Feminism as a radical discourse has always been a challenge to Christian Theology. The contemporary deconstructive feminist social thought that signals a radical epistemic shift in transnational politics, economics and culture invokes theology to re-locate its methodology and focus. Gayatri Chakravorty Spivak’s deconstructive feminism re-positions contemporary feminist thought in a post-Marxist, postcolonial, and postmodern epistemological context. This article tries to explore the methodological significance of the Spivakian de-constructive feminist epistemology and to sketch out its implications on the contemporary theological program. (...) The thesis is analysed in three major sections. The first section is an introduction to the Spivakian epistemological ‘itinerary’. The second section tries to explicate the contours of Spivakian feminist epistemology by elucidating three specific categories, viz: subalternity, marginality, and planetarity. The third section explores its implications on theological methodology in conversation with some of the contemporary postcolonial feminist theologians who engage creatively with Spivak. Spivakian feminist epistemology is being signified here in order to re-imagine a feminist systematic theology in a post-globalized context. (shrink)

In 1959, the Charles Darwin Station and the Galápagos National Park were established, formally inaugurating conservation on the archipelago. In the same year, a utopian colony from the United States arrived. Whereas scholars have dismissed the latter and focused on the former, this essay unveils the science-inspired utopianism common to both enterprises. Investing science with the exclusive role of producing all knowledge and steering politics, leaders of the two initiatives aspired not only to protect nature but also to forge a (...) new humanity. Describing how such ambitions burst along lines of race, class, and nationality, I argue that these enterprises consolidated the current understanding of the Galápagos as “pristine”: a site fit for research and tourism but unhospitable to people. Drawing on archival and historical documents, this essay aims to reinvigorate two conversations: one between science and technology studies and conservation, and the other between STS and utopian studies. If recent attempts at bridging the divide between science and imagination have emphasized how powerful actors shape human society, this essay considers the long-lasting effects of scientific imaginaries on a politics of nature. (shrink)

This thesis contextualises academic writing in EAP (English for Academic Purposes) and subjects it to an interdisciplinary (educational and philosophical) analysis in order to argue that what makes writing academic are its socio-academic practices and values, not its conventional forms. In rejecting dominant discourses that frame academic writing as a transferable skill which can be reduced to conventional forms, I show that academic writings are varied and evolve alongside changing writer agencies and textual environments. This accounts for the emergence of (...) a diverse academic writing landscape that enacts diverse socio-academic practices and that does not reduce writing to predictable static surface features. My methodology resists traditional disciplinary classifications and is in line with the reflective and interpretative approaches associated with the humanities. Rather than ‘filling a gap’ in academic writing research, I challenge writing conventions in EAP by questioning assumptions. This is because EAP is influential in shaping discourses about academic writing and, as such, it must not mislead students and practitioners about the evolving purposes, forms and possibilities for academic expression. The thesis is divided into three parts, each containing two chapters. Part 1 is concerned with explaining what academic writing is in EAP and how EAP can misrepresent it. Part 2 delves into the history of writing and literacy to tease out the ideologies shaping writing practices. Part 3 proposes a model based on philosophical theories of mind and sociology that lays the foundation for a macro theory of academic writing and a future writing pedagogy. The model re-imagines academic writing as an affordance within a non-linear, emergent and complex social open system. This system can be referred to as an organic unity and requires a shift from conceiving writing as a ‘transferable skill’. When re-imagined as an affordance, change and diversity in academic writing practices become possible. (shrink)

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening (...) by distinguishing between l’écoute and l’entente. L’écoute is an attending to and answering the demand of the other and l’entente is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of l’écoute, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (il s’écoute) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (se fait entendre) as he makes himself listened to (se fait écouter). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both l’entente and l’écoute when it listens as Chaplin listens. (shrink)

This paper explores the problem of racial privilege in US American feminist thought. Drawing on Gayatri Spivak’s analysis of ethics, particularly her ideas of epistemic discontinuity and teleopoietic reading, I argue that a specific kind of ethical openness can help feminist social-political philosophy better negotiate the legacy of white privilege. Spivak’s work calls for a reconsideration and reworking of the subject who theorizes. Her analysis of ethics suggests that racially privileged feminists must be able to confront their own complicity in (...) order to engage in political critique less likely to recreate historical patterns of racial domination and exclusion. (shrink)

This article explores the relationship between theory and praxis by contrasting three different models of intellectual endeavor: totalizing, particular and decolonial. Attending to the critique that Gayatri Spivak raised against Michel Foucault and Gilles Deleuze in Can the Subaltern Speak?, this article advocates a dramaturgical reading of texts as a model for political theory to address subaltern agency. It reads such agency in the smile that Pier Paolo Pasolini registers in his 1967 film version of Sophocles’ play, Oedipus Tyrannos. Dramaturgically (...) read, Oedipus reveals another text, the tragic history of a yet insufficiently explored democratic alternative that goes against the established democracy and its complicity with inequality in the continued naturalization of slavery despite its foundation in equality. This subtext demands understanding Oedipus as a political production from the speechless agency of dissident servants, a more subversive aspect of democratic politics. (shrink)