Mother of the word J ulia Kristeva's work came into prominence 98 GENDER, WORK AND ORGANIZATION This paper examines the contribution of the writing of Julia Kristeva (1941-) to poststructuralist ideas about gender in organizations. In particular, it deals with the relationship between her writing and the disciplining of text and, by a parallel movement, with her writings about the body and the regulation of the body. However, it must be said that her writings are 'extremely difficult and complex, and certainly intimidating and inaccessible to the nonspecialist' (Lechte 1990, p. 2) but, despite this, Kristeva has come to be considered one of the foremost contemporary French thinkers and her writings have exerted a significant influence on both feminism and postmodernist ideas. Ironically, Kristeva is neither French by birth nor a feminist in the sense that the term is generally understood. Indeed, she has been highly critical of those feminists whom she regards as seeking 'phallic power' (Kristeva 1980, p. 208).

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This article is about the way in which the processes of diminution and elaboration can be detected in gendered accounts of identity formation. Firstly, it considers the ways in which power is denied to women through a series of reductions, restrictions and controls, and looks at the ways in which men, in contrast, elaborate their identities via a range of enlargements and extensions. The codex of the title refers to the role of the 'Law', in Kristeva's sense of the term, in authorizing such arrangements. The codpiece offers a metaphor for elaboration and extension: a male form of extension and elaboration. The codicil, an appendage to a last will and testament, is intended to convey the position of women as appendages, afterthoughts, marginal notes. The article is an example of what Pullen and Rhodes have called 'dirty writing', that is to say, it is written with the purpose of allowing the intrusion of the author into the text: with a deliberate confusion of the authorial standpoint and the content. Dirty writing contaminates. This article is written with the intention of contaminating the regulatory mechanisms of the production of the codex, to reveal the enormity of the codpiece and to permit the codicil to assume a role within the codex rather than simply occupying the position of appendage to it. The article is not auto-ethnographic, although it has elements of autobiography. Rather this article seeks to 'undo' gender by fragmenting the coherence of the codex. More tentatively, it seeks to lay bare the male erection which is concealed by the codpiece and to expose it for what it is: an elaborate construction -an elaborate creation masking a less adequate membership. And so this piece of writing attempts to undermine the extravagance of masculine forms of writing; of writing to produce the codpiece, writing as conceit; writing which is antagonistic to fragmented experience. It will not satisfy some, it will irritate others. The article is

This article seeks to examine the process by which women are incorporated into the military body and considers the extent to which this is achieved both by demonstrating mastery and by the acquisition of the metaphorical penis. Specifically, the article puts forward the view that incorporation into the military body is achieved via a cancellation of the feminine. Women, it is argued, can either be playthings or else quasi men. The point is, and this is the meaning of the title, that either way women are dis-membered to maintain good order. To become a member of the military body, a woman must either conform to the male projection offered her or else acquire a metaphorical ‘member’ as the price of entry into ‘membership’. Women who do conform are assumed into the body and made homologues/homomorphs of men. However, in order to achieve this status of honorary man, they must accept impotence. They are not and do no possess real members. They are rewarded for not re-membering the body.

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