To be Two

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Psychology Press, 2001 - 125 pages
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In this major new work, French philosopher Luce Irigaray continues to explore the issue central to her thought: the feminist redefinition of Being and Identity. For Irigaray, the notion of the individual is twinned with a reconceived notion of difference, or alterity. What does it mean to be someone? How can identity be created, or discovered, in relation to others?

In To Be Two Irigaray gives new clarity to her project, grounding it in relation to such major figures as Sartre, Levinas, and Merleau-Ponty. Yet at the same time, she enriches her discussion with an attempt to bring the elements -- earth, fire, water -- into philosophical discourse. Even the polarities of heaven and earth come to play in this ambitious and provocative text. At once political, philosophical, and poetic, To Be Two will become one of Irigaray's central works.

 

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Page 38 - La Motte-Picquet." This change is foreseen, indicated on maps, etc.; if I change routes at La Motte-Picquet, I am the "They" who change. To be sure, I differentiate myself by each use of the subway as much by the individual upsurge of my being as by the distant ends which I pursue. But these final ends are only on the horizon of my act. My immediate ends are the ends of the "They," and I apprehend myself as interchangeable with any one of my neighbors.
Page 20 - Saying that I have a body is thus a way of saying that I can be seen as an object and that I try to be seen as a subject, that another can be my master or my slave, so that shame and shamelessness express the dialectic of the plurality of consciousnesses, and have a metaphysical significance.
Page 22 - Thus there is in human existence a principle of indeterminacy, and this indeterminacy is not only for us, it does not stem from some imperfection of our knowledge, and we must not imagine that any God could sound our hearts and minds and determine what we owe to nature and what to freedom. Existence is indeterminate in itself, by reason of its fundamental structure...
Page 74 - ... the circle of his world, entangles himself in appearance, and so excludes himself from being. He turns round and round in his own circle. He can ward off whatever threatens this limited sphere. He can employ every skill in its place. The violence that originally creates the paths engenders its own mischief of versatility, which is intrinsically issueless, so much so that it bars itself from reflection about the appearance in which it moves.
Page 24 - I wish to add: this is a man's caress] searches, it forages. It is not an intentionality of disclosure but of search ... In a certain sense it expresses love, but suffers from an inability to tell it. It is hungry for this very expression, in an unremitting increase of hunger . . . The desire that animates it is reborn in its satisfaction, fed somehow by what is not yet, bringing us back to the virginity, forever inviolate, of the...
Page 22 - Why is our body, for us, the mirror of our being, unless because it is a natural self, a current of given existence, with the result that we never know whether the forces which bear us on are its or ours — or with the result rather that they are never entirely either its or ours. There is no outstripping of sexuality any more than there is any sexuality enclosed within itself. No one is saved and no one is totally lost.18 18 One can no more get rid of historical materialism than of psychoanalysis...
Page 22 - There is no explanation of sexuality which reduces it to anything other than itself, for it is already something other than itself, and indeed, if we like, our whole being. Sexuality, it is said, is dramatic because we commit our whole personal life to it. But just why do we do this?
Page 21 - The importance we attach to the body and the contradictions of love are, therefore, related to a more general drama which arises from the metaphysical structure of my body, which is both an object for others and a subject for myself. The intensity of sexual pleasure would not...
Page 24 - The caress consists in seizing upon nothing, in soliciting what ceaselessly escapes its form toward a future never future enough, in soliciting what slips away as though it were not yet.
Page 39 - ... transcendence projects its projects, whatever they are, in connection with other transcendences experienced as real presences similarly absorbed in projects identical with my projects, then I realize my project as one among thousands of identical projects projected by one and the same undifferentiated transcendence. Then I have the experience of a common transcendence directed toward a unique end of which I am only an ephemeral particularization; I. insert myself into the great human stream which...

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À propos de l'auteur (2001)

Luce Irigaray is the author of the feminist classics Speculum of the Other Woman and This Sex Which Is Not One. Routledge publishes several of her more recent books, including Je Tu Nous and I Love to You.

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