In The Phenomenology of Spirit, Hegel draws out the interdependency of unity and difference. In order to have a unity, there must be differences that compose it, as a unity unifies different elements. At the same time, in unifying these elements, they must not cease to be different from one another, as that would reduce the unity to a simple singularity.In this paper, I take up this interdependency of unity and difference, applying it to gender identities. I follow the psychoanalytically (...) oriented exchange between Judith Butler and Adam Phillips, in which they agree that gender identities are a farce, superimposed upon ungendered subjects, but disagree about the extent to which this artificial binary should be disassembled. Picking up their conversation at this point, I investigate how binary systems of identity can be both injurious and useful. Should they be cast off or does it make sense to keep them? Following this vein of thought, I end with a discussion of good and bad hate, arguing that there is an inescapable need for psychologically productive hate neutralized through empathy. (shrink)

Drawing on Merleau-Ponty’s “Eye and Mind” and Bergson’s Matière et mémoire and “La perception du changement,” I ask what resources are available in vision for interrupting objectifying habits of seeing. While both Bergson and Merleau-Ponty locate the possibility of seeing differently in the figure of the painter, I develop by means of their texts, and in dialogue with Iris Marion Young’s work, a more general phenomenology of hesitation that grounds what I am calling “critical-ethical vision.” Hesitation, I argue, stems from (...) affect and leads to critical memory. In hesitation, the seeming coincidence between my habits of seeing and the visible is decentered, revealing these habits and their social reference as the constitutive horizon of my field of vision. Hesitation, then, provides the phenomenological moment within which vision may become at once critically watchful, destabilizing its objectifying habits, and ethically responsive, recollecting its affective grounds. The critical and the ethical are here inseparable. Critically, this vision is an awareness of the structures of invisibility, diacritical and habitual, social and historical, to which my vision owes—dimensions which institute particular ways of seeing and being as norm while eliding others. Ethically, this is the recognition of how seeing is already seeing with others—others whose affective influence is operative within vision, even as their existence is reductively represented or denied. (shrink)

I argue that Johanna Meehan's call to examine the extra-linguistic psychic, affective and biological dimensions of gender identity is extremely important both for feminist theory in particular and for contemporary Continental philosophy in general. However, I suspect that such an examination might necessitate more than a mere expansion or reconstruction of Habermas' views; on the contrary, I suggest that Meehan's line of argument might lead instead toward a radical deconstruction of Habermasian critical theory. Key Words: feminism • Habermas • identity (...) • moral vs ethical. (shrink)

I begin with the assumption that a philosophically significant tension exists today in feminist philosophy of religion between those subjects who seek to become divine and those who seek their identity in mutual recognition. My critical engagement with the ambiguous assertions of Luce Irigaray seeks to demonstrate, on the one hand, that a woman needs to recognize her own identity but, on the other hand, that each subject whether male or female must struggle in relation to the other in order (...) to maintain realism about life and death. No one can avoid the recognition that we are each given life but each of us also dies. In addition, I raise a more general, philosophical problem for analytic philosophers who attempt to read Continental philosophy of religion: how should philosophers interpret deliberately ambiguous assertions? For example, what does Irigaray mean in asserting, 'Divinity is what we need to become free, autonomous, sovereign'? To find an answer, I turn to the distinctively French readings of the Hegelian struggle for recognition which have preoccupied Continental philosophers especially since the first half of the last century. I explore the struggle for mutual recognition between women and men who must face the reality of life and death in order to avoid the projection of their fear of mortality onto the other sex. This includes a critical look at Irigaray's account of subjectivity and divinity. I turn to the French philosopher Michèle Le Doeuff in order to shift the focus from divinity to intersubjectivity. I conclude that taking seriously the struggle for mutual recognition between subjects forces contemporary philosophers of religion to be realist in their living and dying. With this in mind, the lesson from the Continent for philosophy of religion is that we must not stop yearning for recognition. Indeed, we must even risk our autonomy/divinity in seeking to recognize intersubjectivity. (shrink)

: How might we locate originality as emerging from within the "discrete" work of commentary? Because many women have engaged with philosophy in forms (including commentary) that preclude their work from being seen as properly "original," this question is a feminist issue. Via the work of selected contemporary French women philosophers, the author shows how commentary can reconfigure the philosophical tradition in innovative ways, as well as in ways that change what counts as philosophical innovation.

: Even as feminist analyses have contributed in important ways to discussions of how gender is raced and race is gendered, there has been little in the way of comparative analysis of the specific mechanisms that are at work in the production of each. Feder argues that in Michel Foucault's analytics of power we find tools to understand the reproduction of whiteness as a complex interaction of distinctive expressions of power associated with these categories of difference.

In this brief and powerful book, Diana Fuss takes on the debate of pure essence versus social construct, engaging with the work of Luce Irigaray and Monique ...

: My purpose in this essay is to locate disabled women within the women's movement as well as the disability movement in India. While foregrounding the existential realities for disabled women in the Indian scene, I underscore the reasons for their absence from the agenda of Indian feminism. I conclude by reflecting on the possibilities of inclusion within Indian feminist thought.

Hegel and Feminist Philosophy traces the legacy of Hegel in the work of thinkers such as de Beauvoir, Irigaray and Butler, and also in contemporary debates in ...

Adorno, Culture and Feminism brings Adorno's work and feminism together, and explores how feminism can both harness and develop Adorno's ideas. The picture that emerges displays how gendered relations and cultural practices and texts operate today, and the relevance of critical theory for contemporary feminisms. Adorno's work on the scale of inequality and repression in the administered society is presented as matching the feminist understanding of the unequal balance of power between the sexes. This volume shows how Adorno's central concepts (...) - commodification, authenticity, the culture industry, Kulturkritik, negative dialectics, non-identity thinking and authoritarian personality - can be used productively and purposefully in feminist thinking. Adorno, Culture and Feminism shows how a dialogue between feminism, Adorno and other members of the Frankfurt School enhances our understanding of culture and society. It will be essential reading for anyone interested in sociology, feminism and cultural studies. (shrink)

In this article I rethink death and mortality on the basis of birth and natality, drawing on the work of the Italian feminist philosopher Adriana Cavarero. She understands birth to be the corporeal event whereby a unique person emerges from the mother’s body into the common world. On this basis Cavarero reconceives death as consisting in bodily dissolution and re-integration into cosmic life. This impersonal conception of death coheres badly with her view that birth is never exclusively material but always (...) has ontological significance as the appearance of someone new and singular in the world of relations with others. This view of birth calls for a relational conception of death, which I develop in this article. On this conception, death is always collective, affecting all those with whom the one who dies has maintained relations: As such, our different deaths shade into one another. Moreover, because each person is unique in virtue of consisting of a unique web of relations with others, death always happens to persons as webs of relations. Death is relational in this way as a corporeal, and specifically biological, phenomenon, to which we are subject as bodily beings and as interdependent living organisms. I explore this with reference to Simone de Beauvoir’s memoir of her mother’s death from cancer. Finally I argue that, on this relational conception, death is something to be feared. (shrink)

While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own limitations and unasked questions. This (...) essay addresses the paucity of work in feminist philosophy and popular music by (1) applying insights from other areas of feminist aesthetics (the role of gender in the art/craft distinction, concepts of genius and creativity, notions of active spectatorship, etc.) to questions of popular music, and (2) thereby using feminist aesthetics – specifically, Julia Kristea’s notion of female genius and the genius spectator – to critique itself. (shrink)