RÉSUMÉ Hélène Cixous a écrit de nombreux essais, consacrés pour la plupart à l’écriture, la sienne et celle d’autres auteurs. Pourtant la place que le genre de l’essai occupe dans l’œuvre de l’auteure est loin d’être claire. Face aux fictions cixousiennes appréciées comme étant les véritables “essais” au sens montaignien du terme, se trouvent les essais en question, souvent écrits à la suite d’une demande extérieure. L’essai même constitue-t-il un genre cixousien à part entière? Une analyse diachronique, qui nous mènera (...) des grands textes qu’Hélène Cixous a écrits en réponse aux urgences de son époque aux textes plus récents dédiés à l’intimité du processus de l’écriture, situera l’essai et son évolution à l’intérieur du développement de son œuvre. (shrink)

This article examines the place of human and animal subjectivity in two autobiographically informed texts by Hélène Cixous. It takes her view on the word ‘human’ and the figure of Fips, the dog of the Cixous family, as a point of departure. By thinking through this figure, I argue, Cixous analyses the dehumanizing logic of colonialism and anti-Semitism in Algeria and develops her own response to such kinds of political evils, arguing for human relationality and animal corporeality. The article shows (...) that Cixous’ meeting with Fips creates a stigma that, belatedly, breaks through the barrier between herself and the dog; the reopening of the wound takes place in a poetical writing that reveals an intense ‘animal humanity’ formed by communal suffering, finiteness, and love. The lesson Cixous learns from the memory of Fips the dog is how to become ‘better human’. This becoming is also an assault on the false humanism of the colonial project and on racialized social exclusion. (shrink)

Torah, the name of the first five books of the ?sacred history? comprised by the Hebrew Bible, tends to be translated as ?Law? and to be affiliated with the separating ?Law of the Father.? But Torah means ?teaching.? Venerable tradition allies this teaching with feminine Wisdom, ?a tree of life.? Theories of poetic language elaborated by such scholars as Julia Kristeva and Hélène Cixous facilitate discovering beneath the Torah's fractured and labyrinthine surface a way of return to the mother. This (...) way is embodied in the inversions, textuality, and concentricity of the rhetorical trope of chiasmus, which exceeds the bounds of the Law to provide a form for the expression of ?woman's desire? and so for the feminine text. Exploring as such the doubly chiastic poem in which, when naming woman in Eden, a human being (adam) changes its name to man (iysh) challenges man's biblical history, while restoring the memory of interconnection with the mother and all life. Reduplications of this transformative moment expand upon sacred history in terms of the Torah's central injunction to love one's neighbor as oneself. (shrink)

Jacques Derrida is known for his attempt at including the perspective of woman in his philosophical work. His efforts received the acclaim of women philosophers, despite the fact that his philosophy remains marked by the omission of any mention to the work of Simone de Beauvoir. The topic of this paper shall not be woman, as in Derrida’s 1972 conference Spurs, but phallogocentrism. That is, the economy, dynamic and limits of this concept as a critique of history, or rather, as (...) the history of the lie, the term by which Derrida seems to conceive of the possibility of any history whatsoever. We agree that phallogocentrism in Derrida’s hands enabled anti-philosophical forays by which to include woman as singularity in the male-dominated French philosophy of the 1970s. However, we also argue that the specter of man was maintained untouched throughout Derrida’s work, thereby suggestion that deconstruction overlooked what may very well be the primary prohibition in Western thought. (shrink)

This essay argues that Hélène Cixous's writings on theatre demonstrate an ongoing concern with the non-theorizable as a fundamental element of her experience of theatre. This creates a tension between Cixous's role as a theorist and her role as a creative writer, and this essay explores how this tension manifests itself in her reflections on theatre. It looks at the strategies Cixous adopts to allow the non-theoretical to inflect her critical and creative writing, focusing on her denial of specialist knowledge (...) about theatre, her conception of the theatre text in opposition to meditation and philosophical reflection, and on her attempts to model her own playwriting process on the practical work of actors and director Ariane Mnouchkine. Cixous's attraction to the non-theorizable, it is suggested, leads to a more poetic mode of criticism about the medium that draws both on embodied theatrical practice and the self/other relationships that structure theatre making. (shrink)

RÉSUMÉ La problématique de l’écriture et la vie sera abordée dans le présent article, où je soulignerai que, dès ses débuts, la position d’Hélène Cixous suppose une distanciation de l’auteure par rapport à l’écriture autobiographique. En centrant mon analyse sur une scène de Si près, je constate que l’expérience de la narratrice faite chez les écrivains publics à Oran démontre cette même position: c’est l’écrivain qui est l’inventeur de l’écriture et la fiction ne reproduit pas le réel. J’établis une comparaison (...) entre Cixous et Cervantes: dans Don Quichotte I, chapitre 9, il y a une scène métafictive qui, d’une manière semblable, nous incite à réfléchir sur « la vérité » de la fiction et sur le rôle de l’écrivain. Puisant l’énergie créatrice au rêve et à l’inconscient, Hélène Cixous crée à partir des traces autobiographiques qui parcourent son œuvre un « miracle littéraire ». Les fragments personnels, tirés de notre histoire commune, prennent une valeur universelle. (shrink)

This article explores the relations between autobiography, fiction and history in the recent texts of Hélène Cixous. It examines the uses and limits of a range of generic categorizations in accounting for these relations. We suggest that most categorizations tend to rely on an underlying oppositionary and exclusive dynamic between autobiography and fiction in which one or the other may be privileged. Our contention is that Cixous's work should rather be understood within an inclusive dynamic in which all three elements, (...) the fictional, autobiographical and the historical coexist in a complex relation which cannot be disentangled. This inclusive dynamic, we suggest, is not only central to an understanding of the texts’ generic dimensions, but also to the specifics of the pact which Cixous establishes with her readers, as well as to the ethical thinking which underlies her oeuvre. (shrink)

The relationship between friendship and theory is neither accidental nor essential. In many ways we might define theory as an attempt to break with the seduction of friendship and, in so doing, est...