On Cixous’ portrayal of the animal

To imagine that the bird soars in unworldliness articulates a rejection of human and societal constraint more so than an accurate portrayal of the animal, especially when humanity’s impact on the world, through climate change related mass extinction, transcends the bounds of its own knowledge and touches even undiscovered spaces. W. D. Ross asks, “Is there a point at which we may write the animal body without insisting on consuming it?” Does Cixous’ framework speak truly of the animal, or does she make of it a romantic symbol of an ideal human freedom? Cixous’ analysis suggests that the animal brings the human beyond humanity, yet the beyond of this statement stands firmly in the human perspective. The author of G. H.’s story calls this beyond ‘inferno,’ but Hell too remains a biblical cliché.

On gendered violence

Does a gendering of violence imply a gendering of trauma? I would answer no. Just because a certain group is disproportionally subject to a specific form of violence does not mean that the reaction is fundamentally different than if it were experienced in a different context. To be a victim of violence is to be a victim of violence. Women do not get to lay claim to violence, nor should they. As feminists, we should not believe that womanhood is ontologically grounded in trauma, so why would we want to lay claim to it?
There is an overabundance of critiques of PC culture which vilify the trigger warning by painting caricatures of wounded students unable to cope with difficult ideas. These, of course, are absurd. Still, I see in feminist philosophy an oversimplification of the role that experience ought to hold in theory. Yes, women hold a more vulnerable position in society than men and this leads to a common experience of trauma and vulnerability. But does a communal experience of vulnerability imply that vulnerability ought to be theorized as a feminine concept? Certainly, vulnerability is a gendered emotion; the communal experiences of women as particularly vulnerable attests to this. But from this communal experience of violence, there has come a reification and normalization of trauma in the name of vulnerability. Now, women are not confined to the home because men tell them the world is too violent, but those same myths have been appropriated into the feminist mainstream. Vulnerability is a normal and necessary human emotion, but trauma is not. Trauma distorts reality and gives meaning to situations that would otherwise be interpreted as ordinary. This does not imply that the experience is not valid, but it does put into question the role of the experience of trauma within an ontology of womanhood. When that distortion of reality is carelessly elevated to the level of theory, trauma becomes a necessary component of womanhood rather than a tragic consequence of navigating the world as a woman.
The relationship between womanhood and trauma is contingent. To theorize a privileged relationship between womanhood and trauma mistakes contingency for necessity and commits a logical error that threatens any feminist project aiming for a radical revision of our social relationships.

On bodily writing

What does it mean to write? The written word flows from the fingertips unbeknownst to the author. An act of creation that does not have its origin in the intellect but from elsewhere. Philosophy relegates itself to the realm of the conceptual; an attempt to make clear the ambiguities that permeate a life and an identity. What does it mean to have idea? From whence does creation spring? What is the meaning of action? And how does the act differentiate itself from the thought? Do they come from the same place?

Is creation the question or the answer? Maybe the moment of inspiration does not spark an idea but mere movement that intends to repeat the inspiration. Creation is not an act of individuality but rather a reinterpretation of universal sensation. A reproduction of the body into an object, a description, a movement not meant to dispel the ambiguity but emphasize it. In philosophy the goal is to argue, an opponent is made clear and there is ambiguity regarding the interpretation, not in the act itself. But to embody a moment is not to clear it, but to preserve its questions. It originates directly from the intimate engagement of oneself, of one’s body fully embedded in the world.

The artist and the creator is radically human such that she is perceived as alienated from humanity. Maybe she is. The goal is to bring movement back into the alienation that is itself fundamentally human. But in reaching towards the depths and creating something (or is it creating nothing?), she reaches deep into the anxious ambiguity that resists becoming voiced. A voicing of that which is common to experience yet inexpressible to many, that which is common to all yet resists any ability to be communicated. This process is not conscious, it is bodily.