Figuration and specularisation

1. Does "capable of receiving all things and partaking of the intelligible" mean "capable of taking different forms and meanings"?

2. Does "figuration and specularisation" mean "forms and landscapes"?

3. Does "kinetic rhythm" mean "the rhythm of movements"?

Text:

The pre-Oedipal primary processes of the semiotic are linked to the basic pulsions of early development which are predominantly anal and oral. For Kristeva, these pulsions are gathered up in a space she calls the chora, a term she appropriates from Plato’s Timaeus, where ‘he defines it as an enclosed womb-like space which at the same time is “an invisible and formless being” capable of receiving all things and partaking of the intelligible. Kristeva insists that the chora is neither a sign nor a position, but a mobile dynamic which underlies figuration and specularisation and is analogous with vocal and kinetic rhythm.’ However, while Kristeva genders the semiotic as feminine and as
available to all subjects regardless of gender, she privileges male artists’ access to this creative space, saying that...