Re:TheAshLad - Sandbooks

scant space chorosis the dancefloor space. But it still. works the chora
is the scantspace separating the subject from the object man.
natureobject from space etc etc..chora a Platonic term for a. matrixlike
space that is nourishingunnameableand prior to the individual.. Chora
becomes the focus of the semiotic as the'presymbolic.'semiotic the.
science of signs (that which creates the need forsymbolic)cyclical
through. time pre Oedipal and creates unrepressedwriting.Exists in
children before. language acquisition and has significance.symbolic the
domain of position and. judgment chronologically
followssemiotic(postOedipal) is the establishment of. a sign system
always presenthistorical time (linear) and creates repressed.
writing.Kristeva perceives the semiotic chora as structural that is its.
'role' istofirst make a space in which language (as the underpinning.
organisation ofsocialsymbolic interaction) can then work. The recalling
and. momentaryrevitalisation of this semiotic chora in itself is
potentially. disruptive tothepatriarchal symbolic because it ruptures the
latter's normality. by recalling adifferent prelinguistic presymbolic
sense of self in which the. mother oftheImaginary (feminine) and
feelings associated with her are central. andcompelling rather than
peripheral and debased. These 'feelings'. (bodilydrivesrhythms
pulsions pleasures bliss) are never lost and their. memory is
heldprecariously in check by the patriarchal symbolic. They can be.
seen to rise tothe surface through cultural forms in different ways. For.
instance they havebeen retrieved in readings of artistic work where
their. resisting quality maybe'accidental' e.g. in readings of the th
century. photographs of JuliaMargaret Cameron (see Mavor ) or the
abstract works of. HelenFrankenthaler(Pollock ). Feminist cultural
theorists have exposed the. way in whichthesememories remain to
'trouble' patriarchy revealing how. cultural practices andstories (films
rituals fairy tales myths) replay the. moment of patriarchalculture's
formation in which the possibilities of. 'difference' are
continuallyabjected and repressed (Kristeva Creed. Warner ).Kristeva
believes that the subject can gain access more. readily to
thesemioticchora through creative musical poetic practices or even. just
through vibrantuse of colour (Kristeva ). She sees these possibilities. as
already havingtheir origins in the semiotic chora recalling a more fluid.
plural and lessfixed perception of meaning and self which reactivates
feelings. lost in thepatriarchal 'rational'. However Kristeva also makes
it clear that. the'feminine' semiotic chora is not something outside or
beyond language.. Shestates 'if the feminine exists it only exists in the
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