:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract expressionism (...) which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts. (shrink)

This essay examines Irigaray's analysis of politics and the political implications of her critique of sacrificial orders that repress difference/matter. I suggest that her descriptions of a fluid “feminine” can be read as an alternative symbolic not dependent on repression. This idea is politically promising in opening a possibility for justice and a nonantagonistic intersubjectivity. I conclude by assessing Irigaray's concrete proposals for sexuate rights and a civil identity for women.

I appropriate Deleuze and Guattari's concept of the refrain for a feminist analysis of the girl because it offers more insight into the ways girls construct themselves as performative networks than the death-by-culture or at-risk model preferred by such feminists as Jean Kilbourne, Carol Gilligan, and even Susan Bordo. I proffer that it costs women everything to practise a politics of difference that is by definition reactionary, a reaction to the cultural refusal of leaky gendered bodies that must be overcome. (...) Girl is mapped through such alternations as powerful aggregates of the tremulous, roaming emissions of monstrous particles most desired and desirous. (shrink)

This essay outlines how Western culture, and in particular the practice of architecture, has failed to develop a nuanced and ethical approach to alterity. It examines Maurice Merleau-Ponty's conception of the flesh as a process of continual self-interrogation through perceptual acts that intertwine communality and difference, establishing a shared world through interlocution, and explores how the work of Merleau-Ponty and Luce Irigaray augment each other to deepen our understanding of alterity. It then examines architectural design as an intercorporeal and intersubjective (...) act that creatively refigures sedimented spatial and social habits. Using the example of an architectural design studio, it demonstrates how designers can critically confront nuances of alterity through investigating the corporeal and social depths of architecture. (shrink)

Freud's 1911 case study based on Schreber's Memoirs of My Nervous Illness provides the investigator with the opportunity to reexamine Freud's interpretation through a return to the original data Freud used. This study reveals both the insights and limitations of Freud's theory of paranoia. An alternative interpretation of the case is overed from an existential-phenomenological perspective which aims both to expand upon and transform Freud's study without negating its value. Freud draws on the mythologies of the sun to argue for (...) his hypothesis that the "father-complex" lies behind Schreber's God. By following some of the many other mythological themes in Schreber's memoirs, Freud's interpretation is opened to a larger, socially and historically situated context. An examination of cross-cultural and historical studies of mystical experience shows how Schreber's psychosis is simultaneously a form of madness and spiritual breakthrough. Schreber's is viewed as a narcissistic experience of the infant-child in which the imaginal has been exiled from rational, modern adulthood and is inaccessible to Cartesian language. Instead of recognizing the soul-full world of "miracles," Schreber envisions the absorption of the entire world into himself and he thus becomes an inflated caricature of the "heroic ego" at its extreme. (shrink)

In this paper I argue that the idea ‘becoming-woman’ is an attempt to transform embodied experience but, because it is unable to concern itself with mechanisms, structures and processes of sexual differentiation, fails in this task. In the first section I elaborate the relationship between becoming-woman and Deleuze's ‘superior’ or ‘transcendental’ empiricism and suggest that problems can be traced back to an underlying Humean empiricism. Along with Hume, Deleuze, it seems, presumes a bundle model of the object which dissolves things (...) into episodic objects of perception and leaves the subject unable to distinguish between fanciful objects, erroneous perception and any other thing. The empiricist ontology thus has consequences for epistemology and leaves us unable to question the conservative tendencies of common sense. As an alternative to transcendental empiricism, the second section considers how transcendental realism, with its ontological commitment to the mind-independent character of things, may provide a more fruitful and productive line of enquiry. Given that there is such a choice, in the third section I speculate as to the specific desires that drive such philosophical abstraction; abstraction which culminates in the non sex-specific figure becoming-woman whilst disguising the mind-independent character of the mechanisms, structures and objects that affect the subject. So I conclude that, despite all appearances of radicalism, the philosophical model ‘becoming-woman’ – aligned as it is with schizo-processes and the philosophical loss of mind-independent things – is more of the same and sexual difference remains a hidden term. Due to this, I believe that feminists should view it with suspicion. (shrink)

