The issues that Foucault raises about reception and reading are certainly part of the contemporary discussion of literature. However, they are not the only issues with which we, as today’s readers, are concerned. Discussions about the role of the author persist and so we continue to have recourse to the notion of authorship.For instance, in her recent book Sexual / Textual Politics , the feminist critic Toril Moi feels called on to return to these twenty-year-old issues in French theory (...) to tell us what it has meant to speak of the author, when she says: “For the patriarchal critic, the author is the source, origin and meaning of the text. If we are to undo this patriarchal practice of authority, we must take one further step and proclaim with Roland Barthes the death of the author.”3In the course of this essay I wish to reopen the question of whether it is advisable to speak of the author, or of what Foucault calls “the author function,” when querying a text, and I wish to reopen it precisely at the site where feminist criticism and post-structuralism are presently engaged in dialogue. Here in particular we might expect that reasons for rejecting author erasure would appear. However, theoretically informed feminist critics have recently found themselves tempted to agree with Barthes, Foucault, and the Edward Said of Beginnings that the authorial presence is best set aside in order to liberate the text for multiple uses.4 4. See Edward W. Said, Beginnings: Intention and Method , p. 162. Cheryl Walker is professor of English and humanities at Scripps College. She is the author of The Nightingale’s Burden: Women Poets and American Culture before 1900 and Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets . She is currently editing an anthology of nineteenth-century women poets and a book of essays about feminist criticism in the wake of post-structuralism. (shrink)

A good feminist criticism . . . must first acknowledge that men's and women's writing in our culture will inevitably share some common ground. Acknowledging that, the feminist critic may then go on to explore the ways in which this common ground is differently imaged in women's writing and also note the turf which they do not share. And, after appreciating the variety and variance of women's experience—as we have always done with men's—we must then begin exploring (...) and analyzing the variety of literary devices through which different women are finding effective voices. As a consequence of this activity, we may even find ourselves better able to understand and to encourage women writers' continued experiments in language—in stylistic devices, genre forms, and image making—experiments which inevitably expand everyone's abilities to know and express themselves. Annette Kolodny, assistant professor of English at the University of New Hampshire, has been awarded a Ford Foundation Fellowship for the study of women in society. She has written articles on American literature and culture and a feminist analysis of American pastoral, The Lay of the Land: Metaphor as Experience and History in American Life and Letters. (shrink)

Ecofeminism, a new vein in feminist theory, critiques the ontology of domination, whereby living beings are reduced to the status of objects, which diminishes their moral significance, enabling their exploitation, abuse, and destruction. This article explores the possibility of an ecofeminist literary and cultural practice, whereby the text is not reduced to an "it" but rather recognized as a "thou," and where new modes of relationship-dialogue, conversation, and meditative attentiveness-are developed.

In this article I offer a map of recent UK and US lesbian feminist literary theory which highlights the shifting and often paradoxical interpretations of lesbian sexuality as both real and as metaphorical. I focus on two key texts which offer overviews and analysis of the field from different sides of the Atlantic, which are both accessible, in the sense of being written from the perspective of ‘ordinary’ lesbians, rather than structuring lesbian feminist literary criticism (...) around traditional critical concepts, and which also, unusually, offer some (small) comment on bisexuality. These two works are Bonnie Zimmerman's Safe Sea of Women (1992), and Palmer's Contemporary Lesbian Writing (1993). I argue that lesbian/feminist literary theory offers particular constructions of sexuality which, while challenging many of the assumptions of heterosexual feminist literary theory, largely ignores the bisexual content of much lesbian fiction, and consequently glosses over some of the tricky areas of gender and sexuality difference. Through this ‘les/bi’ reading I hope to encourage the figure of the bisexual woman to question both constructions and deconstructions of lesbian sexuality. (shrink)

