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| Introduction to the Series | p. vii |
| Forword | p. ix |
| Acknowledgements | p. xv |
| Life Makes Text from My Body: a Reading of Hélène Cixous' La Venue À L'écriture | p. 1 |
| Notes | p. 21 |
| Works Cited | p. 22 |
| Le Père De Le Père De L'Ecriture: Writing Within the Secret Father | p. 23 |
| Notes | p. 51 |
| Works Cited | p. 55 |
| The Medusa's Slip: Hélène Cixous and the Underpinnings of Écriture Féminine | p. 57 |
| Works Cited | p. 71 |
| Works Cited | p. 73 |
| Hélène Cixous: Music Forever or Short Treatise on a Poetics for a Story to Be Sung | p. 75 |
| Notes | p. 89 |
| Works Cited | p. 90 |
| Reading and Wrighting the Other: Critism as Facility | p. 91 |
| Notes | p. 107 |
| Works Cited | p. 108 |
| Cixous' Concept of "brushig" as a Gift | p. 111 |
| Works Cited | p. 122 |
| The Gift: Hélène Cixous and Jaques Derrida | p. 123 |
| Notes | p. 135 |
| Works Cited | p. 138 |
| Hélène Cixous Names Woman, Mother, Other: "a Feminine Plural like Me" | p. 141 |
| Notes | p. 161 |
| Works Cited | p. 163 |
| Cixous, Spivak, and Oppositional Theory | p. 165 |
| Note | p. 184 |
| Works Cited | p. 185 |
| Hélène Cixous:A Space Between-Women and (Their) Language | p. 187 |
| Works Cited | p. 200 |
| Hélène Cixous and the of Portraying: on Portrait Du Solei | p. 201 |
| Notes | p. 222 |
| Works Cited | p. 223 |
| Ariane Mnouchkine/Hélène Cixous: the Meeting of Two Chimaeras | p. 225 |
| Notes | p. 245 |
| Works Cited | p. 246 |
| The Self and "other(S)" in Cixous' Sihanouk | p. 247 |
| Notes | p. 259 |
| Works Cited | p. 261 |
| Works Consulted | p. 263 |
| Bringing a Historical Caracter on Stage: L'Indiade | p. 265 |
| Notes | p. 292 |
| Works Cited | p. 293 |
| Men More Than More | p. 295 |
| Notes | p. 303 |
| The Critic as Playwright: Performig Hélène Cixous' Le Nom D'Oedipe | p. 305 |
| Notes | p. 323 |
| Works Cited | p. 324 |
| About the Contributors | p. 327 |
| Index | p. 331 |
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