Anna Livia Plurabelle: The Lost Truth of Feminine Subjectivity

Anna Livia Plurabelle: The Lost Truth of Feminine Subjectivity
Anna Livia Plurabelle: The Lost Truth of Feminine Subjectivity The oppressed, repressed, and impressed subjectivity of feminism finds a new opportunity to assert its true self against the stultifying atmosphere of modernism and identity-oriented crisis of postmodern ambience by appealing to the unique characterization of Anna Livia Plurabelle which frequently oscillates phallocentrism and proves the me?connaissance of male selfism and female-otherness to establish a new doctrine based on the fact that the male subjectivity as a desceptionary ruling self is subverted through the intermittent alterity that the indispensable feminine Being-Anna Allmazifull-makes possible.Anna Livia Plurabelle (alp) represents a kind of discourse (gramma?s grammer) that grammatologically brings forth a new status in which feminine otherness is altered into an origin that governs all patriarchal claims postrated and confirms them margin subject to feminine alterity.
To achieve a full subjectivity through alterity, Joyce appeals to dream, a means in which the self is fully lost and the process of becoming other flows without the trammel that consciousness brings about. Dream contains potentiality to make one which is two-Anna Livia and her daughter Issy or Anna and Kate. Anna lives so many lives especially her pre-self (Issy) her own current self, and her post-self (Kate) to certify feminine power which dwells in the male unconsciousness. Also, through dream, the three processes to which Freud refers as distortion, displacement, and condensation, are depicted to give more authenticity to gramma?s grammer. That is through these processes the unconscious is structured to appeal the logic with the purpose of proving the nature of real feminine subjective manipulation over male-made canon. Hence the term alterity.
Tracing back the origin of alterity, one comes to term with sexuality as a genetic drive, in possession of female. Again, at this point Anna Livia stands at the head as an invincible representative of women and manipulates the condition through her top hand.
Anna who is prayed as "? Allmazifull, the Everliving, the Bringer of Plurabilities ? (FW: 104.1-3) dissipates hce into Howth Castle and Environs and gives us an important key to establish the motif of stone as death and the delineation of the creative power of sexuality reminds us the tree motif as life: so, the dialectic of stone and tree metaphorically stands for the dialectic of death and life within the sphere of the Hegelian Absolute Being (alp). In all these becomings we witness very luminary revelation of alterity done from top to down (from female to male).
Anna Livia is in the course of ceaseless becoming. She puts herself in different guises, unprecedented in the realm of being. She is this river (Liffey) and that mount(Alp),
, hither and tither, past, present and future and even the nothingness which gives meaning to being.
One of Anna?s eye-catching altered figures is Kate who stands for Anna?s future. Albeit, Kate is attached to Anna by synecdoche to highlight a key part of alp as another affirmation of feminine alterity. Kate deciphers so many codes in relation to Anna Livia, though in body separated, during the text it turns out that they are one in two. Kate signifies ALP?s extreme moment of alterity to keep the cycle of word and world, life and death, love and hate, man and woman going, being anew, recirculation, alterity, oneness of self and other, absolute being, Hegelian spirit as a mother, mater and matter of all.
Through the subversive parole of ?gramma?s grammer?, Anna eradicates pha llocentrism. Her rhythmic, maternal, semiotic voice which as a powerful source is a creative chaos, that is Lacanian letter of unconscious, defies all male-established canons and puts patriarchy into inescapable scarequotes.
Anna Livia with her provocative alterity, incessantly subverts what is considered as imperious and sonorous paternal voice. The result is the effacement of phallo-centric self and celebration of lisping libidinal iterations out of the unconscious especially in a whisper of polyphonic labial ?LPs?.
Finnegans Wake is known to be the continuation and completion of Joyce?s earlier works. For example what Clay suffers of, Finnegans Wake celebrates triumphantly. Maria is a diminutive, shy woman who is trapped in the male modern world: repressed and frustrated. But this restricted characterization explodes in FW and eclipses all the surrounding like an ontological umbrella in the form of alp and revenging Maria?s frustrations dictated from patriarchal ideology manipulates, reverses and inverts male-reality by an oneiric verisimilitude to transfer the materials from illusionary self to unconscious alterity as a formidable stance for female identity.
With all that said, feminism in its revolutionary tenet is experienced through alp, so that patriarchal canon is seriously challenged by a female whose position is paralled to God, the originator of the initiative atom and letters.
Psychoanalysis in its poststructuralist sense dislocates not only the subject as centre, but the very concept of centring itself as well. The alienated fissured subject of Lacan undid the foundation of western concepts of subjectivity that considered grammer as the manifestation of self-conscious rationality.
