The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the (...) ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche's film Venus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche's peculiar filmic strategies is the crucial focus of this paper. While Sara's body is continually exposed and violated, Venus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari's (1987 [1980]) account of the close up, I explore how Kechiche's take on Sara's face builds a strong connection with the spectator's extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator's own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world. (shrink)

Irigaray’s engagement with Aristotelian physics provides a specific diagnosis of women’s ontological and ethical situation under Western metaphysics: Women provide place and containership to men, but have no place of their own, rendering them uncontained and abyssal. She calls for a reconfiguration of this topological imaginary as a precondition for an ethics of sexual difference. This paper returns to Aristotelian cosmological texts to further investigate the topologies of sexual difference suggested there. In an analysis both psychoanalytic and phenomenological, the paper (...) rigorously traces a teleological and oedipal narrative implicit in the structure of the Aristotelian cosmos, in which desire for the mother is superseded by love for the father. Further, the paper argues that this narrative is complicated by certain other elements in the Aristotelian text—aporias involving the notion of boundary and the relationship between space and time, the fallenness of the feminine, and the ineliminably aleatory qualities of matter. The paper concludes that such elements may provide material for disrupting this teleology of gender, opening onto not merely an ethics of sexual difference, but providing space and place for a proliferation of non-normative, queer, transgender and intersex modes of sexed and gendered subjectivity. (shrink)

Overview essay of the field of feminist aesthetics updated Winter, 2021.

The article challenges conventional assumptions regarding the question of incest survival within contemporary discourses. A textual analysis of Kathryn Harrison's autobiographical novel tracing her consensual sexual relationship with her father is used to address the issue of failed or unresolved mourning as a prototypically ‘modern’ cultural phenomenon. Psychoanalytically informed feminist literary criticism is used to explore the parallels between the cultural construction of femininity and failed or postponed mourning in western historical and philosophical traditions. Following the work of Juliana Schiesari (...) and Kathleen Woodward, the article contends that melancholia is a gendered discourse that has historically privileged male theorists and film-makers, such as Barthes and Fassbinder. The article suggests that contemporary women writers, such as Harrison, are engaged in a revisionary approach to the construction of loss within their writing. By situating themselves at the heart of the contemporary family narrative, instead of the ‘melancholic’ margins, they are able to produce a counter-discourse that dispels the conventional dynamics of the traditional family romance. By using the ‘writing cure’ to overcome ideological loss, the desiring daughter is able to challenge misogynist constructions of femininity within contemporary literature. (shrink)

A comprehensive account of human kindness.

This article reassesses the concept of identification in line with the increased importance phenomenology has taken on in film-philosophy of the 1990s and 2000s. In the 1970s and 1980s, a Lacanian psychoanalytic interpretation of identification dominated film theory and criticism, and spectatorial engagement with elements of films was understood as what psychoanalysis calls secondary identification – the identification with stable subject-positions (characters) in the film-text. But non-Lacanian psychoanalysis and Merleau-Ponty’s existential phenomenology offer film-philosophy a very different understanding of identification as (...) a non image-based, ‘blind’, bodily affective tie that is established between spectators and what Vivian Sobchack describes as ‘the sense and sensibility of materiality itself’ (Sobchack 2004, 65). By first exploring how this more bodily (for psychoanalysis, primary ) identification is theorized by psychoanalysts (Freud, Paul Schilder, Henri Wallon) and by film theorists (Kaja Silverman), the article proposes that film criticism make greater use of it in order to engage more meaningfully with the visible cultural specificities – size, skin colour, age, sex – of the images of bodies viewed on cinema screens. It is not just ‘the’ body that needs bringing back into thinking about film spectatorship, but culturally differentiated bodies , both on the screen and in the auditorium. A psychoanalytic and phenomenological film criticism of embodied cultural identity, one that attends to the materiality of the film and of the body-images and objects on the screen, may be the most culturally and politically useful successor to ‘screen’ theory of the 1970s and 1980s. (shrink)

