Controversial and provocative, To Be Real is a blueprint for the creation of a new political force.

Though many pioneering feminists were deeply influenced by American pragmatism, their contemporary followers have generally ignored that tradition because of its marginalization by a philosophical mainstream intent on neutral analyses devoid of subjectivity. In this revealing work, Charlene Haddock Seigfried effectively reunites two major social and philosophical movements, arguing that pragmatism, because of its focus on the emancipatory potential of everyday experiences, offers feminism its most viable and powerful philosophical foundation. With careful attention to their interwoven histories and contemporary concerns, (...) _Pragmatism and Feminism_ effectively invigorates both traditions, opening them to new interpretations and appropriations and asserting their timely philosophical relevance. This foundational work in feminist theory simultaneously invites and guides future scholarship in an area of rapidly emerging significance. (shrink)

This revised edition includes a New Intergalactic Introduction by the Author. Mary Daly's New Intergalactic Introduction explores her process as a Crafty Pirate on the Journey of Writing Gyn/Ecology and reveals the autobiographical context of this "Thunderbolt of Rage" that she first hurled against the patriarchs in 1979 and no hurls again in the Re-Surging Movement of Radical Feminism in the Be-Dazzling Nineties.

Unruly Practices brings together a series of widely discussed essays in feminism and social theory. Read together, they constitute a sustained critical encounter with leading European and American approaches to social theory. In addition, Nancy Fraser develops a new and original socialist-feminist critical theory that overcomes many of the limitations of current alternatives. First, in a series of critical essays, she deploys philosophical and literary techniques to assess the work of Michael Foucault, the French deconstructionists, Richard Rorty, and Jürgen Habermas. (...) Then, in a group of constructive essays, she incorporates their respective strengths in a new critical theory of late-capitalist political culture. Fraser breaks new ground methodologically by integrating the previously divergent insights of poststructuralism, critical social theory, feminist theory, and pragmatism. Thematically, she deals with varied forms of dominance and subordination in modern, industrial, late-capitalist societies. These themes are integrated in an original theory of 'the politics of need interpretation.' This concept becomes the linchpin of the socialist-feminist critical theory. (shrink)

This edition includes new essays by philosopher Michael Williams and literary scholar David Bromwich, as well as Rorty's previously unpublished essay "The ...

Charlotte Perkins Gilman and John Dewey were both pragmatists who recognized the need to restructure the environment to bring about social progress. Gilman was even more of a pragmatist than Dewey, however, because she addressed problems he did not identify-much less confront. Her philosophy is in accord with the spirit of Dewey's work but in important ways, it is more consistent, more comprehensive and more radical than his instrumentalism.

In this 1989 book Rorty argues that thinkers such as Nietzsche, Freud, and Wittgenstein have enabled societies to see themselves as historical contingencies, rather than as expressions of underlying, ahistorical human nature or as realizations of suprahistorical goals. This ironic perspective on the human condition is valuable on a private level, although it cannot advance the social or political goals of liberalism. In fact Rorty believes that it is literature not philosophy that can do this, by promoting a genuine sense (...) of human solidarity. A truly liberal culture, acutely aware of its own historical contingency, would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. The book has a characteristically wide range of reference from philosophy through social theory to literary criticism. It confirms Rorty's status as a uniquely subtle theorist, whose writing will prove absorbing to academic and nonacademic readers alike. (shrink)

George Herbert Mead was a dedicated progressive and internationalist who strove to realize his political convictions through participation in numerous civic organizations in Chicago. These convictions informed and were informed by his approach to philosophy. This article addresses the bonds between Mead's philosophy, social psychology, and his support of women's rights through an analysis of a letter he wrote to his daughter-in-law regarding her plans for a career.

By tracing a specific development through the approaches of Peirce, James, and Dewey I present a view of (classical) pragmatist epistemology that invites comparison with recent work in feminist epistemology. Important dimensions of pragmatism and feminism emerge from this critical dialectical relationship between them. Pragmatist reflections on the role of reason and philosophy in a changing world encourage us to see that philosophy's most creative and most responsible future must also be a feminist one.

In these eloquent essays, articles and lectures, Rorty gives a stimulating summary of his central philosophical beliefs and how they relate to his political ...

According to Shannon Sullivan, thinking about the body as being in transaction with its social, political, cultural, and physical surroundings is not a new idea.

We sometimes experience more than we can say, and often it is the "questions" posed by such nondiscursive reality to which feminist writings speak most profoundly. Feminists should therefore decline Richard Rorty's neopragmatist exhortation to forgo all appeals to "women's experience." Invoking an alternative account of pragmatism's import for feminism, I explore the problematic relationship between the experience of being pregnant and the language we use in talking about it.

