This article characterizes the work of Native basket weaver Mabel McKay, using some of the conceptual tools of twentiethth-century phenomenologist Maurice Merleau-Ponty. Specifically, McKay's baskets have often been described as "living;" Merleau-Ponty's account of the world as "living flesh" seems to suggest a way of thinking about these baskets as more than mere artifacts. I conclude that McKay's baskets are a powerful propaedeutic: they awaken a sense of ourselves as perceivers.

In this dissertation, I argue that an account of epistemic injustice sensitive to interlocking oppressions must take us beyond injustice to human knowers. Although several feminist epistemologists argue for the incorporation of all forms of oppression into their analyses, feminist epistemology remains for the most part an anthropocentric enterprise. Yet insofar as a reduction to animal irrationality has been central to the epistemic injustice of both humans and animals, I propose that in addition to axes of gender, race, class and (...) sex, feminist epistemology must register the animal-human dichotomy as a fundamental driving mechanism inherent in epistemic injustice. From the perspective of a truly liberatory epistemology, I thus argue for an expanded account of epistemic injustice that is both 1) sufficiently attentive to the way injustices to human knowers continue to rely on animal oppression and 2) that accommodates epistemic injustices against animal knowers. (shrink)

The topic of the self has long been salient in feminist philosophy, for it is pivotal to questions about personhood, identity, the body, and agency that feminism must address. In some respects, Simone de Beauvoir's trenchant observation, "He is the Subject, he is the Absolute — she is the Other," sums up why the self is such an important issue for feminism. To be the Other is to be the non-subject, the non-person, the non-agent — in short, the mere body. (...) In law, in customary practice, and in cultural stereotypes, women's selfhood has been systematically subordinated, diminished, and belittled, when it has not been outright denied. Since women have been cast as lesser forms of the masculine individual, the paradigm of the self that has gained ascendancy in U.S. popular culture and in Western philosophy is derived from the experience of the predominantly white and heterosexual, mostly economically advantaged men who have wielded social, economic, and political power and who have dominated the arts, literature, the media, and scholarship. Responding to this state of affairs, feminist philosophical work on the self has taken three main tacks: (1) critique of established views of the self, (2) reclamation of women's selfhood, and (3) reconceptualization of the self to incorporate women's experience. This entry will survey feminist perspectives on the self from all three of these angles. (shrink)

This essay analyzes the implications of the performative aspects of Julia Kristeva 's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva 's notion of practice and as such are fundamental to her critique of Hegel and Freud.

In this article I critically re-examine Julia Kristeva's view that becoming a speaking subject requires psychical matricide: violent separation from the maternal body. I propose an alternative, non-matricidal conception of subjectivity, in part by drawing out anti-matricidal strands in Kristeva's own thought, including her view that early mother–child relations are triangular. Whereas she understands this triangle in terms of a first imaginary father, I re-interpret this triangle using Donald Winnicott's idea of potential space and Jessica Benjamin's idea of an intersubjective (...) space of thirdness. I argue that this space provides a maternal third term: a relation of connection and difference between two, a relation that inherits the affective, mobile, generative qualities of the maternal body as the infant (according to Kristeva) imagines it. This connecting space allows both mothers and children to emerge as subjects in their own right. I then suggest that potential-maternal space expands into language, so that language intrinsically allows the possibility of a speaking position of connection with the mother. Entrance into language need not entail separation or matricide: the problem is not language as such but the particular way that speech and logos have been defined historically. (shrink)

This essay centers on a storyteller's performance of ritual in stories to draw associations between the life of the Biblical Mary with her son Jesus and the subjectivities and dispositions of people living in impoverished conditions. The storyteller explores these subjectivities and dispositions, characterizing the exploration as a journey. She also defines an ethical position where the self meets otherness—both sacred and cultural—to engender positive human relations. The essay combines the storyteller's performance with the author's to reproduce the effects, advance (...) the ethics, mitigate the politics of representation, and provide an understanding of the journey's end—a place called home. (shrink)

This article offers a critical reading of what Julia Kristeva calls ‘woman’s primary homosexuality’ and discusses homophobia in Kristeva’s work. If we are to draw conclusions on the merits and limitations of Kristeva’s theories of sexuality, homophobia needs to be assessed within the aesthetic and ethical contexts that typify Kristeva’s overall oeuvre. The article shows that we can apply Kristeva’s semiotic/symbolic model of signification to sexuality and argues for the construction of ‘primary homosexuality’ as the manifestation of resistance to authorized (...) sexual identity. The article also shows why the political demands to recognize lesbianism as a valid form of sexuality and especially as an intelligible lifestyle go against Kristeva’s understanding of what resistance entails. (shrink)

In this essay, I trace the development of Julia Kristeva's theory and practice of “the subject in procession trial” from her semiotic works of the 1960s to her psychoanalytic writings of the 1970s and 1980s. I read Kristeva's exploration of this “subject in procession trial” as contributing to a postmodern feminist ethics.

