Diss. Örebro : Örebro universitet, 2009. / Pp. 253-270: Bibliography.

As a historically racialized utterance, nigger has been a contested and despised word since the late 17th Century. Now, in the 21st Century, nigga is still considered one of the most impactful words in the English lexicon. This dissertation provides one situated and contingent analysis of nigga as a moment of excess in the Higher Education classroom. I wed Judith Butler’s theorizing of ex-citable speech via her analyses of J.L. Austin’s influential conceptualizations of speech acts and Louis Althusser’s interpellation to Henry Louis Gates’ theory of Signifyin(g) in order to interrogate the multitudinous articulations and appropriations of nigga as a Signifyin(g) performative. Through my theorizing of nigger-nigga as a Signifyin(g) performative, I interrogate the continuity and discontinuity of use specific to the English Composition and Literature classroom, as well as within multiple Higher Education classrooms and discussions. I interrogate use through the methodology of what I classify as Foucauldian-lite Discourse Analysis, in order to examine nigger and nigga as ex-citable speech. My intention is to interrogate how these utterances inflect and influence constructions of multiply conflicting and complimentary histories, identities, subjectivities and power relationships of professors and students in visible and invisible ways. The Untitled Supplemental Image is a metaphor for my methodology. The image is of my mother’s hands, which a woven throughout the dissertation, symbolically represents my memory of the first time I heard the utterance nigger.

La presente investigación propone analizar la vivencia y construcción de las masculinidades de un grupo de Drag Queens peruanas, quienes son personas que nacieron como hombres, se identifican como hombres gais y realizan una caracterización para un show nocturno. Este es un estudio cualitativo con un enfoque fenomenológico descriptivo. Para ello, se realizaron siete entrevistas semi-estructuradas para explorar la construcción de sus masculinidades a lo largo de las distintas etapas de la vida y tomando en cuenta la influencia que ejerce el Dragqueenismo en este proceso. El análisis de los resultados fue estructurado en tres áreas principales: a) Significado del género y de las masculinidades, b) Vivencia de ser distintos desde pequeños y c) ¿El Dragqueenismo como factor liberador del modelo hegemónico? De manera general, se encontró que estas personas se encuentran en un proceso constante de reconstrucción de su masculinidad y presentan ciertas características que se oponen al modelo hegemónico. Estas abarcan el entendimiento del género como un fenómeno fluido y diverso, la exploración de la feminidad que se encuentra dentro de ellos como una posibilidad placentera y la presencia de gustos y preferencias distintas a los estereotipos hegemónicos de la masculinidad como jugar con muñecas o practicar vóley. No obstante, si bien su trabajo como Drag Queens les brinda la posibilidad de profundizar en su identidad y autoestima, aún existen ciertos rasgos que mantienen las estructuras hegemónicas como las demandas estéticas femeninas, las cuales se exigen a sus personajes Drags. Este trabajo busca brindar aportes acerca de lo favorable que resultan las masculinidades disidentes para cambiar las estructuras tradicionales que limitan el desarrollo integral de los varones y genera violencia y desigualdad en nuestra sociedad. Del mismo modo, espera ser una guía para futuras investigaciones donde se aborde a la misma población con el objetivo de acabar con los prejuicios que sufren en nuestro contexto. / The present research seeks to analyze the experience and construction of the masculinities of a group of Peruvian Drag Queens, people who were born as men, identify themselves as gay men and perform a characterization for a night show. This is a qualitative study with a descriptive phenomenological approach. To reach this, seven semi-structured interviews were conducted to explore the construction of their masculinities throughout the different stages of life and considering the influence that Drag has on this process. The analysis of the results was structured in three main areas: a) Meaning of gender and masculinities, b) Experience of being different since childhood and c) Dragqueenism as a liberating factor of the hegemonic model? In general, it was found that the participants of this study are in a constant process of reconstructing their masculinity and present certain characteristics that are opposed to the hegemonic model. These include the understanding of gender as a fluid and diverse phenomenon; the exploration of femininity found within them as a pleasurable possibility; and the presence of preferences that does not match with the hegemonic stereotypes of masculinity, such as playing with dolls or playing volleyball. However, although their work as Drag Queens gives them the possibility to go deeper in their identity and self-esteem, there are still certain traits that maintain hegemonic structures such as feminine aesthetic demands. This work seeks to provide contributions about how favorable dissident masculinities are to change the traditional structures that limit the integral development of men and generate violence and inequality in our society. In the same way, it hopes to be a guide for future research where the same population is approached with the objective of ending the prejudices they suffer in our context.

