry

discourse is immediately apparent. Similarly in all three, the surface of the writing is difficult and the route through to any consequent political action (or stance, even) is necessarily indirect. This kind of postcolonial criticism roughly corresponds, then, to the theoreticised ‘French’ feminist criticism associated with figures like Julia Kristeva or Hélène Cixous. The example of postcolonial criticism offered later is from the work of Edward Said, who is less overtly theoretical, seems to accept some of the premises of liberal humanism, and has a more ‘up

in Beginning theory (fourth edition)
Elisabeth Bronfen

femininity. As Hélène Cixous notes, death is always at work in the construction of this conflict-ridden opposition, ‘for meaning only gets constituted in a movement in which one of the terms of the couple is destroyed in favour of the other’. 1 At the same time, the fear of death translates into a fear of Woman, who, for man, is death. She is constructed as the place of mystery

in Over her dead body
Abstract only
Living in the shadow
Ronit Lentin

1 Introduction: living in the shadow All biographies like all autobiographies like all narratives tell one story in place of another story. (Hélène Cixous 1997: 178) Each one of us, Israelis and Jews, has a shadow, the shadow of the 1948 Palestinian refugees. (Uri Davis 1994: 190) Prologue: May 2008 - exile and last journey? Feelings of doom have accompanied the preparations for my visit to observe the 60th anniversary of the Nakba and Israeli independence. It feels like my last chance to witness the contradictory rituals of the Israelis celebrating their

in Co-memory and melancholia
L’Année dernière à Marienbad
John Phillips

littérature ’, Positif , no. 44 , March . Burch , Noël ( 2005 ), ‘ Retour sur L’Immortelle ’, in Prédal, Robbe-Grillet Cinéaste , 25–33 . Cixous , Hélène ( 1976 ), Portrait de Dora , Paris , Éditions du Seuil des femmes . Deleuze , Gilles ( 1989 ), Cinema 2: The Time Image , London , Athlone Press . Dittmar , Linda ( 1980 ), ‘ Structures of

in Alain Robbe-Grillet
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