This essay analyzes the implications of the performative aspects of Julia Kristeva's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva's notion of practice and as such are fundamental to her critique of Hegel and Freud.

Is history a category of reason, or is reason a category of history? These opposing questions have divided the structuralist from the materialist—but neither question is wrong. Analysis of the logic of oppositions challenges feminism, in particular, to find a logic—and a poetics—in which to render its values without historical or theoretical naiveté. I explore the question of the timing of feminism through Julia Kristeva and Luce Irigaray.

Bracha Ettinger (formerly known as Bracha Lichtenberg Ettinger) is an Israeli-born Paris-based artist, analyst and feminist theorist who has produced over the last decade a major theoretical intervention through a tripartite practice. This article offers an expository introduction and overview of core aspects of her theoretical contribution while relating it to major trends in feminist and general cultural theory of subjectivity, hysteria, memory, trauma and the aesthetic. Organized in several parts, each section addresses the developing vocabulary, terminology and significance of (...) her work. With core concepts are Matrix, metramorphosis, trans-subjectivity, co-poïesis, co-emergence and co-affection, Ettinger’s theory opens out beyond the blind spots of advanced feminist thought. From its independent and original theorization of subjectivity-as-encounter and an-other sexual difference, Bracha Ettinger challenges our attempts to think about femininity associated with the work of Julia Kristeva and Luce Irigaray. Linked to, but distinct from, the philosophical speculations of Deleuze and Levinas, this work creates a transferential theoretical space for Jewish and feminine difference, sexuality, subjectivity and the traumatic residues of modern catastrophe that has major repercussions for cultural, aesthetic, ethical, political and psychoanalytic theory. (shrink)

This essay draws on a wide range of feminist, psychoanalytic and other anti-racist theorists to work out the specific mode of space as ‘contained’ and the ways it grounds dominant contemporary forms of racism i.e. the space of phallicized whiteness. Offering a close reading of Lacan’s primary models for ego-formation, the mirror stage and the inverted bouquet, I argue that psychoanalysis can help us to map contemporary power relations of racism because it enacts some of those very dynamics. Casting the (...) production of subjectivity on the field of the visual, Lacan performs some of the fundamental conceptions of space and embodiment that ground the dominant forms of racism in these cultural symbolics. Namely, he articulates a body that is bound by skin, structured by a logic of containment, cathected through aggression and distance, and read primarily through the way it looks – both how it appears and how it beholds the appearances of other bodies. Unraveling this nexus of power relations, I argue that a fundamental anti-racist strategy is to interrupt, interrogate and re-deploy this interpellation of images. Key Words: ego-formation • embodiment • historicity • Lacan • ontological • phallus • race/racial difference/racism • space • visual • whiteness. (shrink)

Over the past decades humor studies has formed an unprecedented interdisciplinary consolidation, connected with a consolidation in philosophy of humor scholarship. In this essay, I focus specifically on feminist philosophy of humor as an area of study that highlights relationships between humor, language, subjectivity, power, embodiment, instability, affect, and resistance, introducing several of its key themes while mapping out tensions that can be productive for further research. I first cover feminist theories of humor as instability and then move to feminist (...) theories of humor as generative of social relationships. Though I diagnose several tensions between these approaches that require further elaboration and discussion, I conclude that feminist philosophy of humor is a crucial area of humor research that focuses on systematic oppression, political engagement, embodiment, and affective ties. (shrink)

The socio-historical events and libertarian cultural movements of the 1960s and 1970s shaped the Catholic mother-daughter relationship for the women in this feminist genealogical study. This study is based on interviews with 36 Anglo-Australian Catholic women – 13 sets of mothers and daughters – as well as dialogue between my mother and myself about family photographs. Women’s stories of secondary school days tell of the formation of lady-like identities circumscribed through uniform regulations, the cult of the Virgin Mary and ceremonies (...) of everyday Catholic school life. The abject maternal body resurfaces in adolescence with the flow of menstrual blood, and the heralding sexuality of young women is circumscribed through patriarchal institutions such as Catholicism. Amid their silenced and contested dialogue, although years apart, the stories between mothers and daughters in this study drew parallels. (shrink)