For such a vexing topic as gender identity, this dissertation asks a rather straightforward question: If gender identity is—as Judith Butler has asserted—socially constructed and discursively mediated, then why does transgender hormone therapy (THT) work? This is the question concerning endocrinology that I ask Butler, and their answer is, if requiring of delicate assessment and interpretation, clear: it doesn't. Butler's work reveals an admonishing view that the efficacity of THT is due to placebo effect, in turn brought on by the bewitchment of the trans* who seeks medical transition. In a logic similar to sin and salvation, if only the trans* had not believed in gender dysphoria, then there would be no (putative) efficacity to THT whatsoever. With our answer, we begin a perilous adventure of discovering just why such a preeminent gender theorist (and trans* themselves) with no experience of gender dysphoria, and no desire to medically transition, would say this. We examine Butler's gender theory, their concept of desire, their views on the self, on transsexuality, their rarely discussed philosophies of science and nature, and their dearth of citations of transsexual voices. Due to this lack, I lend my own, relying upon my experience with gender dysphoria, THT, and medical transitioning. Unfortunately, in the times we live with attacks against *trans people and their healthcare, these questions could not be less theoretical, and more practical. In my view, Butler simply does not believe in the physical validity and medical exigency of gender dysphoria—the primary reason that we transsexuals pursue THT. Thus, in a dissertation that addresses questions of existential urgency and indisputable suffering, I show that Butler's gender theory lacks explanatory power and conceptual coherency, at a time when medically transitioning trans* could not need it more.

Memoria (licenciado en ciencias jurídicas y sociales) / El trabajo pretende una revisión crítica de la denominada “hipótesis represiva” de la sexualidad, centrándose en el rol de la prohibición de la sodomía. La tesis central consiste en plantear que la proscripción de la sodomía no sólo es la manifestación del tabú de la homosexualidad masculina sino que es –también– constitutiva del paradigma falo(go)céntrico en atención al cual la agencia sexual femenina es jurídicamente invisibilizada

This thesis explores the representation of gender, desire, and identity in elegiac discourse. It does so through the lens of post‐structural and psychoanalytic theory, referring to the works of Michel Foucault, Judith Butler, Jessica Benjamin, and Laura Mulvey in their analyses of power, gender performativity, and subjectivity. Within this thesis, these concepts are applied primarily to the works of Tibullus, Propertius, and Sulpicia, ultimately demonstrating that the three love elegists seek, in their poetry, to construct subversive discourses which destabilise the categories by which gender and identity were determined in Augustan Rome. This discussion is supplemented by the investigation of Ovid’s use of elegiac discourse in Book 10 of his Metamorphoses, and the way in which it both comments upon Augustan love elegy and demonstrates a number of parallels with its thematic content. This thesis focuses especially on the representation of power relations within elegiac discourse, the various levels on which such relations operate and, finally, the possibilities for the contestation of and resistance to power, in addition to the motivations that might lie behind the poet‐lover’s frequent attraction and submission to it.

