Luce Irigaray's Elemental Passions could be read as a response to Merleau-Ponty's article "The Intertwining-The Chiasm" in The Visible and the Invisible. Like Merleau-Ponty, Irigaray describes corporeal intertwining or vision and touch. Counteracting the narcissistic strain in Merleau-Ponty's chiasm, she assumes that sexual difference must precede the intertwining. The subject is marked by the alterity or the "more than one" and encoded as a historically contingent gendered conflict.

A feminist perspective on selfhood – bound to a perspective on otherness – is the main concern of this article. The resonance of this notion of selfhood both with ethical philosophy and with the language of humanism enables a deeper understanding of a feminist ethics as well as its internal tensions. The article considers the relationship of feminism and humanism as one of “paradoxical fluidity” rather than antithetical polarization, to explore the ways in which feminism’s alliance with contemporary ethics exemplifies (...) its paradoxical relation to humanism. The study then underlines the vital contribution of feminist discourse to an ethical understanding of selfhood and intersubjectivity. Finally, it examines the work of experimental Canadian poet Lola Lemire Tostevin, who reveals the importance of an ethical, feminist version of selfhood that highlights the insufficiency as well as the potential of both humanist and postmodern versions of subjectivity. (shrink)

Inaugural lecture as Professor of Women's Studies in the Arts Faculty of the University of Utrecht, May 16, 1990.

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)

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)

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)

Confessional modes of self-representation have become crucial in feminist epistemologies that broaden and contextualize the location and production of knowledge. In some versions of confessional feminism, the insertion of “I” is reflective, the product of an uncomplicated notion of experience that shuttles into academic discourse apersonal truth. In contrast to reflective intrusions of the first person, reflexive confessing is primarily a questioning mode that imposes self-vigilance on the process of self positioning.

Confessional modes of self-representation have become crucial in feminist epistemologies that broaden and contextualize the location and production of knowledge. In some versions of confessional feminism, the insertion of "I" is reflective, the product of an uncomplicated notion of experience that shuttles into academic discourse a personal truth. In contrast to reflective intrusions of the first person, reflexive confessing is primarily a questioning mode that imposes self-vigilance on the process of self positioning.

This paper looks to evolve a discourse about the body in medieval women's mystical experience via an understanding of the life and work of Saint Catherine of Genoa as écriture-féminine. Drawing upon Catherine's resolution of binarism through the articulation of sexuality and textuality, I argue that the female mystic's experience of the body as site of struggle helps move beyond analysis of a binary experience to a politics of speaking the body directly.

This article considers whether there is room in the work of Goldenberg, which is characterized as materialist, for spirituality. The author shows how Freudian psychoanalysis gives the opportunity for the body to be resurrected from the place of signifier of death and dissolution. However, it is also argued that it is possible to bring body and spirit together in such a way as to allow the body to flourish. The author argues for a 'thinking through the body' that is best (...) accomplished when grounded in goddess spirituality. (shrink)

Teacher identity is defined in its relations, on the one hand, to curriculum and, on the other, to students: to be identified as a teacher is to be taken by the latter as a bearer of the former. In this essay I consider some variations on theorising teacher identity within these relational terms. Beginning with the educational task of cultivating student subjects within the often impersonal aims of curriculum, I reject a correspondingly personalised production of teacher identity that would humanise (...) education through the teacher's personality. Turning instead to the idea of a teaching role defined by institutional authority, I look at two perspectives from which the teacher's identity can be theorised as a matter of performing that role. Jane Gallop's performative definition of teaching highlights the teacher as a pre-existing role but is fundamentally concerned with the teacher's self-understanding, this fails, however the relational requirements of teaching. Ultimately, bringing performativity into the context of the transferential relation between teacher and student provided by Plato's Symposium , I argue that student desire produces teacher identity in response to the teacher's performed relation to truth. (shrink)

Teacher identity is defined in its relations, on the one hand, to curriculum and, on the other, to students: to be identified as a teacher is to be taken by the latter as a bearer of the former. In this essay I consider some variations on theorising teacher identity within these relational terms. Beginning with the educational task of cultivating student subjects within the often impersonal aims of curriculum, I reject a correspondingly personalised production of teacher identity that would humanise (...) education through the teacher’s personality. Turning instead to the idea of a teaching role defined by institutional authority, I look at two perspectives from which the teacher’s identity can be theorised as a matter of performing that role. Jane Gallop’s performative definition of teaching highlights the teacher as a pre-existing role but is fundamentally concerned with the teacher’s self-understanding, this fails, however the relational requirements of teaching. Ultimately, bringing performativity into the context of the transferential relation between teacher and student provided by Plato’s Symposium, I argue that student desire produces teacher identity in response to the teacher’s performed relation to truth. (shrink)

