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Thibaut Raboin

the same questions: the hospitality of the performance stage can be just as conditional as that of the asylum system itself. Hélène Cixous, in her notes for the programme of Le Dernier Caravansérail, a 2003 performance by the French company Théâtre du soleil, conceives of the theatre stage as another place where hospitality can be exerted. However, this hospitality, in order not to be conditioned by repressive logics of appropriation and subjection, must be reflexive: Cixous presents the show with an introduction titled ‘How not to …’, a series of questions seeking

in Discourses on LGBT asylum in the UK
Kieran Keohane and Carmen Kuhling

that he cut out for himself in the forest of modernity, the Cyclops for Joyce is not a figure of deprecation, but on the contrary one to be admired and emulated, a sovereign god-like authority who makes decisive actions that shape the historical, political and cultural landscape by virtue of his will to power. 16 Developing Derrida, Cixous (1976) says that ‘phallogocentrism’ is the operative principle of culture that is male-dominated. Just as the phallus is implicitly (or explicitly) assumed to be the only significant sexual organ, the masculine is accepted as the

in The domestic, moral and political economies of post-Celtic Tiger Ireland