Lastly, the place of the subject directs analysis to two differing subjects: the enunciatory
and the enunciated.
Against the grain of Levinas's, Bakhtin's, Mandel'shtam's, and Celan's insistence on enunciatory
and ethical singularity," Eskin claims finally, it appears to be possible.
The notion of third culture informs us that when reading diaspora poetry, we can no longer continue to think of place as confined to geopolitical boundaries, and we must re-imagine place as a dynamic body of trans-local interelationships, where the enunciatory
overlay of differential cultural passages contests singular teleology by, admitting foreignness of languages, alienated memories and marginal experiences.
In this wavering encounter, how should we judge, if it is the case that we are limited in our respective enunciatory
processes by our history and geography?
moment of multiple belief is both a defence against the anxiety of difference, and itself productive of differentiations.
Go Piet"; "Thank you Otto") in the enunciatory
registers of sports fans rooting for their team or star.
In order to denounce the act of colonization Bhabha attempts to articulate an enunciatory
disorder with an ambivalent signification.
The compounding of narrative levels in the tale thus serves a dual function: it calls the reader's attention to the illocutionary circumstances of narration and undermines the enunciatory
specificity of each act of narration.
In Godard's work, texts speak to other texts from a multiplicity of enunciatory
The attribution of this passage to Freud's Voice in the Benmussa version totally effaces the amusedly tolerant, if slightly disdainful, effect of the external enunciatory
In Bhabha's formulation, this understanding of culture as "an enactive, enunciatory
site," rather than as an epistemological object, "opens up possibilities for other 'times' of cultural meaning (retroactive, prefigurative) and other narrative spaces (fantasmic, metaphorical)" (178).
10) By maintaining its speech/writing ambiguity, Dante's poem, like the Logos, might retain both its trans-temporality as a textual work and the singular actuality of an enunciatory
History writing itself, he observes, "seen as a mode of utterance, or enunciatory
performance" is then revealed
like the sprawling irreducibility of the fiction he has ostensibly authored [constituting Ihimaera's The Matriarch], may [suggest] features of a postcolonial and post-patriarchal discursive performative that eludes the dualities of mastery and subjection, through the continual mobility of a third-person enunciatory
position spiralling towards an encircling inclusivity.
This democratic and dialogic enunciatory
position establishes a new power balance between the author and the reader, and allows the text to triumph.