This thesis provides a sociological understanding of how conventional knowledge of sexuality negates the identity formation of black gay men in contemporary South Africa. It investigates the coming out experiences of six black gay men in order to reveal the disjunctures between being black and being gay. The theoretical formation of disjuncture is pursued through examining a number of sociological, historical, psychoanalytical, and feminist approaches to identity, sexuality, and society; featuring specifically the theories of George Herbert Mead, Michel Foucault, and Judith Butler. The chosen research paradigm is symbolic interactionism, postulating both „pragmatist‟ and „empiricist‟ trends that lead to both interactionist and structuralist forms of argumentation. The interactionist approach to sexuality is central to the deconstruction of sexual conventions. It involves conceptualising modern sexuality in the landscapes of African colonial history and the global gay and lesbian movement. The prescribed literature on homosexuality is thus reviewed in conjunction with the South African gay and lesbian struggle, so as to spawn themes and perspectives for conducting life story interviews. The use of the life story interview favours the participants‟ own view of the studied phenomenon, yet aims to depict the structural influence on homosexual identification. Following the qualitative research tradition, the data analysis is based on the interpretation of narratives. It illustrates interpersonal relationships and microscopic experiences that lead to the self-acceptance and self-actualisation of homosexuality. Within these processes, various disjunctures that exist between the cultural sanction of lifestyle and individual choice, between parents and children, between religious belief and personal desires, and between gender identity and sexual orientation are disclosed. The findings are associated with the historical transformation of masculinity in South Africa, sex role performance, and the heterosexualisation of desire. The solution to the proposed research problem is discussed through concepts of socialisation and gender conformity.

Esta investigación tiene como objeto de estudio al reality show Rupaul’s Drag Race, el cual es analizado a partir de la teoría de la performatividad de género de la filósofa estadounidense Judith Butler, donde la autora toma como ejemplo a la performance drag para mostrar que el género es se performa, es decir, que se construye y da la ilusión de ser una esencia a través de los actos performativos. Para Butler, las drag queens imitan y actúan el género para hacer su performance, por lo que evidencian esta performatividad. Mediante el análisis del discurso, analizaremos bajo una mirada cualitativa-deductiva siete capítulos del reality show para reconocer si se cumple o no la performatividad del género en ellos; además de identificar en qué segmento de la estructura narrativa del programa se muestran más y quiénes son los personajes dentro del reality que más se acercan a este concepto. Finalmente, como conclusión principal hallamos que la teoría de la performatividad se cumple, en su mayoría, en el reality show Rupaul’s Drag Race y que son las drag queens que se acercan más a este concepto a través de lo expresado verbalmente por ellas en la ejecución de los desafíos principales del programa y la presentación de sus personajes en la pasarela. Estos dos segmentos coinciden dentro de la estructura narrativa del programa, con el segundo acto de acuerdo al Paradigma de Syd Field, justo en donde se ubica la confrontación del relato y la toma de decisiones por parte de los personajes, siendo cada uno de ellos el primer y segundo nudo de la trama.

