How can black feminist and women of color feminist theoretical interventions help create frameworks for discerning agentic action in the context of power, oppression, and violence? In this paper, I explore the social dimension of agency and argue that intention is not just authored by the agent as a function of practical reasoning, but is also socially authored through others' discernment and translation of her action. Further, when facilitated by reasoning designed to reinforce and rationalize systems of domination, social authoring (...) systematically distorts the intentions of some agents. Although some theorists have argued that those agents whose intentions are not recognized by others are forced to exercise a diminished agency, I contend that this account obscures agency that is practiced despite or through conditions of oppression. As an alternative, I propose that feminist of color theory that examines the structural and existential erasures of women of color maps a conceptual space to help us better discern agentic action that is practiced by those subjects whose acts are defined away from them. (shrink)

The aim of this essay is to carry out an analysis of the multi-voiced, multi-cultural self discussed by Latina feminists in light of a Heideggerian phenomenological account of persons or "Existential Analytic." In so doing, it points out similarities as well as differences between the Heideggerian description of the self and Latina feminists' phenomenological accounts of self, and critically assesses María Lugones's important notion of "world-traveling." In the end, the essay defends the view of a "multiplicitous" self which takes insights (...) from Lugones's view of the self that "travels 'worlds'" and from other Latina feminists' accounts of self as well as from Martin Heidegger's account of Dasein. (shrink)

How to communicate with "the other" who is culturally different from oneself is one of the greatest challenges facing North-South relations. This paper builds on existential-phenomenological and poststructuralist concepts of alterity and difference to strengthen the position of Latina and other subaltern speakers in North-South dialogue. It defends a postcolonial approach to feminist theory as a basis for negotiating culturally differentiated feminist positions in this age of accelerated globalization, migration, and displacement.

The aim of this essay is to carry out an analysis of the multi-voiced, multi-cultural self discussed by Latina feminists in light of a Heideggerian phenomenological account of persons or "Existential Analytic." In so doing, it (a) points out similarities as well as differences between the Heideggerian description of the self and Latina feminists' phenomenological accounts of self, and (b) critically assesses María Lugones's important notion of "world-traveling." In the end, the essay defends the view of a "multiplicitous" self which (...) takes insights from Lugones's view of the self that "travels 'worlds'" and from other Latina feminists' accounts of self as well as from Martin Heidegger's account of Dasein. (shrink)

Existential space is lived space, space permeated by our raced, gendered selves. It is representative of our very existence. The purpose of this essay is to explore the intersection between this lived space and art by analyzing the work of the Cuban‐born artist Ana Mendieta and showing how her Siluetas Series discloses a space of exile. The first section discusses existential spatiality as explained by the phenomenologists Heidegger and Watsuji and as represented in Mendieta's Siluetas. The second section analyzes the (...) space of exile as a space of in‐between‐ness and borders. Lastly, the third section discusses temporality as it relates to the space of exile. Through the analysis of Mendieta's Siluetas, and in light of phenomenological accounts of space and the works of Anzaldúa and Mignolo, Ana Mendieta herself is disclosed as well as the space characteristic of those who can no longer be said to have a “home.” My exploration through my art of the relationship between myself and nature has been a clear result of my having been torn from my homeland during my adolescence. The making of my Silueta in nature keeps (makes) the transition between my homeland and my new home. It is a way of reclaiming my roots and becoming one with nature. Although the culture in which I live is part of me, my roots and cultural identity are a result of my Cuban heritage.1 As quoted in Gloria Moure, Ana Mendieta (Barcelona: Ediciones Polígrafa, S.A., 1996), 108. Ana MendietaLiving in a state of psychic unrest, in a Borderland, is what makes poets write and artists create.2 Gloria Anzaldúa, Borderlands La Frontera, The New Mestiza (San Francisco: Aunt Lute Books, 1987), 73. Gloria Anzaldúa. (shrink)

This essay participates in a feminist postcolonial critical historiography/epistemology by providing a critique of The Post-Colonial Critic: Interviews, Strategies, Dialogues. The essay considers Spivak's success in interrogating her own position as a leading postcolonial critic as she engages in dialogues with various people. Spivak's commitment to cross-cultural exchanges is undeniable. However, at times the resurgence of her authoritative subject position deflects productive tensions generated by careful scrutiny of the category postcolonial.