Vibrating Strings and Wom-bilical C(h)ords in Kieslowski's Blue (1993)
Claudia Lindner Leporda
Claudia Lindner Leporda graduated from the Faculty of Foreign Languages and Literatures at the University of Bucharest, Romania in 1996 with a dissertation on Lord Shaftesbury's cultural and aesthetic theory. In 1997 she completed her MA in English Literatures and Cultural Studies with the dissertation "Madness and Totalitarian Systems: A Foucauldian Approach", which focused on both systems of power and knowledge and gender studies, especially in relation to post-communist societies. Her PhD thesis, "Genderlogues: Journeys of Trans-formation", which she completed in 2009 at the University of Roehampton, London, develops its argument around the writing of the transvestite and the transsexual in 20th and 21st century American and British narratives. Her current postdoctoral research at LMU, Munich is on the ethics of tears in contemporary texts, from cinema to literature and mass media. Arguing that crying is the figure of and for acategory crisis, but also the uncanny supplement that marks the place of our vulnerability and relationality, her research explores the ability of the eyes not only to see but to cry, where crying is seeing in and through tears, in order to develop an account of a visionary ethics and subjective trans-formation. Her research interests range from cultural studies, literary theory, gender and sexuality studies, identity politics, to 19th- and 20th-century European literature and philosophy.
Determined to forget the past, which deprived her of both husband and daughter, and start a life of freedom without connections and responsibility, Julie, the no-longer-m/Other, tries to lose herself in the anonymous life of Paris. Total freedom is however impossible, and soon the past begins to haunt her in the form of a melody, the concerto music her husband was in the process of composing. Drawing on the work of Bracha Ettinger, I invite a matrixial viewing of Kieslowski's film, an artwork which marks precisely a movement from a phallic Symbolic (where the subject is free, separated, and disconnected) to a matrixial sphere (in which the subject is fragile and compassionate to the unknown other who is, nonetheless, a partner-in-difference). More precisely, my aim is to follow Julie's journey from a split-I and a no-longer-m/Other to a fragile partial m/Other via her art-working and the primary compassion of her partial m/Others, a severality co-participating in her trans-nascence, the strangers who, out of the blue, become her intimate-anonymous partners in co-poiesis, as also symbolically reflected in Kieslowski's Chorale.