英语论文网

highlights formed the outset the impossibility of positioningeither as more original than the other:“You precede me...”“No,you have always...”“Youtoo precede me...”(Cixous 2013:177).As Anne Berger notes,the question of“who begins,who precedes,who come first”(Berger 2013:88)is a subject that arises frequently betweenthem.

Firstly,the narrator’s emphasis on her writing condition highlights that inside is aboveall an irreducibly textual space,rather than a state or body before language.Cixous’mostunique interpretation of death is that death is the beginning.Death is the beginning offeminine self-recognition,and the first step of feminine writing.What feminine writing seeksis the most authentic things.The process of writing is the process of learning in the school ofdeath.To learn in the school of death is to learn to be fearless and to live at the end of life.This is the meaning conveyed by death,and it opens up new space for a new self.Dedansopens with an image of enclosure which both is and is not a prison:“my house is surrounded.It is encircled by the iron grating.Inside,we live.Outside,they are fifty thousand,theysurround us.Inside,all the same,I’m home:I’m sure the will not dare come in.Yet I must goout every day”(Cixous 1986:7).The encirclement makes the house both a space of securityand a space of capacity.

2 The Semi-Fictional Narration in the Writing of Dream as a Way ofDeconstruction

2.1 The Deconstructive Subject in the Narration of Dream

The fact that characters are referred to not by their name but by their relationship to thenarrator makes the“I”the linchpin of the narration.But this“I”is far from a haven ofstability.At times,it suddenly shifts references,forcing the reader to realize that the apparentsameness of the pronoun masks a discontinuity.Cixous’narrators frequently warn against thedanger of believing that any text can unequivocally tell the truth of the author’s life.Her writing draws singularly intensely on events such as the death of her father and son and lifeelements.However,in doing so,she transforms them freely changing even factual elementswith the result that the limit between the fictional and truth remains undecidable.Most Cixousscholarship has attempted to reckon that how Cixous negotiated the border between fictionand truth.This chapter aspires to continue in this direction,starting from the premise that theborders Cixous’writing most repeatedly and insistently crosses are not the frontiers of theorybut the frontiers of fiction.In doing so,this section is elaborating on a remark made in anotherof the landmark readings of Cixous to date written by Derrida.In H.C.That is to say...,Derrida argued that although all Cixous’texts are transfixed with fiction,the fictional elementdoes not dominate,more than anything else does,whether it be called narration,novelistic,dramatic,autobiographical and her poetics run through all that at the same time andsomething else(Derrida 2009:28).Her fictional hyperrealism poses to the classification ofmodes and genres the most formidable,the most unheard-of,and the most interestingproblems.To paraphrase Derrida,Cixous’work is absolutely semi-fictional,but Derridaconsiders semi-fictionality only at the level of genre.What difference does it make if westress fiction as much as poetry as the marker of the literarity it endlessly exceeds?The maindifference concerns the fact as outlined above that fiction is inext本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。