This dissertation is a report on how Tom Lanoye, a contemporary Flemish author who explores themes of social relevance, deconstructs the sexual identity of his characters within the context of a postmodernist culture. The manifestation of this deconstruction process is described within those theoretical paradigms of Michel Foucault and Judith Butler that link sexual identity and social mores. For the purpose of this research Tom Lanoye‘s ‘Monster’ Trilogy was selected. Set against the backdrop of Belgium society during the late nineties of the twentieth century and highlighting the moral downfall of the Deschryver patriarchy, Lanoye’s novels address an assortment of contemporary gender and social political issues in his trilogy. These include the following: political corruption; incest; homosexuality; racism; the sexual abuse of minors; the relation between language and identity, volatile childrenparent relationships; the subversion of gender norms and sexual transformation. / In hierdie verhandeling word verslag gedoen van die wyse waarop Tom Lanoye as hedendaagse eksponent van die Vlaamse versetprosa die seksuele identiteit van sy karakters binne die konteks van 'n postmodernistiese verwysingsraam dekonstrueer. Die manifestasie van hierdie dekonstruksieproses word beskryf binne die teoretiese paradigmas met betrekking tot die verband tussen seksuele identiteit en maatskappy van Michel Foucault en Judith Butler. Vir die doel van hierdie ondersoek is Lanoye se 'Monstertrilogie' geselekteer. Gesitueer teen die agtergrond van die Belgiese maatskappy in die laat negentigerjare van die twintigste eeu en gefokus op die morele ondergang van die Deschryver-patriargie, sny Lanoye se trilogie 'n verskeidenheid van aktuele gender-en sosio-politieke kwessies aan. Hierdie kwessies sluit in: politieke korrupsie; bloedskande; homoseksualiteit, rassisme; die seksuele misbruik van minderjariges; die verhouding tussen taal en identiteit; onbestendige ouer-kind-verhoudings; die ondermyning van gendernorme en die kwessie van seksuele transformasie. / Afrikaans & Theory of Literature / M.A. (Afrikaans)

Text in English with abstracts in English, Afrikaans and isiZulu / There has been considerable debate amongst feminist scholars as to whether the normalization of cosmetic surgery positively impacts women, empowers women by promoting agency and choice (Gimlin 2002, Kuczynski 2006), or oppresses women by propagating patriarchal ideologies that confine women’s bodies and consequently inhibit their voice (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Rather than entering this debate my argument proceeds from a premise that the normalization of cosmetic surgery is a form of implicit and exclusive violence. Using a selection of post‐structuralist, feminist, and psychoanalytic theories, I analyze the manner in which this form of violence confines women’s bodies and structures the psyche. Using Jacques Lacan, Judith Butler, and Michel Foucault’s argument on pastoral power, I deconstruct the formation of the normalized self, the conscience, and the act of confession as it translates in the context of the cosmetic surgical body itself. Furthermore, I highlight liberal feminism’s role in this form of oppression. In so doing, I theoretically show the continual and effective functioning of pastoral power in the context of an individualization technique that oppresses women in the second decade of the twenty‐first century. I argue that the normalization of cosmetic surgery provokes a silencing of woman’s voices, an exploitation and oppression of the individual’s psyche, and an invalidation of the living body by a less visible, less explicit, mode of incarceration that is concealed by an aesthetic and moral veil. It is in this context that I present a counter discourse to the oppression that underlies the normalizing discourses promoted by the cosmetic surgical industry, a destabilization