The paper discusses Heidegger's early notion of the “movedness of life” (Lebensbewegtheit) and its intimate connection with Aristotle's concept of movement (kinēsis). Heidegger's aim in the period of Being and Time was to “overcome” the Greek ideal of being as ousia – constant and complete presence and availability – by showing that the background for all meaningful presence is Dasein, the ecstatically temporal context of human being. Life as the event of finitude is characterized by an essential lack and incompleteness, (...) and the living present therefore gains meaning only in relation to a horizon of un-presence and un-availability. Whereas the “theological” culmination of Aristotle's Nicomachean Ethics finds the supreme fulfillment of human life in the semi-divine self-immanence and self-sufficiency of the bios theōrētikos, a radical Heideggerian interpretation of kinēsis may permit us to find in Aristotle the fundamental structures of mortal living as self-transcendent movement. (shrink)

Spanish translation of Jussi Backman, "Divine and Mortal Motivation: On the Movement of Life in Aristotle and Heidegger,” Continental Philosophy Review 38 (2005): 241–261. -/- Translated by Fernando Huesca Ramón, translation revised by Jean Orejarena Torres and César Mora Alonso.

Although sexual difference is widely regarded as the concept that lies at the center of Luce Irigaray's thought, its meaning and significance is highly contested. This dissensus, however, attests to more than merely the existence of a recalcitrant conceptual ambiguity. That is, Irigaray's discussion of sexual difference remains fraught not because she leaves this concept undefined but because the centrality of sexual difference in fact marks a complex and unstable nexus of phenomena that shift throughout her work. Consequently, if Irigaray (...) is indeed the preeminent thinker of sexual difference, this is not in virtue of her recurrent appeal to a monolithic, readily digestible concept but rather somehow despite the absence of precisely this gesture. In this paper, I will attempt to elucidate the peculiar preeminence of sexual difference in Irigaray's work by identifying her persistent, though largely unexamined, commitment to transcendental phenomenology. Indeed, I attempt to show that the complex of phenomena of sexual difference emerges in L'oubli de l'air and The Way of Love as a modulation of Heidegger's own revision of transcendental phenomenology. In this sense, the peculiar preeminence of sexual difference does not mark the centrality of a concept but Irigaray's amplification of this Heideggerian gesture. (shrink)

Elizabeth Grosz's interpretation of Darwinian evolutionary theory to ground a feminist ontology of biology has been particularly controversial. Most critics have understood Grosz as supporting her theory with empirical evidence, and they criticize her for being either inaccurate or uncritical of and overly dependent on science. I argue that Grosz reads Darwin as a philosopher in a Deleuzian and Irigarayan sense, and that Grosz's project is therefore better understood in terms of its ethical and political goals rather than in terms (...) of empirical adequacy. Employing this evaluative framework leads to a novel route for critique of Grosz's ontology in terms of its reliance on the Darwinian distinction between organism and environment. I conclude that Grosz's work is valuable for the way it maintains ethical and political considerations in feminist ontological debates, and that introducing a more sensitive understanding of the organism–environment relation will lead us closer to a truly feminist ontology of biology. (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)

This article provides an interpretation of the ecophenomenological dimension of Luce Irigaray's work. It shows that Irigaray builds upon Heidegger's recovery of the ancient sense of nature as physis, self-emergence into presence. But, against Heidegger, Irigaray insists that self-emergence is a material process undergone by fluid elements, such as air and water, of which the world is basically composed. This article shows that this “elemental materialist” position need not conflict with modern science. However, the article criticises Irigaray's claim that men (...) and women inhabit radically different sexuate worlds. Although this claim has some phenomenological basis, ultimately it is undercut by Irigaray's own elemental materialism, which implies that sexuate difference colours our perception but does not cleave it down a radical difference in kind. We can therefore accept and develop Irigaray's contribution to ecophenomenology without her insistence on radical sexuate duality. (shrink)

