ABSTRACT Catherine Malabou's opinion of non-essentialist models of gender identity and art is unambiguous: in her words, they are ‘catastrophic’ to women and to artists (Malabou [2014]. ‘Sujet: Femme'. de(s)générations des féminismes 21, 29-38: 135). What, then, are the implications of Malabou's hallmark concept of ‘plasticity’ on theories of performativity? Has plasticity come to supplant performativity, just as Malabou believes that it has come to supplant Derridean writing? Or if, as Malabou suggests, philosophical concepts are inherently plastic, may we maintain that performativity was always already plastic? In the following article, I read Malabou's work on writing alongside her work on the feminine in order to question how plasticity and performativity might be examined together to theorise the ways in which the discursive and the material interact in the production of subjectivities. By highlighting the performativity at play within Malabou's own writing about the end of writing, I propose that her work challenges her claim that literature cannot deconstruct philosophy. In response to Malabou's anti-essentialist plastic theory of the essence of woman, I underline the parallels between performativity and plasticity and suggest that the two concepts overlap in their mutual configuration of identity and form as mutable and transformable.

中文翻译：

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本体暴力：凯瑟琳·马拉布关于可塑性、表演性和写作女性

摘要 Catherine Malabou 对性别认同和艺术的非本质主义模型的看法是明确的：用她的话来说，它们对女性和艺术家来说是“灾难性的”（Malabou [2014]。“Sujet：Femme”。de(s)générations des féminismes 21, 29-38: 135)。那么，马拉布的标志性“可塑性”概念对表演性理论有何影响？可塑性是否已经取代了表演性，就像马拉布认为它已经取代德里德式写作一样？或者，如果正如马拉布所建议的那样，哲学概念本质上是可塑性的，我们是否可以认为表演性一直是可塑性的？在下面的文章中，我阅读了 Malabou' 她的写作工作与她关于女性的工作一起进行，以质疑如何将可塑性和表演性一起研究，以理论化话语和材料在主体性生产中相互作用的方式。通过强调马拉布自己关于写作结束的写作中的述行性，我建议她的作品挑战她认为文学不能解构哲学的主张。为了回应马拉布关于女性本质的反本质主义可塑性理论，我强调了表演性和可塑性之间的相似之处，并建议这两个概念在身份和形式的相互配置方面重叠，因为它们是可变的和可变形的。在她自己关于写作结束的写作中，我建议她的作品挑战她认为文学不能解构哲学的主张。为了回应马拉布关于女性本质的反本质主义可塑性理论，我强调了表演性和可塑性之间的相似之处，并建议这两个概念在身份和形式的相互配置方面重叠，因为它们是可变的和可变形的。在她自己关于写作结束的写作中，我建议她的作品挑战她认为文学不能解构哲学的主张。为了回应马拉布关于女性本质的反本质主义可塑性理论，我强调了表演性和可塑性之间的相似之处，并建议这两个概念在身份和形式的相互配置方面重叠，因为它们是可变的和可变形的。