In some ways, Lacan shows up the irretrievable gap between subject that speaks (of him/herself) and the subject that becomes the object of the grammatical sentence. Both Freud and Lacan believed that the other is the inhabitant of the subject in culture and discourse. But Lacan further argued that the subject?s history is constructed in the ?intersubjective continuity of [his/her] discourse? (Ecrits: 49). Therefore, the subject to some extents is said to be structured by other, which in turn is structured by the ?big Other? (culture).
In Finnegans Wake, the weird relationship between signifier and signified, makes the issue of subject and subjectivity more complicated. The revolution of word disrupts the previous symbolic order and defies bourgeois practices allied with the repressed desires of a male libidinal economy.
Anna Livia proves the name of the father to be a primary patriarchal signifier continually rendered impotent by the act of verbal castration performed by a rebellious son who defies the authoritarian progenitor.
Anna Livia is determined to subvert male linguistic dominance and orchestrate Lacanian primodial ?signifier of signifiers? which stands for Freudian Phallus, and celebrate what Kristeva alls theological stance.
The issue of desire in FW is in the model of Lacanian definition of Hegelian desire. According to Hegel, human desire is construed as a desire for another desire, dialectic of desiring which results in fatal struggle for superiority. The Other, Hegel believes, is that which by its very nature ?frustrates? the human being (Seminar 1:77). So, in the dialectic of desire, HCE?s desire demands Anna Livia?s, but because Anna?s desire is self-standing, the dialectic is true only for male, for Anna?s is autonomous, unilateral one. By definition, alp has crossed human border and is in parall with Omnipotent Power in this regard.
In any case, in the dialectic of warring male/female desire, though Anna?s is dominate, she demonstrates her history-long dominancy over male illusionary claims, but tries to make an equilibrium between her supremacy and HCE?s postration to integrate hostile family members in peaceful communion. According to Hegel, two opposite desires (!) come together to make a union towards absolute being.
Two gossipy washerwomen, washing HCE?s dirty clothes on river bank divulge many hidden angles of ALP?s and HCE?s lives, as far as in concern to repression, frustration, sexual history and so many other factors affecting subjectivity because of the alterity-based power of unconscious especially on textual surface that is assumed the field in which self represents itself to other and which is sole ontological assay between self and other. The lascivious male desire is tamed from above to be harnessed and be directed to something desirable for femininity.
The washerwomen uncover the moment of marriage to be failure during human history and the issue is worsened by people around gossiping destructively. They stand for those who all-knowingly disgrace Anna Livia?s likes and prove the inevitability of the oral harms.
The washerwomen, who posed moral and ethical questions at the beginning, dissolve into unconscious universal text and cosmic cycles of racial community as the women themselves fade into atavistic and hypermnesiac landscape to become part of the rocks and trees and stones that unite them with great mother earth (geometer).
Through this mechanism we thoroughly enter into dream and dissolution that absorbs the waking mind and makes consciousness to dwell in an inanimate world in which even the distinction between self and other, between conscious identity and inanimate matter is gradually effaced. The book?s textual unconscious remains the voice of the river and echoes the real being of infinite psychic maternal alterity permanently.
The importance of letters is an emphatic insistence on the relation between the construction of subjectivity and the role of letter and the extent the latter affects the former. Lacan believes that immediately the human enters the symbolic realm, he/she loses full subjectivity and the unconscious stands somewhere between being and symbolic. The letters in FW break the conscious boundaries and home themselves in unconsciousness to unravel the semiotic microcosm of linguistic macrocosm. This is a codic nature of text and a central aporia which governs the reflection of gaps and fragmented utterances in miniature and in polysemic discourse.
The letter which is found among the dungheaps is an enigma of graphemes that implicitly depicts a sexual history hidden in the tissue of the epistle?s integument.
The text of this holy epistle covers the dissolution of self and other into each other through marriage and copulation. A titillating ?sexmosaic? of bodily parts comes together in a ceremonial unity as an act of moving toward wholeness in which all differences and distinctions are resolved to meet an all-giving originator. The epistle also promises that sex and text are one (sext) and its something that is exclusive for Anna, to be distincted as a holy whole, as a mocker and manipulator of male desire which non-stoppedly proves hce to be subjected to self-erasure and death, revived only under the power of omni-potent alp.
The World of FW is haunted by the presence of alp and Issy, the presence that gives meaning to silence and absence of presence, the history of absent centre which always creates gap on the way to become one, but accompanied with its dissolution that the feminine desire makes possible from above.