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.

If there actually is a third wave of feminism, it is too close to the second wave for its definition to be clear and uncontroversial, a fact which emphasizes the political nature of declaring the existence of this third wave. Through an examination of some third wave literature, a case is made for emphasizing the continuity of the second and third waves without blurring the differences between older and younger feminists.

Neither philosophy in general, nor deconstruction in particular, should be thought of as a pioneering, path-breaking, tool for feminist politics. Recent philosophy, including Derrida's, helps us see practices and ideas as neither natural nor inevitable—but that is all it does. When philosophy has finished showing that everything is a social construct, it does not help us decide which social constructs to retain and which to replace.

The author demonstrates how rhetorical hermeneutics uses rhetoric to practice theory by doing history. He details what rhetorical hermeneutics means in terms of poststructuralist theory, nineteenth-century U.S. cultural studies, and the contemporary history of curricular reform within the so-called culture wars.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 297-327 [Access article in PDF] Liberal Irony A Program for Rhetoric James P. McDaniel [Figures] Seeing like a state Perhaps these famous yet simple pictures display not so much the virtuosity of photography or photographers as they statically represent fragments of Mahatma Gandhi's theosophical and political dynamism, his uncanny blend of calm and charisma, thought and play. The compositions are technically simple yet thematically (...) rich. The great leader being led by a boy, the public figure reflecting quietly in private over news reports: these modest representations key awareness of the place of overturning in Gandhi's thought, words, and deeds. A man who encouraged non-violent resistance (ahimsa) to British Imperialists, Gandhi submitted his body to great harshness (himsa). A witness to incredible atrocities committed against his people, Gandhi exhorted his followers to present their bodies before armed imperialist soldiers with full knowledge that they would be brutalized, many killed. Legally prohibited from doing so, Gandhi made salt. Exhausted and hungry, Gandhi walked hundreds of kilometers without rest and fasted for long stretches of time. Hated and feared, Gandhi loved. Perpetually reversing the "logic" of the world he knew, overturning its values to find and clarify truer values, insisting that choices be made between the received and the [End Page 297] promised, the "is" and the "ought," the actual and the possible, Gandhi was an ironist.Each picture can also be seen as an allegory, or taken together as an allegorical complex of mutually illuminating signs, and Gandhi as a political allegorist of human relations for early twentieth-century India and the globe. Allegory's signature inscriptions are everywhere about these simple photos. Personification of virtue, a stock technique of allegorical composition, abounds: Humility becomes Gandhi. Each photograph personifies humility uniquely: sparseness of setting, simplicity of garb, and other visual cues for self-abasement adorn the one; richness of natural setting, playfulness, childlikeness, and such ornament the other. Both images suggest the presence of the eternal in the temporal, but in different ways, another key fixture of allegorical design: Gandhi's stillness sitting near his spinning wheel, itself an image of eternal circuitousness, in the one, and his vigorous exertion against a vast, seemingly static, natural landscape, both "frozen" in time thanks to the technology of photography, in the other. Likewise, time's flow seems in a sense reversed in a manner that mirrors symmetrical ontological reversals: the older follows the younger, the man the boy, and the wise follow the inexperienced. Further allegorical decoding could be endeavored, for instance rearticulating the two texts on four tiers of signification: literal, figural, historical, and anagogical—the "four-level" allegorical hermeneutic initially developed for application to sacred texts and later ascendant as a critical method from the Middle Ages to some versions of poststructuralism in recent years (e.g., Fredric Jameson's Political Unconscious, Frederick Dolan's Allegories of America,Paul de Man's Allegories of Reading). Each tier reveals a unique dimension of discourse: its textual surface (literal), its embedded significations (figural), its reflexive display of placement in time and society (historical), and its alignment with archetypal or ultimate patterns of existence (anagogical).As two approaches to the same texts, irony and allegory are more complementary than exclusive. Neither renders the other invalid or uninteresting, nor do they deplete their common rhetorical resources, yet each features distinctive fixations. The first perspective fixates on a single strategy reflected in the texts and explores the ramifications of that strategy: dialectical reversal. The second fastens on and traverses across myriad textures and patterns of discursive technique displayed in the texts: allegorical personification (e.g., Gandhi as humility), temporality (e.g., fusing of public, private, and eternal time), paratactic association of images (i.e., interplay between visual signs not necessarily regulated by a single code [End Page 298] of meaning), and cosmic ornamentation (e.g., the spinning wheel that, by the way, is not spinning; like Gandhi, it is sitting still in a world of tumult, as if mirroring a moment of individual and universal arrest). Ironic strategizing and inventorying, in this light... (shrink)

A collection of essays explore such topics as feminist politics, sex, racism, careers, identity, and abortion.

