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By Vicki Kirby

In Telling Flesh , Vicki Kirby addresses what could be the significant theoretical factor in either the social sciences and feminist concept, specifically the nature/culture dualism. Her specific concentration is on postmodern ways to corporeality. Kirby explores how those methods examine the physique when it comes to that means, and she or he argues that they lead to the belief that language is an enclosed area and the materiality of the physique a built artifact. Kirby examines the results of this assumption within the paintings of Jane Gallop, Judith Butler, and Drucilla Cornell, in addition to in contemporary cyber-criticism. She argues that their concept of tradition doesn't, as they meant, disrupt the conservative implications of the nature/culture department. as a substitute, nature and tradition contrive to hang-out their paintings within the type of an undeclared worry of the flesh.

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Extra info for Telling Flesh: The Substance of the Corporeal

Sample text

Consequendy, the actualization of identity, as this notion might refer to that of the individual speaking subject, or again, to a particular concept, becomes the embodiment of concrete universality—in this case, the specific incorporation of community and of language. Given the above discussion and with all due caution to the claim that intention is ever at one with itself/the author, or with the reader who interprets it, it seems safe to suggest that the above exegesis of agency far exceeds Saussure's own purpose, however faithful it may be to the ironic letter of his text.

17 Jakobson made a definite distinction between "the work of poetry" and "the poetic function": 36 Vlckl Klrby Novalis and Mallarme regarded the alphabet as the greatest work of poetry. Russian poets have admired the poetic qualities of a wine list (Vjazemskij), an inventory of the tsar's clothes (Gogol'), a timetable (Pasternak), and even a laundry bill (Krucenyx). (1987: 369-70) Jakobson also argues that "the content of the concept of poetry is unstable and temporally conditioned. But the poetic function, poeticity, is, as the 'formalists' stressed, an element sui generis, one that cannot be mechanically reduced to other elements" (1987: 378).

What, then, is the relationship between thought and language that will justify this division of ephemeral from concrete phenomena; this division between the world that language appears to reflect and the world whose actual, or substantial reality, lies veiled behind it? Despite the commonsense conviction that thinking and speaking are 22 Vlckl Klrby quite distinct activities, associated only for the practical purpose of communication, we learned above that language and thought are inextricably implicated.

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