This paper explores the symbolic implications of Luce Irigaray's images of the female body, particularly the two lips and the mucous. It suggests that Irigaray's work reveals some of the problems attendant on "positive images of women.".

Feminism could be described as a discourse that negotiates corporeality, what a body is and what a body can do. Nevertheless, the specter of essentialism means that the biological or anatomical body, the body that is commonly understood to be the "real" body, is often excluded from this investigation. The increasingly sterile debate between essentialism and antiessentialism has inadvertently encouraged this somatophobia. I argue that these opposing positions are actually inseparable, sharing a complicitous relationship that produces material effects.

Drawing on the work of Irigaray and Levinas, this paper discusses the ethical limitations of Lacan's "mirror-stage" dynamic and interpolates a different interpretation of the material he uses to elaborate his theory. Close attention is paid to the significance of metaphors of vision and touch in the work of the three philosophers. The paper develops into an analysis of Irigaray's and Levinas's interpretations of touch as the differential site of ethics.

My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.