An examination of animate from reveals corporeal archetypes that underlie both human sexual behavior and the reigning Western biological paradigm of human sexuality that reworks the archetypes to enforce female oppression. Viewed within the framework of present-day social constructionist theory and Western biology, I show how both social constructionist feminists who disavow biology and biologists who reduce human biology to anatomy forget evolution and thereby forego understandings essential to the political liberation of women.

Si en Gender Trouble Butler presentaba una propuesta de la teoría de la performatividad de los actos de habla aplicada a la construcción del género, en su último libro, Notes towards a Performative Theory of Assembly, articula una teoría de la performatividad aplicada a la acción colectiva de minorías o poblaciones que son estimadas como “desechables”. El interés de la propuesta que presentamos es analizar cómo la teoría de la performatividad de género se ha ido ampliando a las formas de (...) acción democrática; pasando así de ser una explicación centrada en las posibilidades identitarias de género a explicar las posibilidades para una vida vivible. Es lo que aquí llamamos la ampliación de la performatividad, del caso especial de género al caso general de una vida vivible. (shrink)

: The article shows that Michel Foucault's account of the sexual body is not a naïve return to a prediscursive body, nor does it amount to discourse reductionism and to the exclusion of experience, as some feminists have argued. Instead, Foucault's idea of bodies and pleasures as a possibility of the counterattack against normalizing power presupposes an experiential understanding of the body. The experiential body can become a locus of resistance because it is the possibility of an unpredictable event.

Philosophers and artists frequently make use of metaphors drawn from female bodily experiences of pregnancy and childbirth to express intellectual or artistic creativity. While philosophical and artistic originality are presented as a kind of spiritual pregnancy, women's bodily pregnancies are often presented as at best intellectually or spiritually insignificant, to be valued solely for their products — physical children. I contrast the view of pregnancy found in philosophers such as Plato and Nietzsche, and artists such as Chagall, with an understanding (...) of pregnancy influenced by feminist body art, and focus on the significance of the extent and pace of change that women experience during pregnancy. (shrink)

The article shows that Michel Foucault's account of the sexual body is not a naive return to a prediscursive body, nor does it amount to discourse reductionism and to the exclusion of experience, as some feminists have argued. Instead, Foucault's idea of bodies and pleasures as a possibility of the counterattack against normalizing power presupposes an experiential understanding of the body. The experiential body can become a locus of resistance because it is the possibility of an unpredictable event.

Vitriolic debates between supporters of the intrinsic value and the care approaches to environmental ethics make it sound as though these two sides share no common ground. Yet ecofeminist Jim Cheney holds up Holmes Rolston's work as a paragon of feminist sensibility. I explore where Cheney gets this idea from and try to root out some potential connections between intrinsic value and care approaches. The common ground is explored through Alasdair Maclntyre's articulation of a narrative ethics and the development of (...) the notion of an ecological and evolutionary tradition. (shrink)

A comprehensive account of human kindness.

This article brings a phenomenological account of the body into dialogue with theories of gender performativity, through an analysis of performance artist Cathy Sisler’s videos Aberrant Motion #1 (1993) and Aberrant Motion #4 (1994). In the work I discuss, Sisler foregrounds he limits of visibility and employs a visual mode which is more haptic than strictly optic. At the same time, the work makes explicit the power of visibility to regulate, control and mark out the subject and critiques the effect (...) of the gaze upon structures of identity formation and, crucially, the motility of the body. I argue that in this work, the viewer’s relation to the images is severed from the visual mastery associated with the modes of viewing which position Sisler as ‘other’, but which remain vitally at stake within the haptic visual economy she creates. (shrink)

Literary education exposes students to unpredictable critical moments in their encounters with a text. Drawing on Dewey’s transactional realism and actor-network theory, this theoretical and conceptual study explores the performativity of things and materials as they shape reading and teaching bodies. This transactional performativity extends beyond the physical positioning of the body to the power relations enacted in text situations. The conceptual rationale is illustrated by a story about a reading chair in a detention home for detained young men—an environment (...) where power issues come to a head. The story illustrates a theoretical discussion of what might be characterized as performing ‘the critical’ in reading and how potentialities for students’ experiences are created in text situations by the different components involved. The purpose of the article is to explore the potentialities of performing critical aspects of reading to challenge, to transform, and to encourage resistance. (shrink)

This article addresses the tension between conceptualizations of the objective body, which are central to biomedicine, and conceptualizations of the expressive body. Within a metaphysics which can be an adequate grounding for the practice of alternative medicine, I argue, the natural body must be fully conceptualized as both object and as expressive. I draw on phenomenology and on actor-network theory to outline a new model of `biosocial nature' which is inherently figurative and which is constructed by a network of human (...) and non-human actors. I then look at two remedies within the homeopathic materia medica, arguing that their capacity to treat ill health by acting as nodes with a network of `imagined connections' is more explicable within a biosocial than within a modernist metaphysics. (shrink)

This thesis is about meaning, expression and language in Merleau-Ponty’s philosophy, and their role in the phenomenological project as a whole. For Merleau-Ponty, expression is the taking up of a meaning given either in perception or in already acquired forms of expression, thereby repeating, transforming or congealing meaning into gestures, utterances, artworks, ideas or theories. Contrary to the predominant view in the literature, the relation of expression to meaning, and in particular the problem of expressing new meanings, was of fundamental (...) importance to Merleau-Ponty from the very beginning, in that it was intrinsically related to the overcoming of what he termed “objective thought”. Admittedly, there is an evolution of his philosophy in this respect: from the early stance where the recasting of certain basic categories is taken as pivotal for the development of a new form of thinking, with arguments drawn also from various empirical and social sciences, to what appears to be an effort at an all-pervading reformulation of philosophical language during his last years. But the remoulding of categories was never for Merleau-Ponty a matter simply of finding a few, better adapted concepts, but from the outset an endeavour to think philosophical arguments through to a point where they reveal their inherent inconsistencies. Recasting philosophical expression is thus a risky enterprise, and this is a point I explore further in Essay 1, that focuses especially upon creative expression in painting and to some extent in literature. In Essay 2 I discuss the notion of Gestalt and how it serves this general project, whereas Essay 3 deals with verbal language, on the basis of Merleau-Ponty’s reading of Saussure’s linguistics. Essay 4 examines bodily expression from the point of view of feminist phenomenology and in particular Judith Butler’s early reading of Merleau-Ponty, and finally Essay 5 discusses expression in the art of dance. (shrink)