The Metaperformative and Gendered Space

  • Jenn Figg
Part of the Analecta Husserliana book series (ANHU, volume 106)


The early Wittgenstein commits himself to the view that, if they are to be sensible, words can only point to the world and not to the pictorial form of the signifiers themselves. I criticize this thesis on two grounds. First, words are also Austinian instruments of performance. Second, words can depict both their pictorial and performative functions. I show this meta-relationship with respect to Julio Medem’s Lucía y el Sexo, Nan Goldin’s photographs, and Marnie Weber’s image juxtapositions. In drawing attention to showing what words can do, I suggest these that artists exploit the fact that words can show what words do in order to complexify our understanding of womanhood and gender.


Sexual Object Naked Body Sexual Dependency Gender Space Naked Woman 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. Atwood, Margaret. Survival: A Thematic Guide to Canadian Literature. Toronto: Anansi, 1972.Google Scholar
  2. Atwood, Margaret. The Circle Game. Toronto: House of Anansi, 1998.Google Scholar
  3. Boal, Augusto. “Theatre of the Oppressed.” The New Media Reader. Eds. Noah Wardrip-Fruin and Nick Montfort. Cambridge, MA: MIT Press, 2003. xv, 823 pp.Google Scholar
  4. Dambrot, Shanya Nys. “Interview: Marnie Weber”. 2008. Artkrush.
  5. Ensler, Eve. The Vagina Monologues. 1st ed. New York: Villard, 1998.Google Scholar
  6. Freud, Sigmund. The Wolf-Man. With the Case of the Wolf-Man. New York: Basic Books, 1971.Google Scholar
  7. Gould, Timothy. “The Unhappy Performative.” Performativity and Performance. Ed. Andrew Parker and Eve Kosofsky Sedgwick. New York: Routledge, 1995, pp. 19–44.Google Scholar
  8. Lucia Y El Sexo. Dir. Julio Medem. Perf. Paz Vega and Tristán Ulloa. Palm Pictures, 2001.Google Scholar
  9. Mazur, Adam, and Paulina Skirgajllo-Krajewska. “If I Want to Take a Picture, I Take It No Matter What: Interview with Nan Goldin”. 2008. fotoTapeta. (5 May).
  10. McLuhan, Marshall. “The Medium Is the Message.” The New Media Reader. Eds. Noah Wardrip-Fruin and Nick Montfort (Cambridge, MA: MIT Press), 2003, xv, 823 pp.Google Scholar
  11. Meyer, Carlin. “Sex, Sin, and Women’s Liberation: Against Porn-Suppression.” Texas Law Review 72 (1994), p.1097.Google Scholar
  12. Mitchell, W. J. Thomas. What Do Pictures Want? : The Lives and Loves of Images. Chicago: University of Chicago Press, 2005.Google Scholar
  13. “Purlieu.” The Encyclopædia Britannica. New York: Encyclopædia Britannica, Inc., 1911. Vol. 11.Google Scholar
  14. Stacey, Judith. “Can There Be a Feminist Ethnography.” Women’s Studies International Forum 11 (1988), pp. 21–27.CrossRefGoogle Scholar
  15. Weinbren, Grahame. “In the Ocean of Streams of Story.” MFJ: Millenium Film Journal. 28 (1995).Google Scholar
  16. Weintraub, Linda. In the Making : Creative Options for Contemporary Art History and Studio Classes. New York: D.A.P./Distributed Art Publishers, 2003.Google Scholar
  17. Wittgenstein, Ludwig. Tractatus Logico-Philosophicus. New York,: Harcourt, Brace, 1933.Google Scholar

Copyright information

© Springer Science+Business Media B.V. 2010

Authors and Affiliations

  1. 1.Department of EnglishVirginia Commonwealth UniversityRichmondUSA

Personalised recommendations