The three-plus-one pattern, based on Giambattista Vico?s ?Principi di Scienza Nuova? (Italicized), elucidates the fact that history is composed of birth, marriage and death followed by ricorso or recurrence which precedes the beginning of a new cycle. This machinery vicociclometer signifies that male and female are united in marriage to be bisexual (one) after birth, and immediately death comes, the resurrection begins to make an eternal cycle. Joyce in depicting Anna?s and Humphrey Chimpden Earwicker?s union and ricorso emphasyses on a cosmic pantomime.
The ricorso is chaotic but Anna?s Lyrical voice rejuvenates the deads and bestows ontological order-in-itself is subject to alterity to find unity not in marriage but in death, the point at which all become one and the absolute Being orchestrates its actualization.
The significance of subject and subjectivity is to the extent that all postmodern philosophers consider the issue from different angles. Micheal Foucault defines the goal of life, becoming other. Heidegger believes that subjectivity is composed of ecstatico-ontological moments, therefore, the subject envisages eternal gap, far from being full. Deleuze and Guattari focus on a non-autonomous, subjectless, schizoanalytic self that shatters down the borders of individuality, but a fusional, transitivist emergent self.
Kristeva argues that subject is always in process and under trial. Lacan emphasizes that immediately we enter the symbolic realm, the subject is fissured and that full subjectivity is left behind in the domain of Being. Hegel, who is a predecessor for many Postmodern figures, view the subject as whole that is achieved in the lieu of a thoroughgoing movement toward Absolute Being. Derrida thinks that there is nothing as self, but just instantaneous becoming and fading into something far from subject. Also, Immanuel Levinas is in the idea that we live in the moments of ex-cendence, as a means of immediate need to escape from self. Althusser believes that we are subjectless objects subject to mechanical alterity of capitalism.
Among these theories, whatever is concerned to Anna Livia Plurabelle, is in close relation to Hegelian absolute being. Of course, the matter is not just so simple but rather a complicated process in which three main phases must be ahead: the embodiment of the other or how the other is construed through alterity, the representation of other, and how the identity is treated in this apocalyptic and chaotic status.
To maintain the Other, a complex machination of meaning and perverse semic machine breaks the traditional fixity of issue at hand with absolute resistance against reduction or what is referred to as Lapsus (a moment of irreducibility). ALP?s letters are totalization which creates the other as part of itself to make whole. The process of ?breaking? makes the other (other text) possible which as ruined sign structures and quasifragmentation, like Levi-Straussian bricolage, effaces the difference between writing and translation or mediation. In short the ?alp? of discourse (its object) is already ?inside? the same discourse (as subject).
The authentic place and space, necessary for the embodiment of the other, remains as a trauma belonging to myth and to the moment of its occurrence, and whatever is achieved is in ontological realm.
The transversal representation is a desire-like process which has a schizophrenic function in regard to inside and outside text. Such transverse divides (it) self, and goes under erasure, so that becomes the center of interrogation. And because of such an erasure, any effort to handle it will lead to failure. This schizophrenic discourse, renders the three letters of alp and hce into desimplification of falsification, canceling and concealing itself purposelessly, and avoids any direct exposition and exhibition of subject and subjectivity. Hence the term transversal representation. According to Derrida, discourse is "that forgetting of the self, that exteriorization, and acting on the contrary of internalizing memory. And Hegel sums up the issue as pure self-recognition in absolute otherness.
Any tact to deal with the structure of identity in concern to alp and hce (nominally ?Anna Livia Plurabelle? and ?Humphrey Chimpden Earwicker?) faces a hamper, because it always remind us the concept of the fall (Eden, Babel) and the notion of sundering. Instead of unity, the text creates as an object of a ?Paradox Lust? (FW: 263.L4), the metaphysical or phenomenal identity is replaced by a hermeneutic mirage with structural nature. The identity is conceived as a type of matrix or acrostic to be viewed upon the relations between all of its parts.
The three letters A.L.P and H.C.E are disseminated in the text. Here, the form and content interact on equal levels of importance. These letters are infinitely permutated and combined, for example H.C.E becomes quasi-molecular compound H2CE3 [FW: 95.12]. Or A.L.P in its historical motif involves an anagram of the name ?Plato?.
However, it is crystal clear that, nowadays the subject has digressed to an inky existence on paper and has become signifier void of any signified. But on paper its strong, covering all history of subjectivity, sexuality and identity, compressed in three letters A.L.P in FW. Through this process alp defies all pre-established theories and fixities and subverts whatever previously considered as origin, center, subject, self, and so many illusionary items in regard to subjectivity and identity to emphasize one genetically-proved and highly emphatic point that Anna Livia Plurabelle deploys identity face to face with apocalyptism again itself as its own apocalyptic ontology of genetic truth.

Anna Livia Plurabelle: The Lost Truth of Feminine Subjectivity 8 of 10 on the basis of 2856 Review.