This paper argues that the slogans “A Woman's Right to Choose” and “The Personal is the Political” typify different traditions within feminist thinking; one emphasizing rights and equality, the other the unconscious and the personal. The author responds to both traditions by bringing together mind and body, and reason and emotion, via the figure of the copula. The copula expresses an alternative model of identity which indicates that value can be produced only in relation.Let us say that the problem is (...) violence. At its most naive: how can the sexual relation, which is supposedly full of love, be violent?I mean the sexual relation in its resonances and ambiguity—to indicate the relation between the sexes, and the relation between lovers. In no way can the relation be confined to love, either heterosexual or homosexual, since it is often a contest. It cannot be reduced solely to a social relation, because in one of its aspects it addresses the most intimate subjectivity.In a certain feminist lifestyle advocacy, those women who are in same sex relations avoid sexual violence by avoiding men, and those who are in heterosexual relationships strive to find the “right kind”—that is, relationships of respectful and supportive love—rejecting all signs of aggression, from sexist disparagement and emotional cruelty to sexual humiliation and physical assault, as “abuse.”Strangely, this dichotomy does not explain the proximity of passion and aggression, whether in love between men and women or in same-sex relationships between feminist women. As rational counsel, it resists the important sense in which the erotic is, and is even valued as, the excess of the rational. And as an analysis of the oppression of women it defeats itself, for to insist on masculinity as violence itself, and/or on the sexual relation as properly governed by reason, seems to miss the point of both love and feminism.Stranger still, feminisms, which set out to address and redress the oppression of women, have become rivalrous themselves. Are these aggressions a legacy of the intellectual world they must take place in. Have we overlooked an aspect of the relation between sisters? Feminism has not addressed the question of aggression in feminism as anything more than contamination.Perhaps, after all, the thing that feminism has not yet successfully addressed is love. The “battle between the sexes” has not rendered the ambivalence of the heterosexual relation. As a species of theory, feminism has relished the rigor of distinction and has not found it easy to tolerate the proximity of opposites.And yet, in evoking the body, some feminisms approach closer to this difficulty. It remains to take up the relation between the body and the concept more thoroughly, in order to find out whether sexual difference could ever be philosophical. (shrink)

A comprehensive examination of Kristeva's work from the seventies to the nineties.

This article is concerned with the construction of feminist literary studies in the last twenty years and points out how we have created a literary history which is both selective and schematic. It suggests that we should be more critically aware of what we are constructing, how we are constructing it and of the political consequences of those constructs. It stresses three critical modes which might help us to complicate our history: a greater awareness of institutional contexts, a concern with (...) empirical detail, and an ongoing analysis of the cultural and political significance of feminist literary practice. This article briefly applies these critical modes in a survey of eleven introductions to feminist literary studies – introductions which feature frequently and influentially in the teaching situation. The final section focuses on the key problem of inclusion and exclusion. Considering arguments from Third World feminism and postmodernist feminism, the study concludes that white, academic feminists should confront the privilege of their own inclusion as a necessary spur to political action. (shrink)

Increased standardization of teacher education programs urges a reconsideration of how pre-service teacher identities are constructed/being constructed and evaluated. The purpose of my study was to examine the writings of pre-service teachers enrolled in an early field experiences course in order to identify moments in which they interacted, negotiated, and subverted the teacher-making process, which they officially enter during the semester they take this course. I approach this question from a philosophical viewpoint, and I use the theories of French post-structuralist, (...) Julia Kristeva. My analysis of pre-service teachers enrolled in an early field experience course illustrates how their language disrupts the standardized language and expectations of a teacher education program. (shrink)

The American poet Alice Notley has described one of her goals as being to take up ‘as much literary space as any male poet’ (Notley, 2005: 6), a phrase that questions the nature of ‘literary space’, and its relationship to material and political spaces. In Disobedience (2001), as in her earlier book The Descent of Alette (1992), the city is imagined in relation to what lies beneath it. Both of these extended poem sequences set up urban underground geographies, Alette – (...) a mythical underground of caves and ghostly trains, and Disobedience – a largely subterranean Paris that shifts between the ‘real’ metro and a series of filmic dreamscapes. In challenging the scope and scale of canonical epics with feminist reconfigurations of form, her work engages with the public space of the city. This article will explore the connection between the extended poetic forms she uses in these two books, and ways in which her work conceptualizes the gendering of city space through relationships between the body and language. Through reference to readings of Michel de Certeau by Meaghan Morris and Doreen Massey, I will show how Notley's approach to problems of language and form, and their potential solutions, are not only enmeshed in certain spatial concepts but also able to offer a critique of them. (shrink)

