This article takes as its point of departure Luce Irigaray's Elemental Passions, in which a woman‐speaker tries to make her lover and the discipline of philosophy understand that she is not how they have imagined her to be; that she is not at all but that she keeps becoming through perpetual movement. The article investigates Irigaray's investment in a form of materialist difference feminism that offers conceptual links to the posthumanist work of Karen Barad's agential realism, especially her theorization of intra‐action. The link between Irigaray and Barad is established via a diffractive reading that incorporates the dance/movement research practice of Contact Improvisation. Although expressed through written language, Elemental Passions creates the impression of the woman‐speaker dancing, of encountering herself, her environment, and her lover through moved and moving contact, searching for a practice of moving‐together, feeling‐with, and feeling‐between that can be experienced in an improvised dance duet. Exploring how touch and the sharing of weight in Contact Improvisation challenges boundaries and establishes ever‐changing configurations and entanglements between dancers, the article proposes that Irigaray's woman‐speaker envisions herself as a posthuman/ist woman and that improvised dancing offers a practice of intra‐action through which she can encounter the world in her becoming.

中文翻译：

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与Luce Irigaray进行即兴舞蹈：动作中和元素的激情

本文以Luce Irigaray的《Elemental Passions》为出发点，在其中，女发言人试图让她的爱人和哲学学科理解她并不是他们想象的那样。她根本不是，但她通过永不停息的运动而变得越来越强。本文以物质主义差异女权主义的形式来研究艾里格瑞的投资，这种形式为卡伦·巴拉德的代理现实主义（特别是她的内部行动理论）的后人文主义工作提供了概念上的联系。Irigaray和Barad之间的联系是通过衍射阅读建立的，该阅读结合了接触即兴创作的舞蹈/动作研究实践。尽管是通过书面语言表达的，但《元素热情》创造一个说女性的舞蹈的印象，通过移动和移动的接触遇到自己，她的环境和她的爱人，寻找一种在即兴创作中可以体验到的移动，共处，相处和相处的习惯舞蹈二重唱。探索《即兴表演》中的触感和重量分配如何挑战边界并建立舞者之间不断变化的配置和纠缠，文章建议Irigaray的女发言人将自己设想为后人类/主义女性，即兴舞蹈提供了一种内部舞蹈的实践。通过行动，她可以在自己成为世界时遇到世界。