Pleasure and Power: Nussbaum on Butler

Edvard Munch - puberty (1895)

Martha Nussbaum in her article “The Professor of Parody” (1999) gives an explanation of contemporary American feminist discourse focused on the example of Judith Butler’s work. Nussbaum’s critique focuses on three main issues: Butler’s complicated narrative, her lack of originality on the analysed topics and the conclusions she withdraws from them, and her passivity concerning social and political changes. Due to my research topic I will focus on the former and the latter arguments.

Nussbaum infers from the obscurity found in Butler’s texts a lack of honesty which may consist in complicating simple statements and arguments in an aim to disguise them under a high intellectual value ‘since one cannot figure out what is going on, there must be something significant going on, some complexity of thought’ (1999: 4). Indeed, Nussbaum refers back to Socrates’ defense of clarity and simplicity in philosophical thought, claiming against sophists and rhetoricians whose ‘manipulative methods showed only disrespect [for the soul]’ (1999: 5). Therefore, Nussbaum suggests ideological purposes in Butler’s text, however, she does not consider the possibility of these texts as being an expression of an unconscious meaning, instead she stands easily for a lack of meaning, a simple reproduction of issues, mentioned by previous authors, in a confusing verbosity (1999: 4-5).

The third point of Nussbaum’s critique regarding Butler’s passivity is interesting insofar it relates to Foucault’s questioning the repeatedly use of our supposed repression in contemporary discourses. According to Nussbaum, Butler’s texts are so theoretical and symbolic that they ignore the real and material situation of women who are victims of social and political injustices being unable to help them (1999: 12). Nussbaum suggests Butler’s arguments to be ‘focus narcissistically on personal self’, while there exists other feminist scripts concerned in ‘building laws and institutions, without much concern on how a woman displays her own body and its gendered nature’ (1999: 13). But Butler, argues Nussbaum, finds pleasure living within the same structures which oppress her, belonging to them insofar they are the conditions for her being, as for its victims: ‘I cannot escape the humiliating structures without ceasing to be, so the best I can do is mock, and use the language of subordination stingingly’ (1999: 10).

However, Butler’s attitude can also be understood as a need to keep this structures alive in order to generate oppression and hence her own discourse. This conclusion may arise a polemical and ethical question concerning the academia, its economic sources, and its scope of influence outside itself which mostly refers back to sexual politics, as Nussbaum implicitly points out through her whole article. In Foucauldian terms, there would be a need either to create repression or sustain it in order to justify new discourses on the body. In this context, Nussbaum’s claims on Butler’s passivity would remain insufficient, as Butler’s discourse does not only avoid change but it stands against it as its only possible existence is within these structures in a masochistic relationship; hence, the question arises, is she constructing a masochistic body? This relationship between body, pleasure and power, may logically support patriarchal social and family organizations as a source of pleasure for women, which shows a high cynicism and contradictions in Butler’s texts. In fact, Nussbaum mentions feminist theorists’ comfortable positions ‘in safety of their campuses, remaining on the symbolic level’ instead of ‘work in changing the law, or feeding the hungry’ (1999: 13).

Ricoeur, Hermeneutics and Psychoanalysis III


According to Ricoeur, Freud approaches man as desire before he can be word, that is, man speaks in order to express her desire, which reinforces Ricoeur’s theory of the semantics of desire when approaching psychoanalytical hermeneutics: the word is born from human desire, therefore semantics before being anything else are desire. However, we cannot forget Freud’s Beyond the pleasure principle where he states that death is stronger than the libido, how then does man balance his death impulse? Freud says: trough the union with another human being, that is, trough Eros desire is born in the relationship with another person different than myself, and only this union overcomes the death impulse. However, Ricoeur, far from happy, with this explanation gives to the death impulse another sense: creativity; the death impulse in man leads him no to destruction but to symbolical creation: ‘La pulsion de mort soit représentée par une fonction aussi considérable qui n’a rien à voir avec la destructivité, mais au contraire avec la symbolisation ludique, avec la création esthétique et finalement avec l’épreuve de réalité elle-même’. In this context it is interesting the blur border between destruction and creativity, a very postmodern topic, is not deconstructionism a way to create again from the ashes?