of patriarchal norms embedded within cosmetic surgical discourses, and a theoretical reconstruction that involves an inscription of what I refer to as an authentic feminist voice in contemporary consumer culture – a mode of intimate unconscious insurgence. I advocate a return to Julia Kristeva’s theory and the intimate revolt promoted by her ethical approach. Furthermore, I present a voice that demonstrates an intimate revolt – a voice that challenges patriarchal norms and is not exclusively confined by the mechanisms of normalization that shape the twenty‐first century woman with emphasis on the cosmetic surgical industry and its superincumbent discourses – the South African poet Antjie Krog. It is Krog’s skillfully structured poetic texts that facilitate my theoretical reconstruction. Applying Kristeva’s theory on semanalysis, I theoretically show that Krog’s work fabricates an excess to the confines of the law of the Father and the mechanisms of normalization itself. In addition, I present an “originary attachment” as an adaption of Kristeva’s argument on the chora and my proposal of an “originary ideal” challenges Kristeva’s emphasis on phonetic grams in the context of that which underlies the realm of the paternal metaphor. Using Louise Viljoen’s analysis of Krog’s work and Bridget Garnham’s research on emerging designer cosmetic surgical discourses as support, I then present Krog’s poetic texts as a counter discourse to the “moral” cosmetic surgical discourses that exploit the ageing individual in the second decade of the twenty‐first century. In addition, applying Kristeva’s theory on paragrams to Krog’s poetic text(s), I present a destabilization of the patriarchal norms implicit within cosmetic surgical discourses. Furthermore, I extend Kristeva’s theory on the principle of negativity to present a re‐translation of the act‐of‐confession in Krog’s poetic text(s), an extension of Foucault’s pastoral power and Butler’s argument on the exclusivity of normalization, and a reclamation of her ageing body in Verweersrkrif/Body Bereft (Krog 2006). / Feministiese geleerdes voer al geruime tyd 'n warm debat oor die kwessie of die normalisering van kosmetiese chirurgie vroue positief beïnvloed, vroue bemagtig deurdat dit volmag en keuse vir hulle in die hand werk (Gimlin 2002; Kuczynski 2006), of vroue onderdruk deurdat dit patriargale ideologieë voorstaan wat die vroueliggaam inperk en gevolglik die vrou inhibeer om haar stem te laat hoor (Blood 2005; Blum 2005; Clarke en Griffin 2007; Heinricy 2006; Tait 2007). In plaas daarvan om by hierdie debat betrokke te raak, gaan ek van die veronderstelling uit dat die normalisering van kosmetiese chirurgie 'n vorm van implisiete en eksklusiewe geweld is. Aan die hand van post-strukturalistiese, feministiese en psigoanalitiese teorieë ontleed ek die manier waarop hierdie vorm van geweld vroue se liggaam onderwerp en hul psige vorm. Ek dekonstrueer die vorming van die genormaliseerde self, die bewussyn en die daad van belydenis, soos dit in die konteks oorgebring word, aan die hand van Jacques Lacan, Judith Butler en Michel Foucault se beskouings van herderlike oftewel pastorale mag. Hierbenewens onderstreep ek die rol wat liberale feminisme in hierdie vorm van onderwerping speel. Sodoende demonstreer ek teoreties hoe die voortdurende en effektiewe funksionering van pastorale mag in die konteks van ’n individualiseringstegniek vroue in die tweede dekade van die een-en-twintigste eeu onderdruk. Ek maak die aanname dat die normalisering van kosmetiese chirurgie daartoe bydra dat vroue die swye opgelê word, die individu se psige uitgebuit en onderdruk word en die lewende liggaam ontkragtig word deur middel van ’n inkerkering wat minder sigbaar en minder eksplisiet is en agter ’n estetiese en morele sluier verdoesel word. In