Ontological violence: Catherine Malabou on plasticity, performativity, and writing the feminine. Issue 1 (2nd January 2020)

• Record Type: Journal Article
• Authors: Andersen, Tawny
• Is Part Of: Culture, theory and critique. Volume 61:Issue 1(2020)
• Page Start: 4
• Page End: 21
• Publication Date: 2020-01-02
• Subjects: Humanities -- Periodicals; Social sciences -- Periodicals; Electronic journals; Civilisation moderne et contemporaine -- Périodiques; Culture -- Périodiques; 306
• DOI: 10.1080/14735784.2020.1761414
• Languages: English
• ISSNs: 1473-5784

Abstract

ABSTRACT: Catherine Malabou's opinion of non-essentialist models of gender identity and art is unambiguous: in her words, they are 'catastrophic' to women and to artists (Malabou [2014]. 'Sujet: Femme'. de(s)générations des féminismes 21, 29-38: 135). What, then, are the implications of Malabou's hallmark concept of 'plasticity' on theories of performativity? Has plasticity come to supplant performativity, just as Malabou believes that it has come to supplant Derridean writing? Or if, as Malabou suggests, philosophical concepts are inherently plastic, may we maintain that performativity was always already plastic? In the following article, I read Malabou's work on writing alongside her work on the feminine in order to question how plasticity and performativity might be examined together to theorise the ways in which the discursive and the material interact in the production of subjectivities. By highlighting the performativity at play within Malabou's own writing about the end of writing, I propose that her work challenges her claim that literature cannot deconstruct philosophy. In response to Malabou's anti-essentialist plastic theory of the essence of woman, I underline the parallels between performativity and plasticity and suggest that the two concepts overlap in their mutual configuration of identity and form as mutable and transformable.