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<p>Originating from the influential writings of the contemporary French philosopher Jacques Derrida, deconstruction inscribes itself in the poststructuralist theoretical tradition. Claiming that Western metaphysics rests on a series of artificially resolved binary oppositions, Derrida identifies logo-centrism as the underlying factor that postulates philosophy’s common reliance on concepts of presence, truth, reason, and the word (Logos) at the expense of</p>
<p>Their opposite terms (absence, falsehood, and so on). Derrida unveils the arbitrary nature of such values, denouncing the impossibility of the closure enacted by the philosophical establishment in its attempt to protect its own exclusive access to logic and meaning. In its polemic against other schools of literary theory, deconstruction capitalizes on the plurality of meaning that derives from the slippery nature of the signifier. No text is a closed text and no reading is a final reading, being just a reductive act of silencing a series of conflicting voices. As the deconstructive motto recites, ‘‘each decoding is a new encoding.’’ The politics of undecidability allows the deconstructor to tease out what Barbara Johnson once defined as ‘‘the warring forces of significations at work in every text.’’</p>
<p>Deconstruction strikes its first alliance with feminism in the work of He&acute;le`ne Cixous, whose coinage of the word phallogocentrism inaugurated a new phase in the critique of the patriarchal establishment. The merging of phallocracy and logocentrism, as described by He&acute;le`ne Cixous and Luce Irigaray, betrays its presence in the male monopoly on the traditional philosophical discourse as operated by Plato and his successors. Deconstructive feminism has also managed to unveil the biased nature of many a critical reading that purportedly devoiced subversive feminine elements, which were present in texts of all periods.</p>
<p>Marilyn Migiel and Barbara Spackman are the two most important scholars of Italian <a href="http://www.mannmuseum.com/"   >literature</a> who have espoused such a theoretical approach. The centralization of what has been canonically considered as marginal constitutes a common point of departure in the work of both critics. Migiel chooses to focus her analysis of Tasso’s Gerusalemme liberata on its female characters and on their female genealogy; when debating on the ‘‘dignity of man,’’ she prefers to produce a close reading of a literary text written by a popular writer, Giovan Battista Gelli, rather than evoking the presence of canonical philosophers such as Pico della Mirandola or Marsilio Ficino. Spackman performs a similar gesture by reading the most canonical works of the decadents through the peculiar lenses of the physiological discourse initiated by Cesare Lombroso’s theory of degeneration, and by analyzing the Fascist rhetoric of virility through the writings of those women who supported the regime, women whose voices have rarely been taken into account. Reinterpreting gender differences and subverting canonical categorization of centrality and marginality, both Migiel and Spackman uncover the presence of dissonant and conflicting forces subtly disguised under the authoritarian discourse of those who have often been recognized as the fathers of Italian literature.</p>
<p>See also: Feminist Theory; Modernism/Postmodernism.</p>
<p>Bibliography: Johnson, Barbara. ‘‘Teaching Deconstructively.’’ In Reading and Writing Differently. Ed. G. Douglas Atkins and Michael Johnson. Lawrence: University Press of Kansas, 1985. 140–48; Spackman, Barbara. Decadent Genealogies: The Rhetoric of Sickness from Baudelaire to D’Annunzio. Ithaca, N. Y.: Cornell University Press, 1989; Migiel, Marilyn, and Juliana Schiesari,</p>
<p>Eds. Refiguring Women: Perspectives on Gender and the Italian Renaissance. Ithaca, N. Y.: Cornell University Press, 1991; Migiel, Marilyn. Gender and Genealogy in Tasso’s ‘‘Gerusalemme Liberata.’’ Lewiston, N. Y.: The Edwin Mel-len Press, 1993; Elam, Diane. Feminism and Deconstruction. London: Routledge, 1994.</p>
<p>GIANCARLO LOMBARDI</p>
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