In this article, the master-servant figure in the Phenomenology of Spirit is analyzed against the background of Hegel’s ontology of life as an embodied process. It is therefore argued that the theme of this figure is the question of domination in general, understood as a social relationship of subjection that can take on different historical configurations. Domination is understood as a relationship of disparity of status between dominant and dominated subjects. Therefore, domination would have an intersubjective aspect, as constituted by (...) asymmetric relations of recognition, and a material one, as this disparity in recognitive status enacts the extraction of physical and symbolic resources from subordinated subjects. (shrink)

Judith Butler and Catherine Malabou’s recent exchange, ‘You Be My Body for Me: Body, Shape and Plasticity in Hegel’s Phenomenology of Spirit’, is remarkable because in their rereading of Hegel’s famous lord and bondsman parable, rather than focusing on recognition, work, or even desire, Butler and Malabou each wonder about how Hegel contributes to a new way of thinking about ‘having’ a body and how coming to ‘be’ a body necessarily involves a kind of dispossession. Butler and Malabou’s reading of (...) Hegel is congruent with a current shift on the left away from a liberal politics of recognition to a Marxist analytic of dispossession: a move, in other words, away from liberal ‘solutions’ of redistribution – of either goods or recognition – towards thinking through issues of settler colonialism, forced migration and empire. Butler and Malabou’s piece points towards the insight that Hegel’s parable must be thought in terms of the political history of possessive individualism, and so in terms of the history of juridically defined property relations; the history of regarding both the body and the land as property. The ‘two valences’ of dispossession, in other words, refers in fact to a logic of property relations, one between those who ‘have’ property and those who are juridically defined as propertyless. (shrink)

Whilst the concept of the subject has been called into question by many diverse approaches within contemporary political and social theory, there remains a focus upon agency, now attributable to reformulated subjectivities or assemblages. I query the persistence of this grammar of agency and ask whether politics can do without a ‘scene of the subject’. Spinoza’s philosophy, in particular, his conception of conatus, has inspired and offered some basis for rethinking agency. I examine two such prominent positions and argue that (...) ultimately neither captures the political promise of Spinoza’s philosophy. Configuring a concept of morphology to analyse this scene, my argument detaches the conatus from a narrow focus upon human desire, and focuses attention upon the scene of the subject as it folded into a wider complex body. My approach also returns a study of power to the discussion: the conatus is the power to persist, but it is also a differential force and site of conflict. By placing the spotlight on the scene of subjectivity in this way, the contemporary political theorist avoids the false antinomy between agency and structure, whilst continuing to track the production and composition of subjectivity in new political forms. (shrink)

This article takes Catherine Malabou’s provocative insistence on an alliance between plasticity and feminism to initiate an exploration of gestation and its representation in the context of the postgenomic age. I argue that Malabou’s attention to epigenetic schemas of life and becoming can inform and, in turn, be enriched by feminist film-philosophy which locates the maternal as an alternative schema of embodied subjectivity – simultaneously displacing essentialising over-reliance on gender/sex binaries without entirely metaphorising or abstracting the material processes which subtend (...) bodies and their openness to difference. Drawing on recent feminist scholarship, including Ann Carruthers’s Fertile Visions and Sophie Lewis’s Full Surrogacy Now, I turn to Lucile Hadžihalilović’s Evolution (2015) in order to approach gestational bodies as a central site for both the violent subjugation of embodied life and a feminist ethics and aesthetics of affective relationality. Part science-fiction, fairy-tale and body horror, Hadžihalilović’s film responds to contemporary bio-genetic innovations: Malabou’s elaboration of the “phylogenetic remains” and “cellular potentials” that epigenetic plasticity reactivates guides my reading of its seething maternal waters, multiply directed gestational bodies and various forms of plastic co-becoming. As well as being exemplary of new epigenetic imaginaries, Hadžihalilović’s complex foetal/fertile visions illuminate how feminist-philosophical-artistic practices may elaborate an epigenet(h)ics of life – informed by past forms, present configurations, and open to future bio-possibilities. (shrink)