By Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M
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Extra resources for A Dialogue of voices : feminist literary theory and Bakhtin
Enjolras, in Femmes ecrites, 30-31, cites Lacan: "Women's power is infinitely beyond all of these male categories, of power, of knowledge, which are mere nonsense, nonsense which doesn't concern them. . " (my translation). 23. Again, Laurence Enjolras points out that all the female parts are present and celebrated, except the one that is traditionally absent: the head. See her chapter "Pour un corps decapite" ("For a beheaded body") in Femmes ecrites. In light of this observation, the Medusa is an interesting choice of figure.
Moreover, the old hags are laughing. This is a typical and very strongly expressed grotesque. It is ambivalent. It is pregnant death, a death that gives birth. There is nothing completed, nothing calm and stable in the bodies of these old hags. They combine a senile, decaying and deformed flesh with the flesh of new life, conceived but as yet unformed. Life is shown in its two-fold contradictory process; it is the epitome of incompleteness. And such is precisely the grotesque concept of the body.
Silenced up until now, she has always been there, beneath the surface. Once this silence is broken, the "whole woman" erupts in violence ("volcanic ... an upheaval of the old property crust") and promptly submerges everything in her path in a wave of desire. My preference for Bakhtin over Cixous, for his concept of dialogic discourse over her definition of feminine ecriture, stems in part from my initial enthusiasm for her work. Her vision of "the one and the other, not fixed in sequences of struggle and expulsion .
A Dialogue of voices : feminist literary theory and Bakhtin by Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M