Showing papers in "Textual Practice in 1992"
17 citations
TL;DR: In this article, the authors address the politics of the relations between texts in situations where one text offers commentary on another, and present a set of strategies to deal with this problem.
Abstract: This paper addresses the politics of the relations between texts in situations where one text offers commentary on another.
15 citations
TL;DR: The body as pictogram: Rethinking Helene Cixous's ecriture feminine as discussed by the authors was a seminal work in the development of the body as a pictogram.
Abstract: (1992). The body as pictogram: Rethinking Helene Cixous's ecriture feminine. Textual Practice: Vol. 6, No. 2, pp. 225-246.
15 citations
TL;DR: A survey of some male (homo)sexual types in the Renaissance can be found in this article, with a focus on the ladies' tailors of the Renaissance period, and a discussion of the humor of women's tailoring.
Abstract: (1992). What's so funny about ladies’ tailors? A survey of some male (homo)sexual types in the Renaissance. Textual Practice: Vol. 6, No. 1, pp. 17-30.
8 citations
8 citations
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TL;DR: In this paper, Derrida, Heidegger, and Van Gogh's "old shoes" are discussed in the context of textual practice, and a discussion of their relationship is presented.
Abstract: (1992). Derrida, Heidegger, and Van Gogh's ‘old shoes‘. Textual Practice: Vol. 6, No. 1, pp. 87-100.
3 citations
3 citations
3 citations
TL;DR: In this article, women voices inscribe Sarraute's Childhood and Kingston's The Woman Warrior in the form of a set of hand-written hand-carved symbols.
Abstract: (1992). Feminine voices inscribing Sarraute's Childhood and Kingston's The Woman Warrior. Textual Practice: Vol. 6, No. 1, pp. 101-118.
TL;DR: The Symposium is an elaborate fiction, and its original artificiality may be seen paradoxically, as part of its functionality as mentioned in this paper, as a means of circumventing the limitations of the original Symposium.
Abstract: The structure of this dialogue is based on Plato's Symposium. The Symposium is an elaborate fiction. As a genre, that is, as a dramatic dialogue, its main objective is to praise Socrates and to expound his philosophy.
It has also become a paradigm for the exchange and rehearsal of philosophical views. As such, it can be taken as a model for the academic seminar. Its original artificiality may be seen paradoxically, as part of its
function. We have chosen to emphasize the paradox of the Symposium in order to foreground both the enabling and limiting aspects of this legacy. We have used the artificial element of the form as a means of
circumscribing a space where our discourse can proceed. In doing so we acknowledge that this is an intertextual space: a space of dialogue, of exchange and of conflict.
Our version of the dramatic dialogue depends on the adoption of personae: they are Wildean personae, in the sense that we venture to mimic and parody discourses of modernity and postmodernity. Wilde's is the voice of artifice and excess, that which rehearses received discourse
and thereby exposes its exclusions. The excess of which we speak ruptures the discourses of rationality and plurality and returns as the excluded 'other' in both. In spite of the radical claims of our century's intellectual avant-gardes, the concept of a self-critique of dominant discourses still ignores, humiliates and insults the female and, in turn,'feminizes' its own blind spots and exclusions.