By Helene Cixous
This publication deals a chain of extraordinary textual stories of significant literary figures and "emergent" authors. Written in an obtainable, direct sort the texts may be learn as idea for Helen Cixous's fictional and significant practices. They not just introduce readers to writings from Brazil, Russia and jap Europe, in addition they provide new, incisive insights into vintage works akin to Joyce's "Portrait of the Artist" and Kafka's "Before the Law". whereas the choice of texts displays Cixous's ongoing crisis with the beginning of writing, with questions of affection and the reward, and her insistence on excitement, in addition they exhibit her curiosity in difficulties of historical past. The juxtaposition of texts throughout centuries and nationwide boundaires opens up intriguing probabilities of a number of and fluid readings. Drawing on philosophy and psychoanalysis, this quantity of readings could be learn facet by means of aspect with "Reading With Clarice Lispector" as an ongoing meditation on ethics and poetics
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Additional resources for Readings: The Poetics of Blanchot, Joyce, Kakfa, Kleist, Lispector, and Tsvetayeva
Dedalus, for example, can communicate with the Ancient Fathers. Most often we do not deal with the law but only with its representatives, its incarnations and figures. All of Portrait of the Artist occurs in a classical Oedipal space because there is someone who laid down the law for him who puts down the law. Generally we are before a hairy father and an aunt with brushes. But in life we encounter representatives of the law who are mistaken for the law because we do not look behind them. The force of Kafka's text is that he does not deceive the world.
This would question the scene of the law, which cannot be separated from the law. Worse, perhaps, he could not say: If there is only I, then I am wrong because truth is universal. But where could the error be? In the door, in the moment, in the keeper? There has been no doubt until now, but it occurs with the dock (but). The keeper recognizes that the man is going to die, for one cannot doubt the law during one's lifetime. One cannot doubt death, since one is no longer here to doubt it. "The doorkeeper recognizes that the man has reached his end, and, to let his failing senses catch the words, roars in his ear: 'No one else could ever be admitted here, since this gate was made only for you.
True, men know how to sublimate, they have a libidinal interest in sublimation, and women do not. That is where we women have our political problems. These are real differences. There is something of the other that cannot be transmitted unless there is a political revolution such that a masculine man will let go of his phallic position and accept, even without understanding, the possibility of something else. 1980-81 Notes 1. Clarice Lispector, Perto do coracao selvagem (Near to the Wild Heart) (Rio de Janeiro: Livraria Francisco Alves, 1963).