If corporeality is the root of all human subjectivity, one may wonder about the performativity of non-normative bodies. It seems as though only Jeffords’ species of “hard” bodies is included in the canon of male bodily performativity, so what do non-hard, “soft” male bodies perform? A brief analysis of the character of King Charles IV in 1994’s “La Reine Margot” (“Queen Margot”) reveals a secondary, if less common, type of male performativity: that of the fluid and unstable “soft” man.
Humanity’s endless quest for self-knowledge can most pointedly be traced back to the Descartes’ declaration of “I think, therefore I am,” (cogito ergo sum  ) – the idea that self-awareness alone is proof of one’s existence. Yet as this Cartesian claim assumes the ‘I’ of a subject as self-sufficient and self-reflexive, emergent from within, it denies the possibility that the self is altered by outside influences or formed in relation to others.
Philosophy, arising from its Greek tradition of a “love of wisdom”, seeks to critically examine those questions most fundamental to humankind; it is concerned with essential concepts (or rather, questions) of being (metaphysics), rightness and goodness, knowledge, truth and beauty. As a branch of metaphysics, ontology seeks, in particular, to understand the nature of being […]