The transformation of death into aesthetic creation – what Ricoeur calls symbolization – is the expression of man’s dissatisfaction; if Eros is a constant in human life, creation is what aims to satiate the insatiable desire, the insatiable Eros, so that the death impulse does not long for destruction but improvement: ‘Si l’homme pouvait être satisfait, il serait privé de quelque chose de plus important que le plaisir et qui est la contrepartie de l’insatisfaction, la symbolisation. Le désir donne à parler en tant que demande insatiable. La sémantique du désir, dont nous parlons sans cesse ici, est solidaire de ce report de la satisfaction, de cette médiatisation sans fin du plaisir’.

Ricoeur’s arguments regarding the death impulse resemble those on the concept of sublimation where he again puts the emphasis on the need for creation. It seems that the French philosopher gives a big importance to man’s  creative self-fulfillment rather than to repressed sexuality. Men would solve their inner conflicts through symbolization being the artist the touchstone of this expression: ‘L’artiste comme le névrosé, se détourne de la réalité, parce qu’il ne peut satisfaire à l’exigence de renoncement pulsionnel et transpose sur le plan du fantasme et du jeu ses désirs érotiques et ambitieux. Mais, per ses dons particuliers, il trouve un chemin de retour du monde fantasmatique vers la réalité : il crée une réalité nouvelle, l’ouvre d’art, où il devient effectivement le héros, le roi, le créateur qu’il a désiré être, sans avoir besoin de faire le détour d’une transformation effective du monde’.

Ricoeur, Hermeneutics and Psychoanalysis II


Ricoeur argues how the dream is a kind of discourse which needs to be translated into another discourse to find out the latent meaning the dream-image encloses; the dream is here understood as ‘désir en images’, hence the Ricoeur’s choice ‘semantics of desire’ for a psychoanalytical hermeneutics.  So two different discourses are working together to interpret a whole hide meaning, a process called ‘travail de rêve’: the dream belongs to the meaning discourse, while the act of suppression to that of power, that is, in a psychoanalytical interpretation there is always a dialectics of manifested image meaning and the will to suppressed it; to put it into speech is to overcome the discourse of power -understood as resistance to be pronounced. The dream image contains in itself this dialectic as the image is indeed a revelation and a disguise of the same meaning. The mask is what better symbolizes the dream: it reveals and conceals simultaneously, and, I think, this revealing and concealing is an essential part of the erotic -in opposition to the porno-, so the link between the dream and desire may be found in this mode of appearance, something which is revealed and concealed.

‘Le rapport du caché à montrer dans le déguisement requiert donc une déformation, ou une défiguration, qui ne peut être énoncée que comme un compromis de forces’. It follows the role played by censure to which Ricoeur gives its importance. Censure is what causes this distortion, this will to disguise, to show it in other words, in this case through another discourse, that of the image: ‘d’une part, la censure se manifeste au niveau d’un texte auquel elle inflige des blancs, des substitutions de mots, des expressions atténuées, des allusions, des artifices de mise en pages, les nouvelles suspectes ou subversives se déplaçant et se cachant dans des entrefilets anodins ; d’autre part, la censure est l’espressione d’un pouvoir, plus précisément d’un pouvoir politique, lequel s’exerce contre l’opposition en la frappant dans son droit d’expression ; dans l’idée de censure les deux systèmes de langage sont si étroitement mêlés qu’il faut dire tour à tour que la censure n’altère un texte que lorsqu’elle réprime une force et qu’elle ne réprime un force interdite qu’en perturbant son expression’. Ricoeur goes on affirming that Freud’s originality resides in the fact of seeing the unconscious as the place where both sense and suppression take place. That is what makes possible to translate the unconscious into the conscious through their common structure which is the capacity of representation.

Regarding sublimation, Ricoeur critiques the fact that the work of art is the expression of a sexual energy which may express the author’s conflicts; he instead argues that sublimation is of a dialectic character as well, allowing thus to observe a return to a primitive area, which may correspond to the unconscious conflict, and a going forward in the production of meaning of the work itself, hence resolving the conflict: ‘l’œuvre d’art est en avance sur l’artiste lui-même : c’est un symbole prospectif de la synthèse personnelle et de l’avenir de l’homme, plutôt qu’un symptôme régressif de ses conflits non résolus […] Le sens véritable de la sublimation ne serait-il pas de promouvoir des significations nouvelles en mobilisant des énergies anciennes d’abord investies dans des figures archaïques ?’ This production of new meaning remains Ricoeur’s theory in The Rule of Metaphor, where metaphor displays a new world of significance, and very well relates to the need for resolution through a creative act.

