This essay seeks to unsettle feminist philosophy through an encounter with Aboriginal artist Tracey Moffatt, whose perspectives on intergenerational relationships between white women and Indigenous women are shaped by her experiences as the Aboriginal child of a white foster mother growing up in Brisbane, Australia during the 1960s. Moffatt's short experimental film Night Cries provides an important glimpse into the violent intersections of gender, race, and power in intimate life and, in so doing, invites us to see how colonial and (...) neocolonial policies are carried out through women's domestic labor. Seeing cross-generational and cross-racial intimacy through Moffatt's lens, I suggest, helps us to unsettle both feminist theories of motherhood and feminist practices of mentoring. (shrink)

We cannot rethink the ethical and political dimensions of memory—especially its role in constituting persons and identities—without rethinking the nature of memory itself. I first describe a traditional epistemological view of memory, according to which memory is a faculty for preserving knowledge of the past, and then juxtapose a relational theory of memory developed by Sue Campbell. The relational theory is represented in terms of a distinction between actions and achievements; this distinction enables us to both clarify and defend the (...) shift from an epistemological to a political conception of memory. On the resulting view, accuracy, not truth, is the appropriate norm for evaluating memory, and remembering is no longer conceived as an interior process. In the penultimate section I confront an objection to a relational theory of memory—and to relational theories of cognition generally—and suggest a strategy of response. (shrink)