hierdie konteks bied ek ’n teendiskoers aan vir die onderwerping wat onderliggend is aan die normaliseringsdiskoerse wat die kosmetiesechirurgiebedryf ondersteun, en ek bepleit dat die patriargale norme wat in diskoerse oor kosmetiese chirurgie vassit, gedestabiliseer word. Ek demonstreer verder ’n teoretiese rekonstruksie wat ’n inskripsie insluit van wat ek ’n geloofwaardige feministiese stem in die eietydse verbruikerskultuur noem – ’n modus van intieme, onbewuste opstandigheid. Ek bepleit 'n terugkeer na Julia Kristeva se teorie en die intieme oproer wat deur haar etiese benadering voorgestaan word. Afgesien hiervan stel ek ’n stem voor wat ’n intieme opstand demonstreer – ’n stem wat patriargale norme uitdaag en nie uitsluitlik onderdruk word deur die normaliseringsmeganismes wat vorm gee aan die vrou van die een-entwintigste eeu nie, waar die klem op die kosmetiesechirurgiebedryf en die boliggende diskoerse daarvan val – Antjie Krog, Suid-Afrikaanse digter. Dit is juis Krog se kunstig gestruktureerde digterlike tekste wat my teoretiese rekonstruksie fasiliteer. Aan die hand van Kristeva se teorie oor semanalise toon ek teoreties dat Krog se werk ’n ruimte daarstel wat "uitstyg" bo die grense wat die wet van die Vader en die normaliseringsmeganismes stel. Hierbenewens stel ek ’n "originêre gehegtheid" as aanpassing van Kristeva se beskouing van die chora voor, en my voorstel van ’n "originêre ideaal" daag Kristeva se opvating oor paragramme uit in die konteks van dit wat ten grondslag lê aan die gebied van die paternalistiese metafoor. Op grond van Louise Viljoen se ontleding van Krog se werk en Bridget Garnham se navorsing oor opkomende diskoerse oor ontwerpers- kosmetiese chirurgie bied ek Krog se digterlike tekste aan as ’n teendiskoers vir die "morele" diskoerse oor kosmetiese chirurgie wat die verouderende individu in die tweede dekade van die een-en-twintigste eeu uitbuit. Daarby, deur Kristeva se teorie oor paragramme op Krog se digterlike teks(te) toe te pas, demonstreer ek 'n destabilisering van die patriargale norme wat implisiet in diskoerse oor kosmetiese chirurgie teenwoordig is. Hierbenewens brei ek Kristeva se teorie oor die negatiwiteitsbeginsel uit deur middel van ’n heroorsetting van die belydenisdaad in Krog se digwerk(e), ’n uitbreiding van Foucault se pastorale mag en Butler se opvatting oor die eksklusiwiteit van normalisering, en ’n opeising van Krog se verouderende liggaam in Verweerskrif/Body Bereft (Krog 2006). / Sekubekhona izingxoxo-mpikiswano eziningi kwizifundiswa zama-feminist ukuthi ngabe ukwenza isurgery yohlinzo olungajulile ukuzishintsha ukubukeka ngokwemvelo (cosmetic plastic surgery) kunomphumela omuhle yini kwabesimame, ngabe kuhlinzeka ngamandla kwabesimame ngokuphakamisela phezulu ukuthi umuntu azenzele akufunayo kanye nokuzikhethela (Grimlin 2002, Kuczynski 2006) noma kuyinto ecindezela abesimame ngokuqhubela phambili indlela nama-idiyoloji abekwa ngabesilisa ukuthi imizimba yabesimame kumele ibukeke kanjani, kanti lokhu kucindezela izwi labesimame (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Kunokuthi iphuzu nami ngingenele kule ngxoxo-mpikiswano, elami iphuzu lona liqhubeka ukusukela kwisimo sokuthi ukwamukela uhlujzo olungajulile lokuzitshintsha ukubukeka kwabesimame (cosmetic surgery) kuyindlela yodlame olungaqondile ngqo kanye nolukhipha inyumbazane abesimame. Ngokusebenzisa amathiyori epost-structuralist, awe-feminist kanye nawepsychoanalytical, ngihlaziya indlela le nhlobo yalolu dlame ecindezela ngayo imizimba yabesimame kanye nokuhlela indlela okumele bacabange nokuzibona ngayo. Ngokusebenzisa iphuzu likaJacques Lacan, Judith Buttle kanye noMichel Foucault lamandla okukhokhela ngokomoya, ngiqhaqha indlela okubumbeka ngayo isithombe sokuzibona, unembeza kanye nomoya wokuhlambulula ngokuzidalula (confession) lapho kubhekwa izinto ngaphansi kwesimo somzimba wokuhlinzwa okungajulile ukuzishintsha ukubukeka ngokwakho. Nangaphezu kwalokho, ngigqamisa indima ye-liberal feminism ngokwayo kule nhlobo yencindezelo. Ngokwenza lokho, ngikhombisa ngokwethiyori ukuqhubeka nokusebenza kwamandla esikhokhelo ngokomoya ngaphansi kwethekniki yokuzazi komuntu eyedwa okucindezela abesimame kwiminyaka elishumi yesibili, yesenshuri yamashumi amabili nanye . Ngiqhubela phambili iphuzu lokuthi ukwenziwa kohlinzo olungajulile lokuzishintsha ukubukeka kuqala umoya wokucindezela izwi labesimame, ukuxhashazwa kwabo, kanye nendlela umuntu azibona ngayo ngokwengqondo, kanye nokucindezela umzimba ophilayo ngezindlela ezingazibonakalisi obala, ezifihlekile, indlela yokubopha efihlwa yindlela yokubukeka kanye nokwembozwa umoya. Kungaphansi kwalesi simo lapho ngethula khona i-discourse yencindezelo eyenza ukuthi imboni yohlinzo olungajulile ukuzishintsha ukubukeka kwabesimame kube yinto ephakanyiswayo nokubonwa iyinhle, ukuphazamiseka kwama-norm endlela yengcindezi yabesilisa, ngaphansi kwama-discourse okuhlinzwa okungajulile ukushintsha ukubukeka, kanye nokwakha ithiyori ebandakanya ukubona izinto ngendlela ethize, engikuchaza njengezwi okuyilo elifanele le-feminism, kwisimo sosiko esiphila ngaphansi kwaso samanje - okuyindlela abantu abazibuka ngayo ezingqondweni ngendlela engekho obala. Ngigcizelela ukubuyela kwithiyori kaKristeva, kanye nokuthi abantu babhoke indlobana ngezindlela eziphansi, okuyinto ayiphakamisayo yenkambiso yokwazi okulungile nokungalunganga (ethical approach). Naphezu kwalokho, ngiveza izwi elibonisa ukubhoka indlobana kwabesimame ngendlela engekho sobala - izwi elifaka inselele kuma-norm okubhozomelwa ngumqondo wokulawula kwabesilisa, kanti futhi leli zwi aligcinanga nje kuphela umumo wabesimame ngendlela ejwayelekile njengowesimame wesenshuri yamashumi amabili-nanye ngokugcizelela kwimboni yohlinzo olungajulile lokuzishintsha ukubukeka, kanye nendlela lokhu okuyisihibe ngayo – ngokusho kukasonkondlo waseNingizimu Afrika, u-Antjie Krog. Imibhalo yezinkondlo zikaKrog ezinobungcweti yiyo eyenze ukwakha kwami kabusha ithiyori. Ngokusebenzisa ithiyori kaKristeva ye-semanalysis, ngibonisa ngokwethiyori ukuthi umsebenzi kaKrog uqambe okweqele ngaleya kwizihibe zomthetho kubaba kanye nezindlela zokwenza izinto zibukeke ngendlela evamile noma zingavamile. Nangaphezu kwalokho, ngifakela i-"originary attachment" njengokwenza ukuthi kube kwesinye isimo, iphuzu likaKristeva ku-chora kanti isiphakamiso sami se-"originary ideal" sifaka inselele kusigcizelelo sikaKristeva ngamagremu efonethiki ngaphansi kwesimo esigcizelela umfanekiso ngasohlangothini lobaba. Ngokusebenzisa ukuhlaziya kukaLouise Viljoen kumsebenzi kaKrog kanye nocwaningo lukaBridget Garnham ngokuvela kwama-discourse ohlinzo olungajulile ukuzishintsha ukubukeka njengesisekelo, ngase ngethula imibhalo yezinkondlo zikaKrog njenge-discourse yokuphikisa ama-discourse e-"moral" yama-discourse ohlinzo olungajulile lokuzishintsha ukubukeka, elixhaphaza abantu abagugayo ngeminyaka eyishumi yesibili kwisenshuri yamashumi amabili-nanye. Naphezu kwalokho, ngisebenzise ithiyori kaKristeva kumapharagramu kwimibhalo yezinkondlo zikaKrog, ngaphazamisa imibono yokuphatha kwabesilisa equkethwe kuma-discourse ohlinzo ulungajulile ukuzishintsha ukubukeka. Ukuqhubekela phambili, nginwebe ithiyori kaKristeva ngesimiso se-negativity ukwethula ukuhumusha kabusha umoya wokuzihlambulula ngokuzidalula otholakala kwizinkondlozikaKrog, ukuwukunweba amandla umbono kaFaucault wamandla okuthi abantu bazibone ngenye indlela kanye nephuzu likaButler wlkuthi into engavamile engaphandle ibonwe njengento efanele, kanye nokwamukela umzimba ogugayo kwinkondlo ye- Verweerskrif/Body Bereft (Krog 2006). / English Studies / D. Litt. et Phil.(Theory of Literature)