Ecriture Feminine: Text and Body in Female Writing


‘Je parlerai de l’écriture féminine: de ce qu’elle fera. Il faut que la femme s’écrive : que la femme écrive de la femme et fasse venir les femmes à l’écriture, dont elles ont été éloignées aussi violemment qu’elles l’ont été de leurs corps’. These are Hélène Cixous’ words in her essay Le Rire de la Méduse (1975), paradigm of the French feminist movement of the 70s known as l’écriture féminine. What is at stake here is the relationship between writing and the body, or even more than that, an identification between the two. Cixous calls women to write as women, and that is, from their bodies, which means that biological sexual issues play a roll in the way of being in the world, and therefore the in the mode of expression. Cixous is Dr. in English Modernism and indeed her words remind those of Virginia Woolf in the essay “A Room of One’s Own” (1929) where Woolf affirms the book needs to be adapted to the body, which consequently implies a difference between male and female writing.

French feminism stresses the importance of language and discourse in relation to women, and especially, the body; a focus far away from radical American feminism which recurrently claims for a deconstruction of the body, instead, the French authors affirm the female body since the very beginning and note the need for a difference between men and women in order women’s characteristics to be respected and accepted. When Woolf says in her essay previously mentioned, that Jane Austen was so far (in 1929) the best female writer was due to her capacity to write as a woman for women. Austen, says Woolf, wrote about what interested her, what she knew, in her style, she did not try to write manly in order to be valued by men, that is, by the public opinion. Similarly, Cixous encourages women to write as they are, and that means, because of the female nature, to write in accordance with their bodies:

‘en s’écrivant, la femme fera retour à ce corps qu’on lui a plus que confisqué, dont a fait l’inquiétant étranger dans la place, le malade ou le mort, et qui si souvent est le mauvais compagnon, cause et lieu de inhibitions. A censurer le corps on censure du même coup le souffle, la parole […] Ecrire, acte qui non seulement ‘réalisera’ le rapport dé-censuré de la femme à sa sexualité, à son être-femme, lui rendant accès à ses propres forces ; qui lui rendra ses biens, ses plaisirs, ses organes, ses immenses territoires corporels tenus sous scellés’

These words should not surprise to those familiar with the Victorian medical discourse troubled around the female body; indeed, the mystery which traditionally (at least from Rousseau on) has surrounded the female sexuality has produced  a medical and social discourse impregnated with taboos and prohibitions as facing an alienated body, something more diabolic than the male body, which may be noted is far more simple being all its pleasure focused: ‘Que la sexualité masculine gravite autour du pénis, engendrant ce corps (anatomie politique) centralisé, sous la dictature des parties. La femme, elle, n’opère pas sur elle-même cette régionalisation au profit du couple tête-sexe, qui ne s’inscrit qu’à l’intérieur de frontières. Sa libido est cosmique, comme son inconscient est mondial’.

Differences in writing, perceptions, thought and feelings may be related to the body, or the relationship a woman establishes with it. The cyclic nature of the female body, which can be seen physically expressed through its round form, challenges indeed what can be a male vision, so it may be with writing. Cixous goes further establishing a relationship with women with their bodies not only in their writings but in their communication, and ultimately, in their form of being; thus the physical expression is something very present in the female sex whose body speaks:

‘Ecoute parler une femme dans une assemblée […] : elle ne ‘parle’ pas, elle lance dans l’air son corps tremblant, elle se lâche, elle vole, c’est tout entière qu’elle passe dans sa voix, c’est avec son corps qu’elle soutient vitalement la ‘logique’ de son discours ; sa chair dit vrai. Elle s’expose. En vérité, elle matérialise charnellement ce qu’elle pense, elle le signifie avec son corps. D’une certaine manière elle inscrit ce qu’elle dit, parce qu’elle ne refuse pas à la pulsion sa part indisciplinable et passionnée à la parole’.

