By Anne-Claire Mulder
What has Luce Irigaray’s assertion that girls want a God to do together with her innovations at the relation among physique and brain, or the practical and the intelligible?Using the theological thought ‘incarnation’ as a hermeneutical key, Anne-Claire Mulder brings jointly and illuminates the interrelations among those various subject matters in Luce Irigaray’s paintings. Seesawing among Luce Irigaray’s critique of philosophical discourse and her positive philosophy, Mulder elucidates Irigaray’s concepts at the kin among ‘becoming lady’ and ‘becoming divine’. She indicates that Luce Irigaray’s restaging of the relation among the practical and the intelligible, among flesh and note, is vital to her reinterpretation of the relation among girl and God. In and during her interpretation of Luce Irigaray’s ideas at the flesh she argues that the relation among flesh and observe has to be noticeable as a dialectical one, rather than as a dualistic relation. which means ‘incarnation’ isn't any longer obvious as a one-way means of observe turning into flesh, yet as a continual means of flesh changing into notice and be aware changing into flesh. For all pictures and ideas – together with these of ‘God’ – are produced by way of the flesh, divine in its creativity inexhaustibility, in line with the contact of the opposite. And those photos, innovations, phrases in flip develop into embodied, by means of touching and relocating the flesh of the topic.
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Additional resources for Divine Flesh, Embodied Word: Incarnation as a Hermeneutical Key to a Feminist Theologian's Reading of Luce Irigaray's Work
The fort-da game is described on pages 14-17. Sigmund Freud interprets Ernst's game of throwing the cotton-reel and pulling it back again as motivated by the 'Bemächtigungstrieb', the instinct or drive to master: the drive to master a situation; in this case the drive to master (the presence and absence of) his mother. 33 For Ernst becomes master of his 'puppet-theatre' through the mechanism of representation. Though the mother is absent, she is present again through her re-presentation: the cotton-reel.
An important detail to this stage of the game - and to Luce Irigaray's interpretation of the game is the fact that Ernst throws the cotton-reel into a curtained cot (in einem verhängten Bettchen), the sides whereof are covered with (textile) fabric. When Ernst throws his cotton-reel away, over the side of the cot, it is indeed 'fort': 'out of sight'. Soon after Sigmund Freud has seen the game in its complete form its meaning dawns on him: it is a way of coping with the absence of the mother. Having said that, Sigmund Freud suggests three interpretations of the game.
This is less likely to be a parricide than a matricide. Grosz, E. (1990), Jacques Lacan. A Feminist Introduction, London/New York: Routledge, 69. 13 Whitford, M. (1991b), Luce Irigaray, 173 & 175. 21 the murder of Clytaimnestra by her son Orestes as revenge for her murder of his father, ánd the appeasement of the Erinnyes or Furies, who pursued Orestes in revenge for his deed, in a court of justice in Athens. In these three plays Aeschylos uses old mythological material and rewrites it in such a way that it reinscribes and reenacts the establishment of a patriarchal order in the city.