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Cixous’writing of death deconstructed the time linearity to prescribe the present throughthe past.The power of writing is presented as beyond the narrator’s control.The narrator isboth with and in language.Narration is inseparable from the question of time.As PaulRicoeur has argued,it is a primary way we make sense of time.“Time becomes human timeto the extent that it is organized after the manner of a narration;narration is meaningful to theextent that it portrays the features of temporal existence”(Ricoeur 1984:3).We make senseof time:narration is a fundamentally dynamic process.That is the reason why purely spatialapproach to Cixous’work is necessarily insufficient.

In Cixous’feminine writing,the deconstructive narration is indicated by a chaotictimeline in the writing of death.Dedans is consisted of two parts,the first focusing on thenarrator’s childhood relationships with her father,especially with the imaginary father sheinvents after his death,grandmother,and to a lesser extent,her mother and brother.Thesecond is focusing on her adult relationships with various lovers.Although the relationshipbetween the two parts is never directly articulated,the question of the repetition of childhoodexperiences in adult life is thus central to the book’s concerns.The father’s early loss endowsCixous death:she knew from experience that death can be survived,and can give way to life.Faced with the deconstruction of the world,the narrator’s response is to live on,to extend theboundaries of life:“Finally I pushed aside the limit of life on both sides of the present:thepast was just a story,I would tell myself another past instead of the one my mother had notpreserved”(Cixous 1986:12).Or as she states towards the end of the book:“He has plantedin my soul the seeds of immortality.From now on we will live against death.[...]Man’s onlyweapon is the strength of the imagination.If you do not want to use it to badger the present,you are dead”(Cixous 1986:130).Here,Cixous intends to employ imagination to badgerdeath in the present.

1.2 The Spatial Deconstructive Narration in Fictional Death

The spaces Cixous intends to approach are neither outside nor opposed to the sphere ofknowledge;she is concerned not to valorise a position of ignorance,but rather to displace therelation between knowledge and power.Derrida left no written trace of his thoughts concerning the preponderance of the theoretical in his discourse relative to Cixous.However,the idea of her relative irreceivability dominates his evocation in H.C.That is to say...of hisresponse to her works.He recalls his initial reaction twice in strikingly similar terms,once atthe beginning of the text and once towards the end:“What is this?I asked myself more or less.What is happening here?What is happening to me?What genre?Who could ever read this?Me?”(Derrida 2006,100)In contrast with reading Cixous in the light of Derrida,Cixous is asmuch the precursor as the inheritor of Derrida’s deconstruction.Indeed,the first of their manytexts relating to the other’s work 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。