This essay suggests that despite the traditional viewpoint that it seemingly supplements patriarchy's consistent marginalization of maternal bodies, masochism, as formulated by Gilles Deleuze, offers the possibility of a maternal subjectivity beyond paternal domination. Deleuze's conception of masochism reveals an innovative way in which to view maternity as a tactical schema that operates through the perverse disavowal and resexualization of patriarchal law in order not only to destabilize its foundations, but to produce a maternal identity of the mother's own creation. (...) This essay will use Ira Levin's horror novel Rosemary's Baby to contextualize an adaptation of Deleuze's theory in order to account for the relationship between mother and child, and the emergent subjectivity the dyad produces. Levin's novel seamlessly showcases how the maternal body is observed and optimized by reproductive technologies in order to produce not only a heteronormative ideal of maternity, but a child who will reflect paternal law. This essay argues that the titular character, Rosemary Woodhouse, establishes a masochistic contract with her son whereby she reconfigures his identity through a perverse disavowal of the Law of the Father, replacing it with maternal authority. Most important, her performance of masochism results in the marginalization of the father, and the emergence of a new maternal identity. (shrink)

Gilles Deleuze (January 18, 1925–November 4, 1995) was one of the most influential and prolific French philosophers of the second half of the twentieth century. Deleuze conceived of philosophy as the production of concepts, and he characterized himself as a “pure metaphysician.” In his magnum opus Difference and Repetition , he tries to develop a metaphysics adequate to contemporary mathematics and science—a metaphysics in which the concept of multiplicity replaces that of substance, event replaces essence and virtuality replaces possibility. Deleuze (...) was also well-known for a number of important monographs he published in the history of philosophy (on Hume, Nietzsche, Kant, Bergson, Spinoza, Foucault, and Leibniz), as well as for his writings on the various arts, which include a two- volume study of the cinema, books on Proust and Sacher-Masoch, a monograph on the painter Francis Bacon, and a collection of essays on literature. Deleuze considered these latter works as pure philosophy, and not criticism, since he sought to create the concepts that correspond to the artistic practices of painters, filmmakers, and writers. In 1968, he met Félix Guattari, a political activist and radical psychoanalyst, with whom he wrote several works, among them the two-volume Capitalism and Schizophrenia , comprised of Anti-Oedipus (1972) and A Thousand Plateaus (1980). Their final collaboration was What is Philosophy? (1991). (shrink)

Luce Irigaray's project elaborates an original concept of sexual difference. While this concept is widely discussed in feminist philosophy, there are multiple readings of sexual difference and some of these are contradictory. This essay surveys the various readings of sexual difference in English. Foci include the debate over the status of essentialism, ontology, and the controversy over the primacy of sexual difference, including discussion of whether her oeuvre marginalizes differences of race and sexuality. I conclude by arguing that her thinking (...) of difference is open to the future and non-totalisable in principle. This means that, difference, the concept at the heart of her thinking of sexual difference, cannot be primarily oriented toward engendering sexual difference because it is necessarily open to engendering relations that cannot be predicted. (shrink)

Breath is a perceptual practice, a form of listening, of attending. These words begin to mark out the unique space of this thesis. It is ‘written from the breath’, a stance that breaks free of the silencing of breath in contemporary language theory. Importantly, the thesis makes the large claim that the closing down of conceptual breathing spaces in the twentieth century parallels the asphyxiation of a spiritual connection with the world. This is seen by Helen Sharp, the author of (...) this posthumous thesis, as ‘the loss of the profane halo’. Sharp acknowledges a debt to Georgio Agamben’s notion of the ‘Halo’ in The Coming Community as composed of a ‘tiny displacement’. She identifies such displacements as breath movement. ‘Each breath event develops as a potentiality of relationship where self is re-conceived and born anew in tiny little flutters…’ of each inhalation and exhalation. Here lies the core of her thinking where the movement of life surges forth in the ‘imperceptible trembling of the finite’. This, she writes, is equivalent to ‘the illuminated field of the breath as halo’. Moving into the realm of the artistic-poetic, the thesis itself comes to take on the character of a work of art. Its three edges are written dialogues, performance prologues, and breath practice including breath dialogue. (shrink)

Juxtaposing Cherríe Moraga's Loving in the War Years and Luce Irigaray's Speculum of the Other Woman, I explore the ways that sex and race intersect to complicate an Irigarayan account of the relations between mother and daughter. Irigaray's work is an effective tool for understanding the disruptive and potentially healing desire between mothers and daughters, but her insistence on sex as primary difference must be challenged in order to acknowledge the intersectionality of sex and race. Working from recent work on (...) the psychoanalysis of race, I argue that whiteness functions as a master signifier in its own right, and as a means of differentiation between the light-skinned Moraga and her brown-skinned mother. Irigaray's concept of blood deepens Moraga's account of her healing and subversive return to her mother. The juxtaposition of Moraga, Irigaray, and contemporary psychoanalysis of race can allow for a necessary revision of Irigaray's psychoanalysis that acknowledges the ways in which sexual difference is indexed by race and sheds new light on her account of the mother–daughter relation. (shrink)