The body is a text, and the text is a body, something to explore further…

Ricoeur, Hermeneutics and Psychoanalysis I


In De L’interprétation: Essai sur Freud (1965) Paul Ricoeur spends more than 500 pages discussing with Freud and considering the effects of psychoanalysis on modern culture and interpretation. One of the most interesting conclusions is the translation from the image to the word, that is, from the world of dreams to that of the language. That means the image to be the first expression of meaning which may be translated into a primitive sense, or ‘la parole primitive du désir’; hence the dream is a text, already a primitive desire, and the linguistic expression is another kind of text which recites the primitive form of thought, the image, through a primitive word: ‘Comme dit Bachelard, l’image poétique « nous met à l’origine de l’etre parlant » ; l’image poétique, dit-il encore, « devient un être nouveau de notre langage, elle nous exprime en nous faisant ce qu’elle exprime ». Cette image-verbe, qui traverse l’image-représentation, c’est le symbole’

Both image and word may then conform a symbol which conceals and reveals at the same time: the dream image does so, and that is the reason it should be put into words, but the word trying to decipher the image, or trying to reveal what it conceals, is also subjected to its own concealments, as words are always chosen in a context. Here the defiance of hermeneutics and the psychoanalytical therapy, whose relation to the Kabbalah is being highly discussed due to its methodology. All that comes down to what Ricoeur calls the semantics of desire which is actually that of dreams and, in consequence, of the linguistic therapeutic discourse: ‘Le rêve comme spectacle nocturne nous est inconnu ; il ne nous est accessible que par le récit du réveil’ c’est ce récit que l’analyste interprète ; c’est à lui qu’il substitue un autre texte qui est à ses yeux la pensée du désir, ce que dirait le désir dans une prosopopée sans contrainte’

This coming back to somewhere far behind us, as psychoanalysis does trying to find the meaning in the unconscious, may explain, according to Ricoeur, the contemporary aim of deconstructionism: ‘cette tension, cette traction extrême est l’expression la plus véridique de notre « modernité » ; la situation qui est faite aujourd’hui au langage comporte cette double possibilité […] : d’un cote, purifier le discours de ses excroissances […] ; de l’autre cote, user de mouvement le plus « nihiliste ». le plus destructeur […] pour laisse parler ce qui une fois, ce qui chaque fois a été dit quand le sens parut à neuf’. So, Ricoeur goes on, a first original meaning inhabits a second one, it may be similarly to how the symbol and the psychoanalytical therapy go back and forwards, back to rescue the first meaning and forwards to build a new one. The symbol as well participates of this dialectical movement, a part of it relates to its origins and another one reveals a new meaning being aware that Ricoeur talks of living symbols, those able to change their interpretations while remaining part of an archaic association: ‘C’est dans cette liaison du sens au sens que réside ce que j’ai appelé le plein du langage. Cette plénitude consiste en ceci que le second sens habite en quelque sort le sens premier’.

Letters from Kabul

letter_ww2If there is an image one can repeatedly find in war literature and film is the reading of a letter, and if there is something especially beautiful one can remember of war literature and film is the reading of a love letter. I was wondering why one find it especially romantic, and I think again Ricoeur will give us an answer.

What characterises a war country is the difficulty of communications, one is not able to to contact the ‘outside’ world whenever one wishes to, even today, which increases the usual qualities of a love letter, mainly desire and waiting, which actually feed each other in an increasing circle of desire and waiting. The non-communication between the two worlds translates into an isolation not just for the war country but for the other one too, say, for example, Afghanistan and England. Isolation is at the end a subjective perception of being deprived of something outside your possibilities, so both the person in London and that in Kabul feel isolated regarding each other, and here comes the importance, even the magic of the letter.

The letter, in such circumstances, becomes the maximal expression of the other, of the other’s presence, acquiring a high, almost vital, importance. At the lack of the other’s body, gestures, voice, words, gaze, anything which constitutes this other, the letter means the whole of this other; it means remembrances, gestures, body, voice, gaze, and meaning. The other is displayed by the letter in the act of reading, especially when one really desires and lacks this person, so the letter as such becomes a metaphor which introduces the reader into the world of the other; thus, London is born in Kabul, whatever it does mean for the reader, every time the letter from London is read, and vice versa. Actually, one puts reality in suspense and inhabits the letter, the one who, and what, is displayed by it. But London is not just displayed in Kabul by and for the reader but it is displayed according to the properties of the one who has written it in London, the writer is completely present in a letter, especially in a love one because that is the main goal of these kind of correspondence: to embody oneself in the mind of the reader through the world displayed by the letter. A good letter, we can say, should be similar to a Barthes’ idea of the text in The Pleasure of the Text, even the body should be expressed by the words without necessity of talking about it, and it may be one of the reason why female and male letters are different, they are also sexualised letters.

