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Thus, the fiestas underscore the proposed interpretation of Baroque drama and tragedy (a lo mitologico or not) as an essential amphibology of perspectives.
To cite only a few of the tropes that she herself explicitly names--antonomasia (using a proper name for an attribute, or an attribute for a proper name: "the author says ..." instead of "Cixous says ..."); amphibology (ambiguity; but the etymologies are different--that which is ambiguous goes around something rather than straight at it; that which is amphibologous has been thrown on both sides of something); and hypallage (shifting the application of a word--"the grateful shade" on a hot summer's day, "a wicked wound").
Just as in the dance of words after the exhortation, `Change the figure': [GREEK TEXT NOT REPRODUCIBLE IN ASCII] -- the order which Plato, that great choreographer of words, gives to Socrates and to Alcibiades at the end of his great Alcibiades makes play with the whole geometric-choreographic amphibology of the term `figure' -- and Alcibiades, too, changes his own geometric shape and takes on the features of Socrates.
The main point I wish to emphasize is the strangeness of the author's name, a name which precisely is not "Helene." A name "aussi etrange que celui de l'auteur qui s'appelle Hellia": the amphibology in the syntax immediately undermines the notion that a proper name has an unequivocal referent.
But "against" must be used here respecting its double sense: it is an amphibology which suggests not only struggle or war as against an enemy, but also leaning or pressing as against a lover.