Abstract
Barthes' rhetoric of sexuality transcribes the text as a body imbued with libidinal energy and capable of generating fantasies through a figurative language that articulates theoretical fictions. In the process of delineating these critical texts, writing aspires to the status of matter. What Barthes terms the grain of the voice-la materialite du corps parlant sa langue maternelle (00, 238)-comes to signify how the body speaks in writing through verbal choreographics which involve positions of passion, its drives, controls and
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