Carrillo Rowe provides an analysis of Monster's Ball as a cultural narrative of white masculinity's redemption from the atrocities of racism through an interracial love story that erases white masculinity's national history and implication in a racist past while it displaces the black female body from that history and identification with the struggle for reparation. The nexus of sex, race, and desire is used to produce a new whiteness consistent with the emerging national multicultural logics of color blindness by undermining (...) the narrative, memory, identity, and racing of bodies grounding the logic of reparation. (shrink)

Every day, in professional work and in our personal lives, we reproduce by words and behaviors particular understandings of life and how it works. This includes understandings about what is ‘normal’ and ‘not normal’ masculinity and who are ‘normal’ and ‘not normal’ boys and men. Being marginalized or outcast from the norm is rarely a free choice. The language that constructs normal and abnormal is not innocent and does not simply arrive in our minds transparently reflected in our behavior or (...) in our client advice or student education. Examining words and behaviors from adolescent boys and from media sources, this research explores the role of cultural discourses in producing normative and marginalized masculinities. It builds upon recent scholarship that questions cultural prescriptions for masculinity and traditional male norms. Feminist, poststructural, psychoanalytic discourse analysis and multiple methods were used to explore links between cultural discourses of masculinity and performativity of masculinity. Practices of heterosexuality, homophobia, athleticism, economic privilege, toughness, and violence provided pathways toward achieving and/or maintaining status as the hegemonic masculine norm in adolescence. ‘Popularity’ signified the norm and ‘outcasts’ from the norm signified marginalized masculinities. (shrink)

Carrillo Rowe provides an analysis of Monster's Ball as a cultural narrative of white masculinity's redemption from the atrocities of racism through an interracial love story that erases white masculinity's national history and implication in a racist past while it displaces the black female body from that history and identification with the struggle for reparation. The nexus of sex, race, and desire is used to produce a new whiteness consistent with the emerging national multicultural logics of color blindness by undermining (...) the narrative, memory, identity, and racing of bodies grounding the logic of reparation. (shrink)

This article proposes the ideas of stochastic resonance and noise as devices with which to think of the body or self as plural and porous. Boundaries and surfaces are proposed as indefinite; cell switching and narratives of the self are discussed in relation to external forces, via Arendt’s inter-subjectivity and La Celca’s colonization as infection. The sonic artwork Ghost, which uses models of spiking neurons to materialize endogenous and exogenous composition in relation to noise and sonic memory is presented as (...) an exploration of the boundary or limit of the notion of self. This paper, which serves as a cogitatum rather than cognitio, articulates the human body as a complex and open system that steers towards chaos by adapting and accepting further complexity as, and within, constantly adaptive networks of creativity. We suggest that by focusing on the porosity of boundaries and the mechanisms that underlie their permeability, problems around identity and subjectivity might be seen in a new light. (shrink)

This article explores the relationship between skin, ego and second skins. It does so conceptually by re-examining Freud’s suggestion, in The Ego and the Id, that the ego is first and foremost a bodily entity, while also being a projection of a surface (i.e. skin). Drawing upon Anzieu, a dynamic model of inter-weaving surfaces can be seen to underpin an understanding of the ego — and skin ego. This model is fundamentally spatialized. Even so, an appreciation of the spatialities of (...) skin and ego can be developed further. To illuminate these spatialities, this article examines two key experiences of T.E. Lawrence during his military service in Arabia (c. 1917), as he describes them in his autobiographical account Seven Pillars of Wisdom. In a meeting with British military police, and in the notorious Deraa rape incident, what is at stake is Lawrence of Arabia’s skins. Reading these experiences using Freud and Anzieu, the article argues that these events re-present an ongoing chafing of Lawrence’s skin, ego and second skins, which can be called his ‘skin of suffering’. (shrink)

This essay examines the contemporary masculinity of straight, white men in the business classes of the United States as a category of identity. I argue that this form of masculine identity is currently in crisis, and, through a reading of the 1995 film Toy Story, develop an argument about the value of ‘downsizing’ masculinity in an era of diminished work expectations.