That is the power of a letter fulfilling the self by embodying the desired other overcoming distance, even time. A simple letter can mark the time of a person whose source of hope, love and friendship is there: if the post arrives at 7pm, it becomes a crucial hour which one trusts knowing that the spirit is being feeder there for the next 24 hours or more. Whatever the time is between letter and letter, it works by means of hope and it brings the person forward in his or her doings because tomorrow is born from the hope of a letter.

Why does Freud matter?

freud1938Freud has been highly criticised by both conservatives and liberals either for being too explicit in his discoveries or too critique in his conclusions. Nowadays it is mainly criticised to be ‘politically incorrect’ whatever it may be. Indeed his ‘sexual theories’ to say so are not precisely in agreement with what is today widely accepted: homosexuality, ‘sexual liberation’, and so on. For example, to argue that a promiscuous man is more likely to become a pedophile, or that to be homosexual is to be a narcissistic are two things one cannot openly say in the street. If we look now at the most conservative part of society, it is possible to note how neglected female hysteria is as a consequence of sexual dissatisfaction within marriage. These two ideological visions of Freud’s theories are at least high unfair.

Whatever Freud said and whatever one thinks of, Europe owes a great deal to Freud. His investigations meant a completely new world to both science and humanities, and they show the root of an important number of psychological issues; not to mention that he is the father of psychoanalysis, and of a deeper understanding of sexuality. Freud was a great observer of the human mind and behaviour, and a brave man who was not afraid of his contemporaries. He faced lots of child-abuse cases within a bourgeois society and dared to dive into the human soul.

Literary studies are as well in debt with him. I would like to synthesise how can be Freud’s theories used into the literary field:

1. Aesthetics: Psychoanalysis opened the world of dreams and, particularly, its own logic. 20th century is full of artistic examples of a dream aesthetic (Kafka, Schnitzler, Dalí, Hitchcock, Welles, Brecth, among others). Freud’s influence cannot be mislead for those who approached especially the first part of the century.

2. Characters: Psychoanalysis has enhanced the understanding of literary characters and their relationships beyond the limits of the 20th century. Specially important are the familiar relationships to be approach, in many cases, from a Freudian perspective.

3. Art: The relationship between art and the artist acquires a more existential and sexual perspective; as well as the relations between sexuality, beauty and desire.

4. Sexuality: Explorations in the field of literary representations of sexual issues are facilitate by Freud’s studies on sexual behaviour which were pioneer. A quite complete analysis of all kind of sexual experiences was openly explore by Freud.

5. Unconscious: Terms such as ‘conscious’, ‘unconscious’, ‘sub-conscious’, ‘repression’ are properly born through Freud’s practice of psychoanalysis. These concepts complete the understanding of human behaviour especially in unhealthy cases.

6. Body: Literary representations of the body can be approach metaphorically, that is, as a physical representation of the mind or illness. Freud advances further postmodern theories of the body and its relationship to the illness and the text such as those of Roland Barthes and Michel Foucault.

7. Childhood: The importance of early experiences in life has result to be a key point in general psychology until now.

I think the seven points above are the most important. Generally speaking, psychoanalysis has brought a deeper understanding of the relationship body-mind, and it is not at all surpassed by any other posterior theory, it is perfectly complementary to a kind of more scientific studies. Freud deserves, as any important thinker, a high consideration.

Why The Rule of Metaphor?

beginning,book,clock,life,metaphor,the,book,of,life-90bf7c739b718491e480e40bf3471e4a_h_largeSome days ago, I made a comment on the title of the English edition of Paul Ricoeur’s La Métaphore Vive. Well, for those interested  here is the answer of Robert Czerny, the translator; a very nice and welcomed answer. I copy here our respective emails:

