Infinite projection – (the) Idea (of) Being (of the) Father – of the mystery of conception and the hystery where it is (re)produced. Blindness with regard to the original one who must be banished by fixing the eyes on pure light, to the point of not seeing (nothing) anymore – the show, the hole of nothing is back again – to the point at which the power of a mere bodily membrane is exceeded, and the gaze of the soul is rediscovered. A-lētheia.
This pasage is found in the section entitled “Plato’s Hysteria” (Speculum of the Other Woman, p. 315). In this section, Irigaray deconstructs Plato’s “Allegory of the Cave.” Irigaray offers a psychoanalytic reading of the allegory in which the lover of wisdom’s path to Truth originates in the materiality of the cave/womb and culminates in the rediscovering / revealing / unconcealing of the Truth of the immateriality/immortality of the essence of Being. Irigaray’s larger project in Speculum is to deconstruct major texts in psychoanalysis and philosophy, offering a reading in which such texts construct a phallocentric conception of subjectivity that relegates the feminine to a material, embodied, non-subjectivity.
Irigaray applies many psychoanalytic concepts in this passage. The infinite projection Irigaray speaks of, the transference of one’s own unconscious impulses onto the other, is mediated by (the) Idea (of) Being (of the) Father. There are multiple interrelated ways to read this. One is as “the Idea of Being of the Father” in which case the projection takes the absolute and unchanging essence of the Father as ultimately the sole creative actor. Another way is as “the Idea of Being Father” in which case the projection sublimates one’s unconscious impulses into the creative Father and in which one comes to take on this ideal role. The projection serves as a way for the father to go back into the mother and guide himself out, himself as reflected in and through his son; a son who then picks up the role of the Father. Through this projection, the hystery, the narrative of the womb, of the mother/originator is forgotten. The projection serves as a pure, bright, light that blinds the masculine subject to the (focal) point of not seeing (nothing) anymore; of not seeing the spectacle of birth, the show (pre-labor blood), and the cave of origination anymore. Gazing at the focal point of pure light, the unified phallus of the Father, the son is freed from the powerful materiality of the womb; a womb that has doomed him to death. In this gaze that conceals the hystery, the son has rediscovered/revealed/unconcealed the Truth of his immortal and immaterial essence.
Within feminism, Irigaray challenges binary conceptions of masculine / feminine subjectivity as well as the formation of the masculine phallocentric subjectivity. In this passage, Irigaray is conveying the way the formation of masculine subjectivity within a binary psychosocial-linguistic morphology necessarily excludes any possibility of feminine subjectivity.