This essay focuses on the repeated rhetorical moves through which the third wave autobiographical subject seeks to be real and to speak as part of a collective voice from the next feminist generation. Given that postmodernist, postructuralist, and multiculturalist critiques have shaped the form and the content of third wave expressions of the personal, the study is ultimately concerned with the possibilities and limitations of such theoretical analysis for a third wave of feminist praxis.

Feminist philosophers of religion have drawn attention to desire as a neglected category for approaching the sources and concerns of religion. This paper extends this discussion by engaging with one particularly disturbing aspect of the writings of the Marquis de Sade. In a world where ultimate sexual pleasure is derived from destruction of the Other, Sade glories in describing the suffering of mothers, often at the hands of their own children. This paper offers one possible reading of these dark desires (...) through employing aspects of psychoanalytic theory to suggest that, rather than isolate him from the majority of humanity, we might consider possible connections between the desires he details and our own. This involves considering the ambivalence of the mother, and thus challenging the idealization of the all-caring, all-nurturing mother. (shrink)

The term "third wave" within contemporary feminism presents some initial difficulties in scholarly investigation. Located in popular-press anthologies, zines, punk music, and cyberspace, many third wave discourses constitute themselves as a break with both second wave and academic feminisms; a break problematic for both generations of feminists. The emergence of third wave feminism offers academic feminists an opportunity to rethink the context of knowledge production and the mediums through which we disseminate our work.

Pornographic speech harms women by playing a key role in sustaining the social conditions through which women's liberty and equality are undercut. Though there is a principled moral and constitutional basis for pursuing a legal strategy in fighting pornography, we should not overestimate the effectiveness of the law or underestimate its potential dangers. The struggle against pornography must be waged through education, expressive exploration, and protest, not through the law.

William Blake’s prophetic works seem to present the reader with a puzzling contradiction. On the one hand Blake can be read as a prophet of sexual revolution with his attacks on puritanism and hypocritical chastity. On the other hand, in many passages he seems to express characteristically Platonic/Patristic skepticism concerning bodily experience. What is more he often portrays sexuality and indeed femininity as manipulative and cruel. Is there a coherent attitude to sexuality in Blake? This paper argues that Blake’s soteriology (...) strongly implies that the ‘return’ to unity with the divine pivots on the incarnation which Blake even insists is the product of natural sexuality. To this extent there is a place for the sexualized body in the economy of salvation. This economy links Blake to a larger Platonist and Christian Platonist tradition that understands salvation in terms of an exitus/reditus pattern. (shrink)

Illuminating innovatively the dialectic by which “sign” is induced “to signify” requires an analysis of the inferrer-entailed symbolics constituting “signified,” a process particularly observable during relative, purposeful re-signification, particularly at high-visibility sites. Because Nathaniel Hawthorne focused intently his romantic-dramatic oeuvre on cynosural women, because of his affinity for allegorical signification, and especially for his tangibility to feminist themes and axiologies of virtue transcending even the highly reformist nineteenth century, he is here chosen an interpretation-open “carrier wave” for that research. Climactically (...) and consonant thematically, also instructive is Umberto Eco’s unnamed, eponymous “Rose” for being an antiphrastic sign with a truth of its own signifying at least (like Hawthorne’s Puritan-oblique Hester Prynne) divergence from male/hieratic hermeneutics; at most (like Apuleius’s metaphysical Psyche, Hawthorne’s lodestar) ineffable, philosophical Good. As if to the generating premise, Eco wrote in The Name of the Rose, “Without an eye to read them[,] signs produce no concepts”; socially consequential signification-conditioned transformation, in that eye and toward those signifieds, symptomatic both historical and rhetorical, is here assayed. (shrink)

This article explores the legacy of ancient Egypt in popular culture, from the 19th century onwards - through the theme of consumption. A range of media is covered including literature, film and performance. I argue that Egypt has been a constant mirror for contemporary culture in terms of the body, sexuality and the Orient. In the West, Egyptian bodies have always been consumed, literally or metaphorically and in the 1990s a commodified Egypt has to extend beyond normative sexuality. Thus, Egypt (...) has to be queered and to illustrate this ultimate process of othering I consider the film, Stargate. (shrink)

Language does not simply symbolize a situation or object which is already there in advance; it makes possible the existence or the appearance of that situation or object for it is a part of the mechanism whereby that situation or object is created. (Mead 1934, p. 78).

Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. Section (...) 3 considers those definitions of pornography that make an a priori distinction between pornographic and artistic representations. The difference between the ‘merely’ erotic and the pornographic is also discussed in this context. Section 4 provides a critical assessment of the most recent and elaborate arguments against the compatibility of pornography and art. Finally, in Section 5, a case is made for the existence of pornographic art, as a subcategory of erotic art. (shrink)

Nietzsche sometimes praises the drive to order—to simplify, organize, and draw clear boundaries—as expressive of a vital "classical" style, or an Apollonian artistic drive to calmly contemplate forms displaying "epic definiteness and clarity." But he also sometimes harshly criticizes order, as in the pathological dialectics or "logical schematism" that he associates paradigmatically with Socrates. I challenge a tradition that interprets Socratism as an especially one-sided expression of, or restricted form of attention to, the Apollonian: they are more radically disparate. Beyond (...) strengthening the case for this basic point, I develop a distinctive account of what, exactly, distinguishes the Apollonian-classical and Socratic forms of order. To this end, I advance interrelated interpretations of Apollonian-classical simplicity and the "cold" calm that it elicits, by contrast to superficially similar Socratic phenomena. This illuminates Nietzsche's broader ambivalence toward science, in part by clarifying the nature and value of an idealized Apollonian science. (shrink)

The defection thesis holds that members of marginalized social groups are obligated not to express views important to others in the group that are regarded by the others as substantively wrong. In this essay, I evaluate arguments that seek to vindicate the defection thesis and conclude they all fail. Then, I argue that we have reason to believe sanctioning defectors in certain ways is wrongful and that the expression of their contentious ideas is good for members of marginalized groups. We (...) are left to conclude both that members of marginalized groups have no obligation to suppress certain heterodox views and that it is likely wrong to sanction them for expressing these views even if it were wrong for them to do so. (shrink)

The central question concerning the future of masculinity is whether the current matrix of distributions of roles and status, praxes and practices, will remain intact or whether a shift to a new configuration will occur. This essay briefly examines thinking on masculinity in two French attempts to theorize the future of relations between men and women: that of Auguste Comte, at the beginning of sociology, and Jean Baudrillard at the end of sociology. Both have, in their time, predicted radical gender (...) futures. The essay considers these theories against changes in social structures and the effectivity social movements. (shrink)

In gender mythology woman is nature, the embodiment of life, destruction, and death. Semantically encoded in good and evil, the one conceptual stability woman represents is ambivalence. As a walled garden in which nature works its demonic sorcery, she turns a gob of refuse into a spreading web of sentient being, floating on the snaky umbilical by which she leashes every man. But as an ontological entity, woman is the real First Mover. The pregnant woman is devilishly complete. She needs (...) nothing and no one.2 Confronted with the terrible sense of woman's power, man is forced to wrestle with her nature to gain his identity, never to fall back into her. Man is the essential, the norm, the absolute One without reciprocity. Woman is “the Other, posed by the One to define itself, the inessential who never goes back to being the essential and the absolute Other without reciprocity. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)