Dear Robert,

I wish to make a comment on your title translation (The Rule of Metaphor).
I think La Métaphore Vive is a fantastic theory of hermeneutics at the opposite side of the question of “rule”. If there is something far away from the meaning of “rule”, or “norm”, that is the theory of Paul Ricoeur concerning linguistics. Even a first sight to the words “rule” and “living” shows something wrong with these two words, something unlikely. Indeed Ricoeur is concerned with the most intuitive sense of meaning; the one  blooming at its very perception, which is alive. There is no sense of rule in Ricoeur’s theory of metaphor but sense of endlessly becoming; newness; creation; life. Until some point, rule is death, or at least there is a very first intuition to join rule with lack of creativity, that is, with compliance, uniformity, conservatism, death. 
What do you think of that? Why not just a translator like The Living Metaphor?
Best wishes,
Aina Marti 
Dear Aina, you are absolutely right about the title.
In fact, I explain the curious title in the third paragraph of the translator’s foreword (I assume it is still there, but perhaps some publishers have removed it – it was in the first edition). The explicit reference to Aristotle is the main clue. I could have added that “Therefore the ‘rule’ is that there is no rule!” but that would be like explaining a joke, and explained jokes are painful.
This humorous, almost oxymoronic title had Paul Ricoeur’s approval. I had the privilege of getting to know him (and his wife) personally in the Fall of 1972 and Fall 1973. He asked me to do the translation in late Fall 1973. He had a good sense of humour, and he liked the irony of the title. (One might also say, the error of the title, if one takes it literally.) Charles Reagan, who has written on Ricoeur, also questioned the title along the same lines as yourself. These are the only two objections I have heard.
Needless to say, I agree with all you say about metaphor according to Ricoeur: blooming, newness, creativity… That is why I added the subtitle (also with his approval – it does not exist in the French) that mentions “creation of meaning in language”.
How did you get to know this book? How does it fit into your interests, studies or work?
With best wishes, Robert

Practical Information on Ricoeur’s Theory Today

paul chez lui, dans la salle 2(2)For those interested in Paul Ricoeur’s hermeneutics and aesthetics, I am glad to show you important projects in which Ricoeur gives a significant base to see how the last research projects develop, especially in the realm of aesthetics.

Moreover, there is emerging a great bibliography source on Ricoeur in cooperation with Sorbonne University and L’Ecole d’Haut Etudes:

All that just shows how important the influence of this philosopher was and is; all kind of contribution will be very welcome for the academic world.

Ricoeur and his Wonderful Worlds

PAUL_RICOEUR_2__c__louis_MonierThe Rule of Metaphor is a betraying translation for La Métaphore Vive (1975), a fantastic theory of hermeneutics at the opposite side of the question of “rule”. If there is something far away from the meaning of “rule”, or “norm”, that is the theory of Paul Ricoeur concerning linguistics. Even a first sight to the words “rule” and “living” shows something wrong with these two words, something unlikely. Indeed Ricoeur is concerned with the most intuitive sense of meaning; the one  blooming at its very perception, which is alive. There is no sense of rule in Ricoeur’s theory of metaphor but sense of endlessly becoming; newness; creation; life. Until some point, rule is death, or at least there is a very first intuition to join rule with lack of creativity, that is, with compliance, uniformity, conservatism, death. The translator for the English edition argues: “I have offered The Rule of Metaphor because of its metaphorical suggestiveness.” Well, I wonder if the word “rule” suggests creativity to anyone, which actually means that this writing will probably end in a claiming letter to this intuitive translator.

Coming back to Ricoeur’s living metaphor, one of the most interesting points of this theory is how language is pushed beyond its limits. Metaphor, says Ricoeur, is the expression of a new reality unable of being referred to with ordinary language. In contrast to the theory of substitution according to which metaphor beckons the same reality with other words, Ricoeur argues how metaphor goes beyond it creating another realm of experience, something which escapes common consensus. Thus, every act of reading will be a “possible world”, a new reality whose meaning is not conventional but alive, new; therefore there are no established words to refer to this realm of existence but the new creation of meaning which metaphor allows. The subject is of course totally involved in the deciphering of the metaphor, and it is following the personal mode of being in the world that the metaphor, or the text, shows its meaning.

Metaphor increases the cognitive field, knowledge, but also the affective realm of existence. Feelings as well are involved in the new search for meaning because metaphor produces images through words that provoke feelings. Here the aesthetic field is linked as well to metaphor through the image or icon. Ricoeur argues how in the image the verbal and non-verbal expressions meet each other causing a new meaning which refer to a new reality. Metaphor shows this encounter of the word and the image in a synthesis which actually creates the new concept. Both the word and the image belong to different domains, but both together configures the thought and expand it with new meanings made up by new unions.

Every meaning a reader gives to a text blooms as a new garden in the field of the understanding; human creativity is an infinite source of creation and meaning which actually is a potential new world in the sense of apprehension of reality. The gaze of the subject again shows its power when referring to the reality, both internal and external, as meaning is able to change the perception of the world, and thus, the whole being in the world of one self.