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.

Feminists are starting to look to the work of Pierre Bourdieu, in the hope that it might provide a useful framework for conceptualising the tension between structure and agency in questions of gender. This paper argues that Bourdieu’s analysis of gender can indeed be useful to feminists, but that the options Bourdieu offers for change are problematic. The paper suggests that Bourdieu’s analysis of gender echoes the work of earlier radical feminists, particularly Catharine MacKinnon, in important ways. Consciousness-raising, one of (...) MacKinnon’s strategies for change, sits well with Bourdieu’s concept of habitus, despite Bourdieu’s own scepticism. The paper argues that recasting the role of consciousness-raising in Bourdieu’s theory helps to undermine the deterministic elements of his work. It concludes that a feminist turn to Bourdieu as an attempt to understand gender’s entrenchment-andmalleability can be fruitful, and that such a turn might find a re-engagement with the idea of consciousness-raising helpful. (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)

ABSTRACTIn this article, I demonstrate how Louise Bourgeois used her artworks not only to better understand herself but also to cultivate a self capable of taking control of and reshaping the material of her past. Exploring her artworks in the context of Michel Foucault's understanding of technologies of the self, I both contribute to the appreciation of Bourgeois’ work and show how visual artworks can be used to understand, cultivate, and transform aspects of the self. Foucault's understanding of our subjectivity, (...) as formed and deployed by power tactics, suggests the need for the formation of new subjectivities as a tactic of resistance. While his view of subjectivity as contingently created allows for the possibility that it could be different, his understanding of the conditions of its creation in terms of power tactics seems to constrain the possibilities for alternative subjectivities. I argue that artworks can help us understand the contingency of our subjectivity and illustrate how something new can be created out of existing conditions, in ways that may disrupt those very conditions. Further, in addition to bringing us to an awareness of the possibility of creating new subjectivities, artworks can directly contribute to this process for both artists and audience members. Turning to Foucault's own understanding of Stoic writing practices as a means of knowing and controlling the self, I use Bourgeois’ work to illustrate how artworks can operate as technologies of the self, which work directly on the self, extending Foucault's understanding of the role of writing to consider the particular contribution that visual artworks can make. I explore how the visual form, sculptural medium, and materials of Louise Bourgeois’ works contribute to their operation as technologies of the self which can allow one to relate to oneself differently. (shrink)