In this essay I explore the dynamic between Luce Irigaray and Maurice Merleau-Ponty as it unfolds in An Ethics of Sexual Difference. Irigaray's strategy of mimesis is a powerful feminist tool, both philosophically and politically. Regarding textual engagement as analogous for relations between self and other beyond the text, I deliver a cautionary message: mimetic strategy is powerful but runs the risk of silencing the voice of the other.

I begin with the assumption that a philosophically significant tension exists today in feminist philosophy of religion between those subjects who seek to become divine and those who seek their identity in mutual recognition. My critical engagement with the ambiguous assertions of Luce Irigaray seeks to demonstrate, one the one hand, that a woman needs to recognize her own identity but, on the other hand, that each subject whether male or female must struggle in relation to the other in order (...) to maintain realism about life and death. No one can avoid the recognition that we are each given life but each of us also dies. In addition, I raise a more general, philosophical problem for analytic philosophers who attempt to read Continental philosophy of religion: how should philosophers interpret deliberately ambiguous assertions? For example, what does Irigaray mean in asserting. 'Divinity is what we need to become free, autonomous, sovereign'? To find an answer, I turn to the distinctively French readings of the Hegelian struggle for recognition which have preoccupied Continental philosophers especially since the first half of the last century. I explore the struggle for mutual recognition between womrn and men who must face the reality of life and death in order to avoid the projection of their fear of mortality onto the other sex. This includes a critical look at Irigaray's account of subjectivity and divinity. I turn to the French philosopher Michèle Le Doeuff in order to shift the focus from divinity to intersubjectivity. I conclude that taking seriously the struggle for mutual recognition between subjects forces contemporary philosophers of religion to be realist in their living and dying. With this in mind, the lesson from the Continent for philosophy of religion is that we must not stop yearning for recognition. Indeed, we must event risk our autonomy/divinity in seeking to recognize intersubjectivity. (shrink)

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

One of the most fundamental premises of feminist philosophy is the assumption of an invidious asymmetry between the genders that has to be overcome. Parallel to this negative account of asymmetry we also find a positive account, developed in particular within the context of so-called feminist philosophies of difference. I explore both notions of gender asymmetry. The goal is a clarification of the notion of asymmetry as it can presently be found in feminist philosophy. Drawing upon phenomenology as well as (...) feminist difference theory , I argue that a gender asymmetry does exist that cannot-as in the first assumption-be transformed into symmetry. (shrink)

In this article, I argue that Donna Haraway's figure of the cyborg needs to be reassessed and extricated from the many misunderstandings that surround it. First, I suggest that we consider her cyborg as an ethical concept. I propose that her cyborg can be productively placed within the ethical framework developed by Luce Irigaray, especially in relationship to her concept of the “interval between.” Second, I consider how Haraway's “cyborg writing” can be understood as embodied ethical writing, that is, as (...) a contemporary écriture feminine. I believe that this cyborgian “writing the body” offers us a way of both creating and understanding texts that think through ethics, bodies, aesthetics, and politics together as part of a vital and relevant contemporary feminist ethics of embodiment. I employ the term “poethics” as a useful way to describe such a practice. (shrink)

: My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.

: I argue that Irigaray's recent work develops a theoretically cogent and politically radical form of realist essentialism. I suggest that she identifies sexual difference with a fundamental difference between the rhythms of percipient fluids constituting women's and men's bodies, supporting this with a philosophy of nature that she justifies phenomenologically and ethically. I explore the politics Irigaray derives from this philosophy, which affirms the sexes' rights to realize the possibilities of their rhythmically diverse bodies.

In this essay I explore the dynamic between Luce Irigaray and Maurice Merleau-Ponty as it unfolds in An Ethics of Sexual Difference (1993). Irigaray's strategy of mimesis is a powerful feminist tool, both philosophically and politically. Regarding textual engagement as analogous for relations between self and other beyond the text, I deliver a cautionary message: mimetic strategy is powerful but runs the risk of silencing the voice of the other.

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

I argue that Irigaray's recent work develops a theoretically cogent and politically radical form of realist essentialism. I suggest that she identifies sexual difference with a fundamental difference between the rhythms of percipient fluids constituting women's and men's bodies, supporting this with a philosophy of nature that she justifies phenomenologically and ethically. I explore the politics Irigaray derives from this philosophy, which affirms the sexes' rights to realize the possibilities of their rhythmically diverse bodies.

This article brings together feminist literary theory and law by approaching a number of U.S. Federal cases on sex equality in light of the work of the renowned feminist literary critic Naomi Schor, and shows that literary theory constitutes an under-explored resource for feminist legal critique. Schor’s writings constitute a sustained rumination on the relationship between reading and feminism. Drawing on writings on language and the body by key French feminist theorists, Schor advances a method of interpretation which she terms, (...) provocatively, ‘clitoral reading’, and which focuses on the place of details relating to women’s bodies and desires within literary and cultural discourses. In the course of her career, she analysed texts from domains as diverse as literature, philosophy, visual art, the history of fashion, and photography. I will demonstrate that her work can make a valuable contribution to legal studies by using it as an interpretative lens to re-examine U.S. Federal court judgments. (shrink)

In recent years, feminist theorists have examined the use of visual technologies in pregnancy and argued that these technologies are reconstructing the meaning of pregnancy. The imaged body of gestation can be deployed to distinguish and separate maternal and foetal interests. Drawing on this work, ‘Visibly Pregnant: Toward a placental body’ argues that the use of visual technology also obfuscates that which it purports to make clear. The images produced by these technologies in particular do not locate and acknowledge the (...) significance of the placenta as a point of connection and distinction for the gestating body. The possibilities suggested by a concentration on the placenta show how the morphology of the pregnant body itself rejects the distinction outlined in the technologically produced images of pregnancy and offers some new possibilities for thinking subjectivity. (shrink)

Mythical stories are, according to Luce Irigaray, one source where the matrix of repression, desire and correction of the female body is made visible. The Book of Revelation is one of the parts of the Bible told in a typical mythical language framework. It is also one of the most infamous biblical books because of its misogynist approach and repeated use of female stereotypes such as the whore and the pure bride. The purpose of this article is not to deny (...) the validity of this feminist critique, but to open up the meaning of the story of Revelation from an Irigarayan perspective as also to include possibilities of a counter-story where phallocentrism is challenged and finally altered into a new era where women, as well as other previously objectified categories, are aware of themselves as subjects in their own right. (shrink)