Luce Irigaray's argument that women need a feminine divine is placed in the context of her analyses of the interconnection between man's appropriation of woman as his “negative alter ego” and his identification with the impossible ego ideal represented by the figure of God. As an alternative, the “feminine divine” is conceived as a realm with which women would be continuous. It would allow mediation between humans, and interrupt cannibalizing appropriations of the other.

This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests – siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard of hearing, (...) short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires. It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure. (shrink)

This paper explores the symbolic implications of Luce Irigaray's images of the female body, particularly the two lips and the mucous. It suggests that Irigaray's work reveals some of the problems attendant on "positive images of women.".

Feminist philosophers of religion have drawn attention to desire as a neglected category for approaching the sources and concerns of religion. This paper extends this discussion by engaging with one particularly disturbing aspect of the writings of the Marquis de Sade. In a world where ultimate sexual pleasure is derived from destruction of the Other, Sade glories in describing the suffering of mothers, often at the hands of their own children. This paper offers one possible reading of these dark desires (...) through employing aspects of psychoanalytic theory to suggest that, rather than isolate him from the majority of humanity, we might consider possible connections between the desires he details and our own. This involves considering the ambivalence of the mother, and thus challenging the idealization of the all-caring, all-nurturing mother. (shrink)

Julia Kristeva is known as rejecting feminism, nonetheless her work is useful for feminist theory. I reconsider Kristeva's rejection of feminism and her theories of difference, identity, and maternity, elaborating on Kristeva's contributions to debates over the necessity of identity politics, indicating how Kristeva's theory suggests the cause of and possible solutions to women's oppression in Western culture, and, using Kristeva's theory, setting up a framework for a feminist rethinking of politics and ethics.