Bipolar Oppositions as stated by Betty Brown with regards to the deconstructions that are done by Cixous and Derrida are products of culture that are primarily based on conceptual contrasts. They are pair of terms that have been historically connected with Western culture. The members of the pair are regarded and believed as absolutes: the one is being valued and the other is devalued.
Some of the bipolar oppositions that are mentioned by Brown are: male/female, good/evil, self/other, heaven/hell, culture/nature, and mind/body.
Cixous bipolar oppositions that are revealed in the text are: activity/passivity, sun/moon, culture/nature, day/night, father/mother, head/heart, intelligible/sensitive, logos/pathos. The bipolar opposition that she has discussed that is not in the text is the query with regards to sexual difference which is traditionally anchored with activity/passivity.
She juxtaposes the ideological interpretation of Freud’s theses as to what makes a woman an imperfect man and Jones’ “femininity is an autonomous ‘essence’.
” Cixous bipolar opposition is apparent in Peter Paul Rubens’ The Judgment of Paris in a sense that Ruben’s artwork illustrates Phallocentrism, the root of all sexual-difference opposition. Cixous notions coincide with John Berger’s perspective that “the ideal spectator is always assumed to be male and the image of the woman is designed to flatter him”.
The painting portrays the judgment done by Paris as to who is the most beautiful among the three women. It showcases the historical and cultural boundary where men are enclosed as the ones who possess power.
With regards to that, women, as shaped by ideological apparatuses, are inferior to men; it definitely conveys its origin to Phallocentrism.