Christine Battersby rethinks questions of embodiment, essence, sameness and difference, self and "other", patriarchy and power. Using analyses of Kant, Adorno, Irigaray, Butler, Kierkegaard and Deleuze, she challenges those who argue that a feminist metaphysics is a a contradiction in terms. This book explores place for a metaphysics of fluidity in the current debates concerning postmodernism, feminism and identity politics.

Feminist explorations of the sublime and the beautiful have developed in markedly different directions. This is not surprising given the different histories of the two terms. Whereas the nature of the beautiful had been of key importance to Plato, Aristotle, and other ancient Greek and Roman philosophers, it was only during the Englightenment period that a strong contrast was established between the beautiful and the sublime. But this was also the time when there was a decisive shift away from regarding (...) the well-honed male body as best exemplifying the ideal of the beautiful, and beauty itself was domesticated and downgraded. As Mary Wollstonecraft registered in A Vindication of the Rights of Woman (Wollstonecraft 1996 [1792])--one of the earliest European feminist texts--to associate women with the duties of being beautiful in this newly demoted mode was, in effect, to give them the status of subordinate beings. Instead, Wollstonecraft aspired to the newly emergent category of the sublime, which was all too frequently being denied to ideally "feminine" women. (shrink)

"First Published in 1998, Routledge is an imprint of Taylor & Francis, an informa company.".

To discover David Hume's views on women it is necessary to bring together remarks scattered somewhat sparsely throughout his philosophical and historical writings. Although the titles of Hume's major works might suggest that he was describing the understanding and nature of all human beings, both male and female, in none of the works do we find a specific section devoted to an analysis of sexual differences in these two respects. There is a tidy chapter on female morality in A Treatise (...) of Human Nature , but nothing comparable for female nature as such . This omission does not, however, imply that Hume thought that biological differences had no concomitants in character and understanding. Neither, despite Hume's bantering remark that an essay on a ‘Subject so little to be understood as Women’ would be ‘unintelligible’, does this neglect imply that Hume was uncertain about these attendant differences . Hume's exclusion of such a section seems to stem only from his desire to stress human uniformity, not from any lack of recognition of human variety. Because of the absence of any systematic treatment of the subject by Hume, it is necessary to proceed cautiously in interpreting his remarks on women. There is a further reason for caution in that Hume offers ‘jests and pleasantries’ as well as more serious comments on this subject; Hume, on occasions, gallantly woos his so-called ‘favourites’, his female readers, and when he does so sincerity is gallantly put aside. (shrink)

Colin Turnbull's book The Mountain People has aroused much non-academic as well as much academic interest. The success of The Ik , Peter Brook's recent stage adaptation of the book, shows how widespread this interest is. The interest centres on Turnbull's anthropological descriptions of his life with the Ik people. The Ik society is one in which the weak, the old and the children are left to fend for themselves and die. Help proffered to the needy is frowned upon. Food (...) is snatched from the mouths of the old, medicine stolen from the sick, and children left to feed and house themselves at about the age of three. Sexual codes no longer exist, cruelty is thought amusing, and the weak and dying are exploited. Turnbull believes that he has discovered a people without morality; a society that previously possessed a moral code, but which lost it. (shrink)

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of The Sublime, Terror and Human (...) Difference is its engagement with recent debates around ‘9/11’, race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the ‘feminine’, the sublime was closed off to flesh-and-blood women, to ‘Orientals’ and to other supposedly ‘inferior’ human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigaray and Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh The Sublime, Terror and Human Difference is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory. (shrink)

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of _The Sublime, Terror and Human (...) Difference_ is its engagement with recent debates around ‘9/11’, race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the ‘feminine’, the sublime was closed off to flesh-and-blood women, to ‘Orientals’ and to other supposedly ‘inferior’ human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigaray and Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh _The Sublime, Terror and Human Difference_ is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory. (shrink)

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of _The Sublime, Terror and Human (...) Difference_ is its engagement with recent debates around ‘9/11’, race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the ‘feminine’, the sublime was closed off to flesh-and-blood women, to ‘Orientals’ and to other supposedly ‘inferior’ human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigaray and Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh _The Sublime, Terror and Human Difference_ is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory. (shrink)

I shall hear address the question of whether or not feminist philosophers should accept Kantian markers for the boundary between the aesthetic and nonaesthetic realms. I shall look at the way gender operates at the point in Kant's philosophy at which the aesthetic and ethical attitudes intersect: in the experience of the sublime. As we shall see, the later developments within the Kantian system mean that women fit comfortably neither side of the aesthetic/ethical divide and, indeed, fall outside personhood altogether.

This introductory essay argues that it is a mistake to represent Australian feminist philosophy as a kind of discourse theory that is “downstream” of the French post-structuralists or North American postmodernists. Starting with the local—and the specifically Australian modes of racial exclusion, in particular—and exploring some of the byways of philosophy, what we encounter is a range of ontological, ethical, and political models that allow a reconfiguration of self, community, and social change.

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 46 Heft: 1 Seiten: 114-134.

In a celebrated passage in ‘Of the Standard of Taste’, Hume tells us that those readers who prefer Bunyan's writings to Addison's are merely ‘pretended critics’ whose judgment is ‘absurd and ridiculous’; this is ‘no less an extravagance, than if he had maintained a mole-hill to be as high as TENERIFFE, or a pond as extensive as the ocean’. Hume shows a decisiveness and vehemence in his judgment against Bunyan that has greater significance than that of being a mere reflection (...) of his aesthetic principles. Hume does, after all, wish to make ‘durable admiration’ the foundation of his standard of taste, and both the number of eighteenth-century reprints of The Pilgrim's Progress and Johnson's comment that this work has as ‘the best evidence of its merit, the general and continued approbation of mankind’ testify to the lasting popularity of Bunyan's work. Hume's critical judgment on Bunyan is not merely a consequence of a mechanical application of his standard of taste, but is rather a reflection of what I will term Hume's ‘epistemology of ease’. (shrink)