In this essay, I argue that Richard Rorty's version of pragmatism focuses too much on community, and gives insufficient attention to the workings of power and the necessary relation between theory and practice. I then turn briefly to the work of Michel Foucault for a better understanding of power relations. Finally, I argue for the value of learning from a group of writers who connect theory and practice in a way that attends to both community and power relations.

Dewey provides an ethics that is committed to those aspects of experience that have been associated with the "feminine." In addition to an argument against the devaluation of the affective and of concrete relationships, we also find in Dewey's ethics a thoughtful appreciation of how and why these things are essential to our moral life. In this article I consider the importance of the affective and of relationships in Dewey's ethics and set out aspects of Dewey's ethics that might be (...) useful resources for feminist writers in ethics. (shrink)

Neither philosophy in general, nor deconstruction in particular, should be thought of as a pioneering, path-breaking, tool for feminist politics. Recent philosophy, including Derrida's, helps us see practices and ideas (including patriarchal practices and ideas) as neither natural nor inevitable-but that is all it does. When philosophy has finished showing that everything is a social construct, it does not help us decide which social constructs to retain and which to replace.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 267-296 [Access article in PDF] Allegory and Democratic Public Culture in the Postmodern Era Robert Hariman The man lies on the hotel bed, clad only in his underwear, as he watches the TV screen just beyond his feet. His right hand holds the remote control, which he uses to scan through the cable channels. To his left sits Abraham Lincoln, clothed in long-sleeved white (...) shirt and black pants and reading a book. Lincoln's long, angular frame is just a bit stooped, and his brow is slightly furrowed, as if long accustomed to thinking on the edge of melancholy. Lincoln is mulling over a statement by Walter Benjamin: "Allegories are, in the realm of thoughts, what ruins are in the realm of things" (Benjamin 1977, 178). 1Seated to the man's right is a woman wearing the terry cloth bathrobe provided by the hotel. She leans slightly forward, legs crossed, as she reads the New York Times Magazine cover story about President Clinton. "Listen to this," she says with a bemused smile. "In the clutter around his desk in the Oval Office stands not a single bust of a favorite predecessor, but five: Lincoln, Teddy Roosevelt, Truman and two of F.D.R., plus a statuette of Will Rogers for good measure. If governing is choosing, this collection is a metaphor for this President's trouble with choices, and he himself allows, 'That's the story of my Presidency, that desk'" (Purdum 1996, 36).The man says nothing as he continues to watch the succession of images on the screen: a lizard flicks its tongue in the desert heat; a child in a stroller laughs as she holds a strawberry ice cream cone; a congressman in blue suit, white shirt, and red tie jabs his finger into the air as he talks earnestly; cars plastered with automotive product logos curl around a race track; Fred and Ginger swirl around the dance floor; soldiers wade ashore at Omaha Beach; the Space Shuttle lifts off; Groucho lifts his eyebrows; Regis smiles; mushrooms and peppers simmer in a pan.The succession of images could go on indefinitely. The tableau remains static. The composition is an allegory: a figural presentation that organizes multiple interpretations regarding collective experience. It also contains and comments on other forms of itself: Clinton's desk is an example [End Page 267] of the figural anecdote that has been a staple of American public address. The manifold of televisual images exemplifies the allegorical encoding that operates within postmodern art forms, including fragmentary appropriation, paratactic association, encyclopedic range, and non-linear temporality. The statement by Benjamin illuminates the nature of allegory in a specific genre and historical period, and as it is a general mode of representation, and perhaps as it is a model for all textual interpretation.The composition also evokes a set of dialectical tensions that are characteristic of both allegory in general and fundamental anxieties in the contemporary period. Past and present sit side by side, but incongruously, as if by artifice alone. So it is also with the print and visual media, which are held together by mutual competencies but otherwise in figural isolation that perhaps represents different destinies. Likewise, one might wonder about the peculiar relationship between public affairs and private life: the succession of images on the screen adhere to no hierarchy of values, no principle of loyalty or sacrifice, no basis for discerning obligations or maintaining rights, yet they are replete with the paraphernalia of these concerns, and the arrangement of figures in the room likewise is at once suggestive yet inconclusive. If this tableau contains familiar features of the mass-mediated experience that now saturates American politics, one might wonder: Is the democratic tradition in ruins?Allegories give us dynamic juxtapositions in a static frame. This principle of composition seems particularly suited to periods of cultural change. To the extent that the genre of allegory has a history, it is one of eternal recurrence at periods of loss and fragmentation produced by the expansion of a new, somewhat... (shrink)