A radically subversive critique brings to the fore the masculine ideology implicit in psychoanalytic theory and in Western discourse in general: woman is defined as a disadvantaged man, a male construct with no status of her own.
What is object-relations theory and what does it have to do with literary studies? How can Freud's phallocentric theories be applied by feminist critics? In Psychoanalysis and Gender: An Introductory Reader Rosalind Minsky answers these questions and more, offering students a clear, straightforward overview without ever losing them in jargon. In the first section Minsky outlines the fundamentals of the theory, introducing the key thinkers and providing clear commentary. In the second section, the theory is demonstrated by an anthology of seminal essays which includes: * Feminity by Sigmund Freud * Envy and Gratitude by Melanie Klein * An extract from Transitional Objects and Transitional Phenomena by Donald Winnicot * The Meaning of the Phallus by Jacques Lacan * An extract from Women's Time by Julia Kristeva * An extract from Speculum of the Other Woman by Luce Irigaray
Release on 1989-01-01 | by Arleen B. Dallery,Charles E. Scott,Director of the Vanderbilt Center for Ethics and Distinguished Professor of Philosophy Charles E Scott
Essays in Contemporary Continental Philosophy
Author: Arleen B. Dallery,Charles E. Scott,Director of the Vanderbilt Center for Ethics and Distinguished Professor of Philosophy Charles E Scott
Pubpsher: SUNY Press
The core source of this book is the work of Emmanuel Levinas. Beginning with a chapter on speaking and the other, three lead chapters focus on Levinas' account of the face of the other. These chapters are followed by explorations of the ethics of dissemination in Derrida, the freedom of the other in Sartre, the cultural other in Husserlian phenomenology, the other as sexual difference in Irigaray and Nietzsche, the sublime in aesthetics, and the deconstruction of the primacy of the ego in Foucault and Lacan. This book is especially relevant to feminist theory. It shows that postmodern, continental philosophy does indeed have ethical implications. The question of the other or the presence of the other undercuts the foundationalist starting points of ethical theory and epistemology. The Question of the Other presents fresh and original interpretations of Husserl, Nietzsche, Derrida, Levinas, Irigaray, Foucault, Lacan, Heidegger, and Sartre.
Art of Darkness is an ambitious attempt to describe the principles governing Gothic literature. Ranging across five centuries of fiction, drama, and verse—including tales as diverse as Horace Walpole's The Castle of Otranto, Shelley's Frankenstein, Coleridge's The Rime of the Ancient Mariner, and Freud's The Mysteries of Enlightenment—Anne Williams proposes three new premises: that Gothic is "poetic," not novelistic, in nature; that there are two parallel Gothic traditions, Male and Female; and that the Gothic and the Romantic represent a single literary tradition. Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions such as the haunted castle and the family curse signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions: In the Male plot, the protagonist faces a cruel, violent, and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible. By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics. Lucidly and gracefully written, Art of Darkness alters our understanding of the Gothic tradition, of Romanticism, and of the relations between gender and genre in literary history.
In this book, one of the foremost contemporary scholars in the fields of feminist thought and linguistics, explores the possibility of a new liberating language and hence a new relationship between the sexes. In I Love to You, Luce Irigaray moves from the critique of patriarchy to an exploration of the ground for a possible inter-subjectivity between the two sexes. Continuing her rejection of demands for equality, Irigaray poses the question: how can we move to a new era of sexual difference in which women and men establish lasting relations with one another without reducing the other to the status of object?
In his philosophy of ethics and time, Emmanuel Levinas highlighted the tension that exists between the "ontological adventure" of immediate experience and the "ethical adventure" of redemptive relationships-associations in which absolute responsibility engenders a transcendence of being and self. In an original commingling of philosophy and cinema study, Sam B. Girgus applies Levinas's ethics to a variety of international films. His efforts point to a transnational pattern he terms the "cinema of redemption" that portrays the struggle to connect to others in redeeming ways. Girgus not only reveals the power of these films to articulate the crisis between ontological identity and ethical subjectivity. He also locates time and ethics within the structure and content of film itself. Drawing on the work of Luce Irigaray, Tina Chanter, Kelly Oliver, and Ewa Ziarek, Girgus reconsiders Levinas and his relationship to film, engaging with a feminist focus on the sexualized female body. Girgus offers fresh readings of films from several decades and cultures, including Frank Capra's Mr. Smith Goes to Washington (1939), Federico Fellini's La dolce vita (1959), Michelangelo Antonioni's L'avventura (1960), John Huston's The Misfits (1961), and Philip Kaufman's The Unbearable Lightness of Being (1988).
In Democracy Begins Between Two, Luce Irigaray calls for a form of specific civil rights guaranteeing women a separate civil identity of their own equivalent to-though not simply the same as-that enjoyed by men.
Release on 2002 | by Morny Joy,Kathleen O'Grady,Judith L. Poxon
Author: Morny Joy,Kathleen O'Grady,Judith L. Poxon
Pubpsher: Psychology Press
French Feminists on Religion: A Reader offers the first representative selection of important writings by French feminist thinkers on the topic of religion, including the most influential and provocative texts on the subject from Luce Irigaray, Julia Kristeva, Hélène Cixous, Monique Wittig and Catherine Clément. Each thinker is introduced by a bibliographical preface, while individual essays are preceded by an editorial commentary explaining the context and significance of each piece for the study of religion. The collected texts cover a broad range of religious practices and discourses focusing primarily on Jewish and Christian concerns, but including elements of ancient Goddess traditions, Witchcraft, Hinduism and Buddhism. Critically examined themes include: * Jewish and Christian notions of sin, defilement, purity and redemption; * the relationship between subjectivity and divinity, as conceived in the feminine; * the feminist re-imaging of the Virgin Mary, and of Catholic theologies of love; * the repression of the maternal in Judeo-Christian culture. Brought together for the first time in French Feminist on Religion: A Reader, these essays demonstrate the central importance of French feminism for the study of religion, and at the same time make evident the significance of religious themes, figures and concepts to the world of French feminists.