Psychoanalytic literary criticism has always been something of an embarrassment. One resists labeling as a “psychoanalytic critic” because the kind of criticism evoked by the term mostly deserves the bad name it largely has made for itself. Thus I have been worrying about the status of some of my own uses of psychoanalysis in the study of narrative, in my attempt to find dynamic models that might move us beyond the static formalism of structuralist and semiotic narratology. (...) And in general, I think we need to worry about the legitimacy and force that psychoanalysis may claim when imported into the study of literary texts. If versions of psychoanalytic criticism have been with us at least since 1908, when Freud published his essay on “Creative Writers and Day-dreaming,” and if the enterprise has recently been renewed in subtle ways by post-structuralist versions of reading, a malaise persists, a sense that whatever the promises of their union, literature and psychoanalysis remain mismatched bedfellows—or perhaps I should say playmates.The first problem, and the most basic, may be that psychoanalysis in literary study has over and over again mistaken the object of analysis, with the result that whatever insights it has produced tell us precious little about the structure and rhetoric of literary texts. Traditional psychoanalytic criticism tends to fall into three general categories, depending on the object of analysis: the author, the reader, or the fictive persons of the text. The first of these constituted the classical locus of psychoanalytic interest. It is now apparently the most discredited, though also perhaps the most difficult to extirpate, since if the disappearance of the author has been repeatedly announced, authorial mutants ceaselessly reappear, as, for instance, in Harold Bloom’s psychomachia of literary history. Like the author, the fictive character has been deconstructed into an effect of textual codes, a kind of thematic mirage, and the psychoanalytic study of the putative unconscious of characters in fiction has also fallen into disrepute. Here again, however, the impulse resurfaces, for instance in some of the moves of a feminist criticism that needs to show how the represented female psyche refuses and problematizes the dominant concepts of male psychological doctrine. Feminist criticism has in fact largely contributed to a new variant of the psychoanalytic study of fictive characters, a variant one might label the “situational-thematic”: studies of Oedipal triangles in fiction, their permutations and evolution, of the roles of mothers and daughters, of situations of nurture and bonding, and so forth. It is work often full of interest, but nonetheless methodologically disquieting in its use of Freudian analytic tools in a wholly thematic way, as if the identification and labeling of human relations in a psychoanalytic vocabulary were the task of criticism. The third traditional field of psychoanalytic literary study, the reader, continues to flourish in ever-renewed versions, since the role of the reader in the creation of textual meaning is very much on our minds at present, and since the psychoanalytic study of readers’ responses willingly brackets the impossible notion of author in favor of the acceptable and also verifiable notion of reader. The psychoanalytic study of the reader may concern real readers or the reader as psychological everyman . But like the other traditional psychoanalytic approaches, it displaces the object of analysis from the text to some person, some other psychodynamic structure—a displacement I wish to avoid since, as I hope to make clear as I go along, I think psychoanalytic criticism can and should be textual and rhetorical. Peter Brooks is the Tripp Professor of the Humanities at Yale University, where he is also director of the Whitney Humanities Center and chairman of the French department. His most recent book is Reading for the Plot: Design and Intention in Narrative, which has recently been reissued in paperback. His work in progress concerns psychoanalysis and story-telling. (shrink)

This article details the variety of critical strategies in Mary Wollstonecraft’s A Vindication of the Rights of Woman, finding strong connections with her writing as a reviewer for the Analytical Review, the literary review published by the reformer and Dissenter Joseph Johnson. In Rights of Woman, Wollstonecraft employed textual analyses and an evolving set of theoretical positions that had been introduced in the course of her career at the Analytical Review. By elucidating the importance of the reviews and the (...) specificity of Wollstonecraft’s procedures, this article contributes to a growing consensus that Rights of Woman initiated feminist literary criticism. (shrink)

Lukacs's post-1930 literary criticism reveals a problematic continuity with the theory of totality articulated in History and Class Consciousness (1923). No longer the self-knowledge of a militant proletariat, totality emerges as the contemplative vision of great bourgeois novelists. Shorn of its earlier messianic overtones, the later criticism promises a more labile political theory whose possibilities have already been explored by theorists such as liberation theologians and socialist feminists. This same change, however, coupled with Lukacs's failure to confront (...) its metatheoretical consequences, severs theory and practice and threatens to reduce revolutionary activity to a subjective and strident moralizing. (shrink)

A collection of essays illustrating the current preoccupations and practices of 13 British feminists. Each focusses on a literary text, either presenting a feminist interpretation or explaining the author's feminism. No index. Annotation copyrighted by Book News, Inc., Portland, OR.

Until very recently, feminist criticism has not had a theoretical basis; it has been an empirical orphan in the theoretical storm. In 1975, I was persuaded that no theoretical manifesto could adequately account for the varied methodologies and ideologies which called themselves feminist reading or writing.1 By the next year, Annette Kolodny had added her observation that feminist literary criticism appeared "more like a set of interchangeable strategies than any coherent school or shared goal (...) orientation."2 Since then, the expressed goals have not been notably unified. Black critics protest the "massive silence" of feminist criticism about black and Third-World women writers and call for a black feminist aesthetic that would deal with both racial and sexual politics. Marxist feminists wish to focus on class along with gender as a crucial determinant of literary production. Literary historians want to uncover a lost tradition. Critics trained in deconstructionist methodologies with to "synthesize a literary criticism that is both textual and feminist." Freudian and Lacanian critics want to theorize about women's relationship to language and signification.· 1. See my "Literary Criticism," Signs 1 : 435-60.· 2. Annette Kolodny, "Literary Criticism," Signs 2 : 420.Elaine Showalter is professor of English at Rutgers University. The author of A Literature of Their Own: British Women Novelists from Bronte to Lessing, she is currently completing The English Malady, a study of madness, literature, and society in England. (shrink)