The attempt to rearticulate traditional conceptions of nature can be both a useful strategy and a stumbling block when it comes to feminist examinations of continuity between the objectification of women’s bodies and the domination of nature. This paper contributes to existing debates by providing a critique of what I term the “duality view” of nature: a view stipulating that nature is primarily characterised by a stable sexual duality, and advancing that the objectification of women’s bodies arises because the specificity (...) of “femaleness” is ignored and duality is therefore neglected. I focus, specifically, on Alison Stone’s interpretation of Luce Irigaray, insofar as the account emerging from Stone’s interpretation clearly outlines the principles that most versions of the duality view should endorse. I problematise this account by showing that it becomes inconsistent with the critique of objectification which grounds it in the first place. I conclude by advancing that, overall, a view insisting on a natural sexual duality because of normative reasons conflicts with the feminist considerations at its basis. I also suggest that while the present analysis is primarily condemnatory, it can contribute to the development of feminist philosophies of nature by fleshing out avoidable pitfalls. (shrink)

In this article we offer an ontological theorization of care. The article interrogates the self-evident quality of everyday meanings for ‘care’ that might be generated from psychological or biological discourses; we aim to question the way that ‘care’ is applied in a technical or an emotional sense within the field of early childhood education. The article works towards offering a new theorization that does not treat the meaning of ‘care’ as self-evident. If ‘care’ is a way of addressing concern for (...) ourselves as human beings, we think that deepening the theoretical parameters of this concept will add to how we understand the complexity of gender and race relations. By articulating Heidegger’s use of ‘care’ and comparing it to Irigaray’s critique of Heidegger’s work on this concept, we hope to enable professionals and families to view conceptions of ‘care’ outside the familiar definitions applied in everyday discourse. The article treats early childhood education professional practice as an instance of how both gender and race delimit the way in which human relationships can be understood. (shrink)

Although sexual difference is widely regarded as the concept that lies at the center of Luce Irigaray's thought, its meaning and significance is highly contested. This dissensus, however, attests to more than merely the existence of a recalcitrant conceptual ambiguity. That is, Irigaray's discussion of sexual difference remains fraught not because she leaves this concept undefined but because the centrality of sexual difference in fact marks a complex and unstable nexus of phenomena that shift throughout her work. Consequently, if Irigaray (...) is indeed the preeminent thinker of sexual difference, this is not in virtue of her recurrent appeal to a monolithic, readily digestible concept but rather somehow despite the absence of precisely this gesture. In this paper, I will attempt to elucidate the peculiar preeminence of sexual difference in Irigaray's work by identifying her persistent, though largely unexamined, commitment to transcendental phenomenology. Indeed, I attempt to show that the complex of phenomena of sexual difference emerges in L'oubli de l'air and The Way of Love as a modulation of Heidegger's own revision of transcendental phenomenology. In this sense, the peculiar preeminence of sexual difference does not mark the centrality of a concept but Irigaray's amplification of this Heideggerian gesture. (shrink)

Uncontainable Life: A Biophilosophy of Bioart investigates the ways in which thinking through the contemporary hybrid artistico-scientific practices of bioart is a biophilosophical practice, one that contributes to a more nuanced understanding of life than we encounter in mainstream academic discourse. When examined from a Deleuzian feminist perspective and in dialogue with contemporary bioscience, bioartistic projects reveal the inadequacy of asking about life’s essence. They expose the enmeshment between the living and non-living, organic and inorganic, and, ultimately, life and death. (...) Instead of examining the defining criteria of life, bioartistic practices explore and enact life as processual, differential, and always already uncontainable, thus transcending preconceived material and conceptual boundaries. In this way, this doctoral thesis concentrates on the ontology of life as it emerges through the selected bioartworks: “semi-living” sculptures created by The Tissue Culture and Art Project and the performance May the Horse Live in Me by L’Art Orienté Objet. The hope is that such an ontology can enable future conceptualisations of an ethico-politics that avoids the anthropocentric logic dominant in the humanities and social sciences. (shrink)