Attention is drawn to the movements of the body and to the ethical imperative that emerges in compelling, flowing moments of teaching. Such moments of teaching are not primarily intellectual, discursive events, but physical, sensual experiences in which the body surrenders to its own movements. Teaching is recognized momentarily as a carnal intensity embedded in and emerging from the flesh. The ethical imperative to this teaching is felt proprioceptively and kinaesthetically when one holds in self-motion the well-being of another as (...) being of the same flesh. The teaching caress offers a primary example. This gesture of intimacy discloses an embodied ethic that contrasts with the transcendental ethics of curricular prescriptions, professional codes of conduct, and the presumptions of self-monitoring behavior. It is a gesture of care for another person, without fastidious carefulness. It is a gesture of pure duration, without sanctimonious purity, in its contact with the beauty, truth and value of the teachable moment. From earliest engagements with children to the dynamics of the university classroom, what makes for good teaching is essentially attentiveness to intimate gestures, such as the caress, that guide teachers kinethically in the moment. (shrink)

Luce Irigaray's Elemental Passions could be read as a response to Merleau-Ponty's article “The Intertwining—The Chiasm” in The Visible and the Invisible. Like Merleau-Ponty, Irigaray describes corporeal intertwining or vision and touch. Counteracting the narcissistic strain in Merleau-Ponty's chiasm, she assumes that sexual difference must precede the intertwining. The subject is marked by the alterity or the “more than one” and encoded as a historically contingent gendered conflict.

This article explores the relationship between skin, ego and second skins. It does so conceptually by re-examining Freud’s suggestion, in The Ego and the Id, that the ego is first and foremost a bodily entity, while also being a projection of a surface (i.e. skin). Drawing upon Anzieu, a dynamic model of inter-weaving surfaces can be seen to underpin an understanding of the ego — and skin ego. This model is fundamentally spatialized. Even so, an appreciation of the spatialities of (...) skin and ego can be developed further. To illuminate these spatialities, this article examines two key experiences of T.E. Lawrence during his military service in Arabia (c. 1917), as he describes them in his autobiographical account Seven Pillars of Wisdom. In a meeting with British military police, and in the notorious Deraa rape incident, what is at stake is Lawrence of Arabia’s skins. Reading these experiences using Freud and Anzieu, the article argues that these events re-present an ongoing chafing of Lawrence’s skin, ego and second skins, which can be called his ‘skin of suffering’. (shrink)

Feminist debates on pornography have relied on articulations of affect, from anti-pornography rhetoric of grief, anger and disgust to anti-anti-pornography claims to enjoyment and pleasure. The complexity of reading, the interpenetration of affect and analysis, experience and interpretation tend to become effaced in arguments both for and against pornography. This article argues for the necessity of moving beyond the affective range of disgust versus pleasure in feminist studies of pornography. Drawing on theorizations of reading and affect, particularly Eve Kosofsky Sedgwick’s (...) discussion of ‘paranoid’ and ‘reparative’ reading, it investigates the possibilities of analysing commercial email porn spam without reducing the outcome to the literal and the self-evident. This involves taking seriously the power of pornographic texts to move their readers, scholars included. Since affective encounters with porn are ambivalent and often contradictory, their status as basis of knowledge over pornography remains highly unstable. (shrink)

This article was originally presented as a paper, and since much of what it discusses turns on problems of position, location, self-representation and representativity, I have decided to leave it, as far as is possible, in its original form. Extensive use of the first person pronoun is frowned on in the contexts in which I am used to working, but I have deliberately retained it in this text to try and convey a sense of particularity, of myself speaking in a (...) specific context(s). The use of ‘we’ is a highly politicized act both in anthropology and in feminist contexts. Its use here is intended to convey a sense of audience, that is of myself speaking to others. But, and much more importantly, it also operates as a mark of interrogation, a fictive unity that reveals the lines of fragmentation at the very moment when it claims affinity.1. (shrink)

Drawing Wittgenstein's and Irigaray's philosophies into conversation might help resolve certain misunderstandings that have so far hampered both the reception of Irigaray's work and the development of feminist praxis in general. A Wittgensteinian reading of Irigaray can furnish an anti-essentialist conception of "woman" that retains the theoretical and political specificity feminism requires while dispelling charges that Irigaray's attempt to delineate a "feminine" language is either groundlessly utopian or entails a biological essentialism.