Like Kolodny, I think feminism one of the most vital and energizing forces in literary criticism today, but for two reasons I found her exposition of the topic disappointing. It seems to me that she underplays the most crucial of the many aesthetic and pedagogical issues raised by feminist literary study, and she endorses a kind of intellectual defeatism when, in the conclusion of her essay, she places a "Posted" sign between the male readers of Critical (...) Inquiry and her own area of work. Both flaws arise, it appears, out of her underestimation or understatement of the revolutionary implications of feminist literary study. On the other hand, both flaws may be evidence of her problem in writing for so general an audience, for in addressing a very heterogeneous audience about a topic so potentially incendiary, she has to confront the rhetorical problem of how to tell the truth and still be heard. It is that problem, I think, that may have led Kolodny and other feminists to propose an intellectual separatism of sorts as a necessary interlude. It seems to me that once the revolutionary implications of feminist literary study are understood, separatism can be seen to be one of the most damaging proposals one could make. William W. Morgan, associate professor of English at Illinois State University, is a contributor to Thomas Hardy: An Annotated Bibliography of Writings About Him and has published essays on Hardy. He is presently working on a book on Hardy's poetry. This essay is a response to Annette Kolodny's "Some Notes on Defining a 'Feminist Literary Criticism'". (shrink)

For more than a decade Nina Baym has pioneered in the reexamination of American literature. She has led the way in questioning assumptions about American literary history, in critiquing the standard canon of works we read and teach, and in rediscovering lost texts by American women writers. Feminism and American Literary History collects fourteen of her most important essays published since 1980, which, combining feminist perspectives with original archival research, significantly revise standard American literary history. In (...) Part I, "Rewriting Old American Literary History," the focus is on male writers. Essays range from close readings of individual works to ambitious critiques of the main paradigms by which scholars have conventionally linked disparate texts and authors in a narrative of nationalist literary history: the self-in-the-wilderness myth, the romance-novel distinction, the myth of New England origins. Part II, "Writing New American Literary History," studies examples of women's writing from the Revolution through the Civil War. Stressing much overtly public and political writing that has been overlooked even by feminist scholars, noting public and political themes in supposedly domestic works, the essays substantially modify and historicize the paradigm by which premodern American women's writing is currently understood. The contentious and influential essays in Part III, "Two Feminist Polemics," address feminist literary theory and pedagogy, advocating a pluralist practice as the basis for scholarship, criticism, and humane feminism. No one interested in American literature or in women's writing can afford to ignore Baym's revisionist work. Humorous and gracefully written, this book is enjoyable and indispensable. (shrink)

This paper dialogues with the contributions included in Francesco Fiorentino and Domenico Firomonte’s edited volumes and Massimo Riva’s book from the point of view of feminist literary criticism. This diverse positioning in relation to the work of women writers has allowed feminist criticism to develop a path that has deconstructed the Italian literary canon and the promotion of critical stances that are no longer abstract or monologic, but rather situated in the point of view (...) of the subject and its relational component. Works by Italian women writers present themselves as a body of texts of high material density that transfer questions of textual mobility both within digital and print culture onto the subject and its style of enunciation. L’intervento dialoga con i contributi dei volumi a cura di Francesco Fiorentino e Domenico Fiormonte e con il libro di Massimo Riva a partire dall’esperienza della critica letteraria femminista italiana. Il suo diverso posizionamento rispetto alle opere delle scrittrici ha permesso l’articolarsi di un percorso che ha decostruito il canone della tradizione letteraria italiana e l’affermarsi di posizioni critiche non più astratte e monologiche, ma situate a partire dal soggetto e dalla sua componente relazionale. Le opere delle scrittrici italiane si rappresentano infatti come un corpo testuale dall’alta densità materica, che sposta sul soggetto e sul suo stile dell’enunciazione le questioni di mobilità del testo, sia esso virtuale o cartaceo. (shrink)

