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Bruce Irigaray Research Paper

Decent Essays

Luce Irigaray’s philosophy focuses on women’s identities and the symbolic order. In relation to women’s spirituality, Irigaray recognizes that women cannot become divine women as theorized through her framework of the mirror and how one’s god is imagined in relation to one’s own identity (67). In addition, women and their relation to the media is tied to spirituality and Irigary’s philosophy through normative injunctions surrounding beauty and divinity. As well, women’s literature, poetry, and short stories are essential in dismantling phallocentric language within the existing symbolic order. Women and the media and women writers exemplify Irigaray’s theories that women’s identities are based on men’s ontological certainty through a male …show more content…

Firstly, in Brandt’s poem “missionary position (2),” she writes “there was a great crashing in my / ears the day God became man & the / last heavy link of the great command / came tumbling to earth i became my / own mother” (29). This connects to Irigaray’s ideas that because man is separate as a gender to women, he and God are not defined by the female. Moreover, because there is no woman God, women’s connection to the infinite is tied to the virgin mother and that she can only become divine through her son’s inherent perfection (Medd, March 20). Furthermore, Sawai’s short story, “The Day I Sat with Jesus on the Sun Deck and a Wind Came Up and Blew My Kimono Open and He Saw My Breasts,” explores the imagination and what is seen to be impossible in the world as a possibility in a fictive text. That is, words have multiple meanings and truths (Medd, March 24). Irigaray discusses how the imaginary stage is essential in how women define experiences. While the symbolic stage – the law of the father – centres male-embodied experiences into language, the imaginary stage emphasizes the body and experimenting with the impossible (Medd, March 17). As well, this narrative redefines the self within the existing symbolic order, adding a shock factor with the beliefs that we have internalized (Medd, March 27). For example, Sawai writes Jesus with sexually charged imagery and with intertextuality of Christian verses, such as “He kissed me on my mouth. Then He flicked my nipple with His finger” (31). This shock, utilized with other literary techniques, demonstrates that Irigaray’s ideas of the symbolic order and the imaginary stage are crucial in order for women writers to project their identities and

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