Self-Mimetic Curved Silvering: Dancing with Irigaray

Journal of French and Francophone Philosophy 22 (1):76-101 (2014)
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The upshot of this article is that dance functions in Irigaray’s work in the following three ways: as (1) a symbol of a more positive comportment for heterosexual relationships; (2) an indication that the ambivalence in Irigaray’s work is self-consciously strategic; and (3) an example that teases apart the concepts of negative and positive mimesis, specifically by fleshing out the latter. More concisely, dance constitutes a figure of positive ambivalence (whether between heterosexual lovers, participants in a philosophical dialogue, or aspects of a concept) as self-mimetic, curved silvering in the pursuit of social justice.

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Joshua M. Hall
University of Alabama, Birmingham

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Choreographing the Borderline.Joshua M. Hall - 2012 - Philosophy Today 56 (1):49-58.
Reading Irigaray, dancing.Eluned Summers-Bremner - 2000 - Hypatia 15 (1):90-124.

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