This essay attempts to examine the difficult question of sex scandals both in public school settings and in the academy. It raises issues over the way authority in the classroom is unequally exercised by both male and female teachers in terms of power and seduction. However, the Law remains explicit when it comes to judging who is at fault within a-student relationship that collapses into the bedroom. The ethics that surround such sexual affairs is raised through the psychoanalytic and philosophical (...) writings of Jacques Lacan. The essay ends by offering a surprised perspective over the question whether an ethics of diabolical evil is possible, given that such affairs are differentiated as post-Oedipal relationships where age differentiations have become blurred. (shrink)

This essay argues that feminist theory has focused, in the main and for too long, on theories of the body, in a legitimate reaction to a Western masculine coupling of beauty with a female or idealized maternal body and the sublime with male creativity. In consequence, there are few productive feminist accounts of female or maternal beauty. However, Virginia Woolf’s writings about beauty, mothers and the body, if read through the lens of post-Lacanian theory - particularly the work of Luce (...) Irigaray and Bracha Lichtenberg Ettinger - do offer a moving and positive feminist account of women and beauty. The essay analyses Woolf’s ideas about beauty in general, before focusing on To the Lighthouse and The Voyage Out in relation to the writings of Woolf’s mother Julia Stephen. (shrink)

By reading the analyses of mysticism found in Beauvoir and Irigaray with and against some medieval women's mystical texts, the paper articulates a possible space for the divine within feminist thought.

Accounts of mothering have both contributed to feminist theory's development and depended on certain of its central concepts. Some of its critics, however, argue that feminist theory is undermined by the problems of exclusion and essentialism. Here I distinguish between these two problems and consider their implications for questions about mothering. I conclude that exclusion and essentialism do not present insurmountable obstacles to theorizing motherhood, but do suggest new directions for such theorizing.

This thesis wrestles with the normativity of language, its usage and its practices while questioning the signifié-signifiant reality. A structural reading of language designs its translational practices within the source-target framework, thereby essentialising its relationship en passant: everything has meaning as long as we accept the hidden framework of a universal language. Therefore, language outlined as a system of signs is a product of transcendental considerations and consequently it renders practice into a hermeticrealm in which the distinction between eidos and (...) eidolon, right and wrong, familiar and unfamiliar, grammar and gibberish makes perfect sense and in which the translation from A to B is simply a matter of transferring identities. Linguistic power neutralises through its transcendental conditioning ephemera in life and world. We will discover that a phenomenological reading of language is open to layers which questions the dialectic setting of linguistic knowledge production. Phenomenology proposes to study life-world relationships by reducing the power of dialectical denomination to the power of gazing or to the lenses of ambiguity. Theorising language and translational practices within the phenomenological realm follows the concept of being oriented towards body-life-world while laying bare the phenomenon language. This revealing method supersedes empirical considerations since phenomenological methodology questions permanently our very own positioning. Hence, the transfer from A to B will be challenged by possibilities which are temporary: it is about a transfer zone featuring A as A’ to B or A’ in B / C. However, the phenomenological possibility reveals that the price for ephemera is tamed by the condition of its possibilities: indeed, the aporia of linguistic identity in polyvalence requires not only phenomenological brackets but also a transcendental backup. Chapter I and II study the translational practice of language and phenomenology by explaining its analysis via dynamised transcendental conditions. The disillusion of the phenomenological inquiry will be yield by radicalising phenomenological reading of language towards a phenomenographical practice of language. Chapter III goes to the extremes in exposing a language without content. The introduction of the trickster figure Narcissistgrotesque Face will be the anti-metaphor in which the grotesque line up forces us to learn bearing A with B and in which the non-content materiality of linguistic practices resemble le bas matérialisme. Not explanation, understanding and rendering things plausible is the movens for language but it is all about the spur of its enactment, its style and its story telling that renders translational practice visible. Chapter III is a performative practice in which we turn the text into texture. Translation happens then when your are perplex and the translational void enacts you and me. (shrink)