Criticizing Lacan and Levinas, and starting from Freud and Lacan’s denial of the womb and from the Genius-Male-Hero, who is self-creating and holds the power of creation and thus depends on the elimination of the birth-giving begetting mother, I continue my research to formulate a feminine difference that is neither dependency/disguise nor revolt and struggle in the phallic texture. Unlike other ideas concerning the difference of the feminine, the originary difference that I call matrixial supplies a measure of difference that (...) functions between a woman and a woman, and not only between a man and a woman. With the concepts of the Matrixial, metramorphosis, border-swerving, borderlinking, I outline how both male and female subjects have access to the matrixial sphere and might, as artists, become a ‘woman-artist’; how the Matrixial dissolves the concept of the unitary, separate phallic subject; and how female bodily specificity allows the conceptualization of a field of co-affectivity, shareability and transmissibility. I develop the aesthetic and psychic value of the matrixial voice and its resonance as trans-subjective, based upon a psychic Encounter-Event. Even though the matrixial difference refers both primarily and on the levels of the Imaginary and the Symbolic to the female body – womb, fetus, gestation, pregnancy provide its corpo-real basis – the Matrixial is formulated in terms of a transgressive stratum of subjectivation, where unconscious trans-subjectivity occurs due to particular links and transmission between partial-subjects and partial-objects in co-emergence and co-fading. (shrink)

A critical analysis of Diana Fuss's Essentially Speaking: Feminism, Nature, and Difference and Elizabeth Grosz's Sexual Subversions: Three French Feminists.