This article explores how Julia Kristeva's construction of a fictional narrative space enables her to examine the conditions that can produce a culture of revolt. Focusing on one of her novels, The Old Man and the Wolves, the article brings together Hannah Arendt's political philosophy with Duns Scotus's principle of individuation and Giorgio Agamben's notion of quodlibet to argue that the future of a culture of revolt is closely connected to the role of women. By aligning feminine thought to political (...) revolt, I demonstrate that Kristeva's revalorization of feminine experiences in the novel constitutes the basis of an ethics that includes the recognition of “whatever” forms of life that have been historically neglected. (shrink)

Skin as cover: the discursive effects of 'covering' metaphors on wound care practicesThis paper outlines a Foucauldian analysis of interactions between nurses and patients during wound care procedures in a burns unit. It explores the use of Kristeva's psychoanalytic concepts of abjection and the abject body to illuminate the emotional affects of wounds on nurse and patient. In this process, I identify how cultural metaphoric understandings about skin influence and organise the care of burns patients. Such analysis suggests the import (...) of the complete skin, the medical scientific control over the definition of this work, and the emotional forces that resist such control. (shrink)

My essay is framed by Hypatia's first special issue on Motherhood and Sexuality at one end, and by the most recent special issue (as of this writing) on the work of Iris Young, whose work on pregnant embodiment has become canonical, at the other. The questions driving this essay are: When we look back over the last twenty-five years, what has changed in our conceptions of pregnancy and maternity, both in feminist theory and in popular culture? What aspects of feminist (...) debates from the 1970s and 1980s are still relevant today? And, how might what appear to be radical shifts in popular perceptions of pregnancy actually continue traditional values that objectify and “abjectify” the maternal body?Here, I will focus on three central elements of the revaluation of pregnancy and maternity as they show up in feminist philosophy and in popular culture: 1. The relationship between pregnancy and sexuality, both in terms of pregnant sexuality and in terms of the pregnant body as sexual object; 2. The “choice” to become a mother as a “feminist choice”; 3. The temporality of pregnancy and birth as marking something like “women's time.”. (shrink)

Julia Kristeva is known as rejecting feminism, nonetheless her work is useful for feminist theory. I reconsider Kristeva's rejection of feminism and her theories of difference, identity, and maternity, elaborating on Kristeva's contributions to debates over the necessity of identity politics, indicating how Kristeva's theory suggests the cause of and possible solutions to women's oppression in Western culture, and, using Kristeva's theory, setting up a framework for a feminist rethinking of politics and ethics.

This article examines some recent theoretical objects of feminism with a view towards a reinvigorated dialogue with psychoanalysis. Against the backdrop of debates on essentialism, universalism, social constructionism and historical change, it aims to reintroduce the value of psychoanalytic ideas to feminism by unfolding a dimension of history in the divided subject and adding a positive value to psychoanalytic universalism. This argument is carried out with the help of the writings of Julia Kristeva, from the early essay, `Women's Time', to (...) the psychoanalytic publications of the 1980s and 1990s. (shrink)

This article reads some familiar examples of contemporary visual arts, such as Cindy Sherman, Mona Hatoum, Robert Gober, John Miller, Eva Hesse, Orlan and Robert Mapplethorpe, by engaging with diff...

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)

This essay engages in a debate with Nancy Fraser and Dorothy Leland concerning the contribution of Lacanian-inspired psychoanalytic feminism to feminist theory and practice. Teresa Brennan's analysis of the impasse in psychoanalysis and feminism and Judith Butler's proposal for a radically democratic feminism are employed in examining the issues at stake. I argue, with Brennan, that the impasse confronting psychoanalysis and feminism is the result of different conceptions of the relationship between the psychical and the social. I suggest Lacanian-inspired feminist (...) conceptions are useful and deserve our consideration. (shrink)

Explores how the concept of revolution permeates and unifies Kristeva’s body of work.

Real Fit: Identity, Society, and Viewer Investment in Reality TV is first and foremost a philosophical experiment in how to articulate the space between viewer and screen. Its driven by a methodological investment in bringing theories of normativity into an experiential terrain typically dominated by media studies. What does it mean to study an audience? And how does this knowledge speak to, or challenge our existing models? Its an investigation into the political dimension of seemingly innocuous entertainment, and a deep (...) consideration of how this comes to bear on invested viewers. Staying within the confines of the virtual, my dissertation studies the ways that TV exploits affect to reinforce current personalized narratives of obesity as a problem that can be managed by self-discipline. (shrink)