ABSTRACTThis article draws on Daniel Maximin’s extended essay on Caribbean identity, Les fruits du cyclone, to open up the potential in Luce Irigaray’s work for a decolonizing, elemental sublime. In so doing, it hopes to produce the kind of generative crossing that Maximin invokes via the figure of métissage: a term that recalls the forced breeding of the transatlantic slave trade, even as Maximin deploys it to resist the violence of colonialism and to affirm the unmasterable effects of the crossings (...) of difference. The article begins by outlining the importance of the aesthetic in its Kantian sense to Irigaray’s project, showing how Irigaray re-conceptualizes the form-matter relation in ways that also transform the relation between aesthetic judgments and the transcendental aesthetic. It goes on to examine the implications of Irigaray’s subversive re-appropriation of Kant for her approach to nature and art, setting out her reasons for pulling back from the sublime while using the work of other scholars to develop a critique of her privileging of harmony. The final section draws on Maximin’s image of nature as neither in harmony with itself nor with human projects to explore the possibility of an elemental sublime structured by co-existing contraries in ways that allow for a decolonization of difference. (shrink)

Juxtaposing Cherríe Moraga's Loving in the War Years and Luce Irigaray's Speculum of the Other Woman, I explore the ways that sex and race intersect to complicate an Irigarayan account of the relations between mother and daughter. Irigaray's work is an effective tool for understanding the disruptive and potentially healing desire between mothers and daughters, but her insistence on sex as primary difference must be challenged in order to acknowledge the intersectionality of sex and race. Working from recent work on (...) the psychoanalysis of race, I argue that whiteness functions as a master signifier in its own right, and as a means of differentiation between the light-skinned Moraga and her brown-skinned mother. Irigaray's concept of blood deepens Moraga's account of her healing and subversive return to her mother. The juxtaposition of Moraga, Irigaray, and contemporary psychoanalysis of race can allow for a necessary revision of Irigaray's psychoanalysis that acknowledges the ways in which sexual difference is indexed by race and sheds new light on her account of the mother–daughter relation. (shrink)

With its implicit vilification of materiality, the notion of objectification has failed to produce a coherent and effective ethical analysis of heterosexual sex work. The concept of derivatization, grounded in an Irigarayan model of embodied intersubjectivity, is more effective. However, queer sex work poses new and different ethical challenges. This paper argues that although queer sex work can entail both objectification and derivatization, the former is not ethically objectionable, and the latter, although the cause for some justified ethical concern, must (...) be analyzed within the context of structural sexual injustice. (shrink)

In this article, I argue that Donna Haraway's figure of the cyborg needs to be reassessed and extricated from the many misunderstandings that surround it. First, I suggest that we consider her cyborg as an ethical concept. I propose that her cyborg can be productively placed within the ethical framework developed by Luce Irigaray, especially in relationship to her concept of the “interval between.” Second, I consider how Haraway's “cyborg writing” can be understood as embodied ethical writing, that is, as (...) a contemporary écriture feminine. I believe that this cyborgian “writing the body” offers us a way of both creating and understanding texts that think through ethics, bodies, aesthetics, and politics together as part of a vital and relevant contemporary feminist ethics of embodiment. I employ the term “poethics” as a useful way to describe such a practice. (shrink)

Luce Irigaray’s writings on Nietzsche’s philosophy belong to the groundbreaking interpretations of his work and they also confirm the continued relevance of his philosophy. Unlike most male-centric philosophers, Nietzsche not only saw that sexual difference was becoming one of the major philosophical issues of our age. He was also keenly aware of how it permeated our philosophical tradition with its dualistic models, which is one reason for Irigaray’s interest in it, as has been widely discussed in feminist/queer philosophical research into (...) her Nietzsche interpretation. Another common denominator of Nietzsche and Irigaray are their philosophies of the body. Interpreters of Irigaray have pointed out how her conception of embodied, sexuate being calls for a new way of philosophical thinking, and Stegmaier interprets the liberation from prejudices we encounter in Nietzsche’s works as a “liberation of philosophy.” How can the liberation of philosophy be understood in the way we practice philosophical thinking? In the following interpretation of Irigaray’s book The Marine Lover of Friedrich Nietzsche, I show how it offers a theory and a practice of embodied philosophical thinking, which I will discuss in light of new phenomenological methodologies of embodied thinking. Irigaray’s interpretation of Nietzsche’s philosophy in Marine Lover is both critical and constructive as apparent in her interpretation of Dionysus and Ariadne. On the one hand, this couple represents for her the patriarchal tradition of philosophy that she claims Nietzsche is still stuck in, and on the other hand, it also represents a liberation from resentment and misogyny in relations of the sexes. The notions of listening to oneself and to the other, being touched and tearing, enable such a liberation, both on the level of relations of the sexes and on the level of philosophical dialogues and thinking that Dionysus and Ariadne also represent. The water/ocean in the title of Marine Lover indicates how this is a philosophical text that displays an explicit processing and articulation of feelings, emotions, and affects in philosophical thinking. (shrink)

This article investigates related contexts and connections that both hide and display the coercion and sexual violence manifest in Western cultural and aesthetic artefacts during ancient Greek and Roman eras and the French imperialist epoch. Exploring ‘Pan and Syrinx’ from Ovid’s ‘Book I’ of the Metamorphoses and Claude Debussy’s Syrinx for solo flute, I historicise the meanings of rape and sexual assault that informed Ovid’s epic and then revisit the genesis of Debussy’s Syrinx because of the uneasy elements surrounding its (...) creation. I show how its cultural production is complicit with the imperial in several ways. I consider how sexual violence impacts voice, subjectivity and the body, and finally, I draw on Luce Irigaray’s work to sketch an embodied Syrinx in relation with others and her environment. I suggest the desiring potential of sexual difference, with limitations, as a generative conception of figuring the feminine-maternal body beyond masculine appropriation. In this way I open the myth up to watery material-social relations. (shrink)

