Animating Luce Irigaray’s oeuvre are two indissociable projects: the disruption of Western metaphysics and the thinking of sexual difference. The intersection of these two projects implies that any attempt to think through the meaning and significance of Irigaray’s notoriously fraught invocation of sexual difference must take seriously the way in which this invocation is itself always already inflected by her disruptive gesture. In this paper, I will attempt to elucidate one moment of this intersection by focusing on her critical engagement (...) with Heidegger. In L’oubli de l’air , Irigaray criticizes Heidegger’s interpretation of the principle of identity as instantiating the same neglect of sexual difference that has been inscribed throughout the history of Western metaphysics. Moreover, Irigaray identifies the vestigial traces of this metaphysical legacy in Heidegger’s commitments to phenomenology. My claim, however, is that if we turn to Derrida’s second Geschlecht essay in order to mediate between Irigaray and Heidegger, the coimplicative nature of their projects comes into focus: on one hand, Derrida identifies within Heidegger’s work an incipient articulation of the very notion of sexuate difference that, on Irigaray’s reading, Heidegger’s work requires but nonetheless elides; on the other hand, Derrida’s rereading of Heidegger’s phenomenological commitments corroborates the philosophical significance of Irigaray’s intervention by recontextualizing the parameters that delimit her invocation of sexuate difference. (shrink)

The purpose of this paper is to highlight some of the main philosophical roots of Donna Haraway’s thinking, an issue she rarely discusses and which is frequently ignored in the literature, but which will allow us to not only better understand her thinking, but also locate it within the philosophical tradition. In particular, it suggests that Haraway’s thinking emanates from a Cartesian and Heideggerian heritage whereby it, implicitly, emanates from Heidegger’s destruction of metaphysical anthropocentrism to critique the divisions between human, (...) animal, and machine that Descartes insists upon in his Discourse on Method. While suggesting that Haraway is, implicitly, influenced by Heidegger’s critique of the binary logic constitutive of Descartes’ anthropocentrism, I first argue that her support for Jacques Derrida’s, Bruno Latour’s, and Giorgio Agamben’s critical readings of Heidegger lead her to jettison Heidegger’s suggestion that overcoming this logic requires a re-questioning of the meaning of being to, instead, develop an immersed, entwined ontology that aims to call into question the fundamental divisions underpinning Cartesian-inspired anthropocentrism, before, second, concluding by offering a Heideggerian critique of Haraway’s thinking. (shrink)

I explore the possibility that the feminine, like art, can be thought in terms of Jean-Luc Nancy’s concept of the singular plural. In Les Muses, Nancy claims that art provides for the rethinking of a technë not ruled by instrumentality. Specifically, in rethinking aesthetics in terms of the debates laid out by Kant, Hegel and Heidegger, he resituates the ontological in terms of the specificity of the techniques of each particular artwork; each artwork establishes relations particular to its world or (...) worlds. What is at stake in the singular plural is the multiplicity of relations that are lost in the unifying gestures that arise out of radical oppositions. I rethink the singular plural through a phenomenological encounter with Barb Hunt’s artwork, Antipersonnel, a collection of hand-knitted replicas of antipersonnel landmines. (shrink)