O Mother, Where Art Thou?: An Irigarayan Reading of the Book by Julie Kelso

By Julie Kelso

According to Kelso, the booklet of Chronicles silences girls in particular methods, such a lot noticeably via their organization with maternity. Drawing at the paintings of 2 feminist philosophers, Luce Irigaray and Michelle Boulous Walker, she argues that we may possibly determine significant suggestions of silencing girls in Chronicles: disavowal and repression of the maternal physique. In its easiest shape, the silencing of ladies occurs via either an particular and implicit technique of except for them from the principal motion. mostly banished from the relevant motion, they're infrequently in a position to give a contribution to the creation of Israel s prior. On a extra advanced point, besides the fact that, girls are such a lot successfully silenced via their organization with maternity, as the maternal physique is either disavowed and repressed in Chronicles. The organization of ladies with maternity, in addition to the disavowal and repression of the maternal physique as beginning of the masculine topic, results and promises the silence of the female, permitting guy to visualize himself as sole manufacturer of his global. those concepts of silencing the female have to be understood in terms of the relative absence of girls from the narrative international of Chronicles. Kelso argues that Chronicles will depend on the absence and silence of girls for its imaginary coherence. This argument is enabled by means of Irigarayan conception. yet extra importantly, Kelso means that Irigaray additionally deals us a doable mode (not procedure) of studying, writing, listening, and talking as lady (whatever that will mean), when it comes to the so-called origins of western tradition, particularly the Hebrew Bible or outdated testomony. She argues that Irigaray permits a not just rigorous, feminist critique of patriarchy and its many texts, but in addition, a bit of extra charitably, a method of interpreting that permits girls to learn the prior another way, searching out what is still stumbled on, in particular the forgotten destiny within the past.

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Additional resources for O Mother, Where Art Thou?: An Irigarayan Reading of the Book of Chronicles

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There the analytic subject seeks to play; to repeat the past, rather than to recount it. In this way, the subject of analysis privileges an open subjectivity rather than a deceptive objectification of the narration, a “direct” presentation rather than a past representation, and a dialogue rather than a narrative monologue (Bal, 1991b: 147). What I want to suggest is that all these elements – the drama of transfer­ ence and countertransference, the thwarting of diachronic temporality, and the relation “between two” – are fundamental to Irigaray’s mode of psychoanalytic reading.

As we shall see, Irigaray is scath­ ingly critical of certain analysts (whether professional psychoanalysts or literary and cultural critics) who perform psychoanalytic theory as a uni­ versal scientific method upon an “object” of analysis. Outside of biblical studies there have been three main psychoanalytic approaches to reading literature: analysing the author using psychoana­ lytic concepts (a method favoured by Freud himself);7 analysing the liter­ ary characters; and finally, a focus on both the reader and the literary text as simultaneous players in the psychoanalytic scenario.

I shall explore Irigaray’s analysis of Plato’s myth of the cave here as a preface to her related critique of the psychoanalytic narratives of origins. I will demonstrate in the following chapter that, in universalizing its own theoretical concepts and struc­ tures, psychoanalysis disavows its own culturally and historically deter­ mined status. For Irigaray, Plato’s story of the philosopher’s escape from the cave in the pursuit of truth provides the model of repression that similarly underpins both Freudian and Lacanian theory.

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