Some feminist commentators ignore Luce Irigaray’s contributions to rethinking classical and neoclassical theories of the market when their aims and hers are often largely of a piece. Other feminist commentators celebrate Irigaray’s writings by privileging a certain conception of the gift her philosophy is said to evoke because it challenges the logic of the market economy and its masculinist biases. Instead of viewing the market and the gift in a binary way, I argue that Irigaray examines the conditions of possibility (...) for transvaluing value and exchange as such. By way of an internal critique of economic texts and discourses, Irigaray draws out the available conceptual resources for the possibility of a model of exchange between two positively valued – sexuate – subjects. In this article I focus on the texts where Irigaray explicitly engages with key components of political economy – ‘Commodities among Themselves’, ‘Women on the Market’ and ‘Women, the Sacred and Money’ – and also her conceptualisation of a nonmarket economy in Elemental Passions. These brilliant and complex essays yield an understanding of the forms and the flows (value and exchange) of all economies (whether symbolic, linguistic, cultural or political) necessary for cultivating a sexuate economy. (shrink)

Although sexual difference is widely regarded as the concept that lies at the center of Luce Irigaray's thought, its meaning and significance is highly contested. This dissensus, however, attests to more than merely the existence of a recalcitrant conceptual ambiguity. That is, Irigaray's discussion of sexual difference remains fraught not because she leaves this concept undefined but because the centrality of sexual difference in fact marks a complex and unstable nexus of phenomena that shift throughout her work. Consequently, if Irigaray (...) is indeed the preeminent thinker of sexual difference, this is not in virtue of her recurrent appeal to a monolithic, readily digestible concept but rather somehow despite the absence of precisely this gesture. In this paper, I will attempt to elucidate the peculiar preeminence of sexual difference in Irigaray's work by identifying her persistent, though largely unexamined, commitment to transcendental phenomenology. Indeed, I attempt to show that the complex of phenomena of sexual difference emerges in L'oubli de l'air and The Way of Love as a modulation of Heidegger's own revision of transcendental phenomenology. In this sense, the peculiar preeminence of sexual difference does not mark the centrality of a concept but Irigaray's amplification of this Heideggerian gesture. (shrink)

Antigone fascinates G. W. F. Hegel and Luce Irigaray, both of whom turn to her in their explorations and articulations of ethics. Hegel and Irigaray make these re-turns to Antigone through the double and related lenses of nature and sexual difference. This essay investigates these figures of Antigone and the accompanying ethical accounts of nature and sexual difference as a way of examining Irigaray's complex relation to and creative uses of Hegel's thought.

The attempt to rearticulate traditional conceptions of nature can be both a useful strategy and a stumbling block when it comes to feminist examinations of continuity between the objectification of women’s bodies and the domination of nature. This paper contributes to existing debates by providing a critique of what I term the “duality view” of nature: a view stipulating that nature is primarily characterised by a stable sexual duality, and advancing that the objectification of women’s bodies arises because the specificity (...) of “femaleness” is ignored and duality is therefore neglected. I focus, specifically, on Alison Stone’s interpretation of Luce Irigaray, insofar as the account emerging from Stone’s interpretation clearly outlines the principles that most versions of the duality view should endorse. I problematise this account by showing that it becomes inconsistent with the critique of objectification which grounds it in the first place. I conclude by advancing that, overall, a view insisting on a natural sexual duality because of normative reasons conflicts with the feminist considerations at its basis. I also suggest that while the present analysis is primarily condemnatory, it can contribute to the development of feminist philosophies of nature by fleshing out avoidable pitfalls. (shrink)

Straipsnyje analizuojama seksualinės skirties sampratos transformacija Luce Irigaray filosofijoje. Straipsnio euristinė schema – esencializmo-konstruktyvizmo kontroversija giminės filosofijoje. Ja remiantis teigiama, kad ankstyvoji Irigaray psichoanalitinė seksualinės skirties samprata ir mimesis kaip moteriškosios subjektyvybės steigties būdas atitinka tik „strateginį esencializmą“, o transformaciniame filosofijos etape, ginčijant Hegelio subjekto paradigmą, Irigaray pateikta natūralistinė seksualinės skirties samprata jau implikuoja ontologinį esencializmą. Taip pat į analizę įtraukiamas Irigaray nenagrinėtas Hegelio giminės tapatybės principas, kuris implictiškai apima lyčių diferenciacijos aspektą. Tuo siekiama ne tik atskleisti Irigaray moteriškosios subjektyvybės (...) sampratą, kuri apima moteriškumo neredukuojamumą į reprodukcijos funkciją, vyriškosios ir moteriškosios subjektyvybių nebendramatiškumą, bet taip pat išryškinti giminės tapatybės ir seksualinės skirties kontroversiją kaip dvi skirtingas subjekto filosofijos paradigmas. (shrink)

In this essay, I argue that Luce Irigaray’s recent, seemingly esoteric readings of the Madonna, actually provide us with a constructive, perhaps even politically progressive, interpretive mode for engaging with the religious texts and figures of our tradition as women. As such, I argue that through her own specific interpretive practice Irigaray provides us with a new image of Mary, and this new Madonna figures the very interrelational interpretive practice that Irigaray believes essential when it comes to our engagements with (...) the texts of our tradition. Irigaray’s Madonna is an ethical listener, interpreter and exchanger of ‘sacred’ discourse and it is this aspect of Mary that warrants our allegiance. To imitate Mary is to practice reading, listening, and interpreting in the feminine, practices that can aid us in our ‘becoming spiritual’, which in Irigarayan terms is another way of saying ‘becoming woman’. (shrink)