My purpose here, then, is to reexamine a form which has already attracted considerable attention and, more particularly, by utilizing precisely that same mythopoetic analytic grid established by Fielder and Slotkin to reread on of its most popular incarnations, only adding to it a feminist perspective. My reading will thus avoid the unacknowledged and unexamined assumption which marks their work: the assumption of gender. Nonfeminist critics, after all, tend to ignore the fact of women as readers as much as (...) they tend to ignore the potentially symbolic significations of gender within a text. Fiedler, for example, obviously focuses on a male audience when he asserts that "westering, in America, means leaving the domain of the female" . And Slotkin, in making the same mistake, ignores the fact that women, too, required imaginative constructs through which to accommodate themselves to the often harsh realities of the western wilderness.Annette Kolodny, the author of The Lay of the Land: Metaphor as Experience and History in American Life and Letters, has recently completed the first volume of Westering Women, a projected multivolume analysis of women's imaginative responses to the successive American frontiers. She is presently working on Dancing through the Minefield, a study of the theoretical political, and methodological concerns of feminist literary criticism. (shrink)

In the early seventies, American feminist literary criticism had little patience for psychoanalytic interpretation, dismissing it along with other forms of what Mary Ellmann called “phallic criticism.”1 Not that psychoanalytic literary criticism was a specific target of feminist critics, but Freud and his science were viewed by feminism in general as prime perpetrators of patriarchy. If we take Kate Millett’s Sexual Politics2 as the first book of modern feminist criticism, let us (...) remark that she devotes ample space and energy to attacking Freud, not of course as the forerunner of any school of literary criticism, but as a master discourse of our, which it to say masculinist, culture. But, although Freud may generally have been a target for feminism, feminist literary critics of the early seventies expended more of their energy in the attack on New Criticism. The era was, after all, hardly a heyday for American psychoanalytic criticism; formalist modes of reading enjoyed a hegemony in the literary academy in contrast with which psychoanalytic interpretation was a rather weak arm of patriarchy.Since then, there have been two changes in this picture. In the last decade, psychoanalytic criticism has grown in prestige and influence, and a phenomenon we can call psychoanalytic feminist criticism has arisen.3 I would venture that two major factors have contributed to this boom in American psychoanalytic criticism. First, the rise of feminist criticism, in its revolt against formalism, has rehabilitated thematic and psychological criticism, the traditional mainstays of psychoanalytic interpretation. Because feminism has assured the link between psychosexuality and the socio-historical realm, psychoanalysis now linked to major political and cultural questions. Glistening on the horizon of sociopolitical connection, feminism promises to save psychoanalysis from its ahistorical and apolitical doldrums.The second factor that makes psychoanalytic reading a growth industry in the United States is certainly more widely recognized: it is the impact of French post-structuralist thought on the American literary academy. There is, of course, the direct influence of Lacanian psychoanalysis which promotes language to a principal role in the psychoanalytic drama and so naturally offers fertile ground for crossing psychoanalytic and literary concerns. Yet I think, in fact, the wider effect in this country has come from Derridean deconstruction. Although deconstruction is not strictly psychoanalytic, Freud’s prominent place in Derridean associative networks promises a criticism that is, finally, respectably textual and still, in some recognizable way, Freudian. Although this second, foreign factor in the growth of American psychoanalytic criticism seems far away from the realm of homespun feminist criticism, I would content that there is a powerful if indirect connection between the two. I would speculate that the phenomenal spread of deconstruction in American departments of English is in actuality a response to the growth of feminist criticism. At a moment when it was no longer possible to ignore feminist criticism’s challenge to the critical establishment, deconstruction appeared offering a perspective that was not in opposition to but rather beyond feminism, offering to sublate feminism into something supposedly “more radical.” Jane Gallop, professor of humanities at Rice University, is the author of Intersections: A Reading of Sade with Bataille, Blanchot, and Klossowski , The Daughter’s Seduction: Feminism and Psychoanalysis , and Reading Lacan . She wrote the present essay while awaiting the birth of her first child. (shrink)

In this rewarding book, Laurie A. Finke challenges assumptions about gender, the self, and the text which underlie fundamental constructs of contemporary feminist theory. She maintains that some of the key concepts structuring feminist literary criticism need to be reexamined within both their historical context and the larger framework of current theory concerning language, representation, subjectivity, and value.

Rita Felski presents a critical account of current American and European feminist literary theory, and analyzes contemporary fiction by women to show that no theorist can identify a specifically "female" or "feminine" kind of writing without reference to what gender means at a given historical moment. She argues that the idea of a feminist aesthetic is a non-issue needlessly pursued by feminists. She calls for a consideration of the social and cultural context in which these texts were (...) produced and received, and demonstrates her method of an interdisciplinary approach to the analysis of literature which can integrate literary and social theory. ISBN 0-674-06894-7: $25.00; ISBN 0-674-06895-5 (pbk.): $9.95. (shrink)

A literary criticism is presented of the book "Challenging Liberalism: Feminism As Political Critique," by Lisa Schwartzman, in response to a symposium devoted to her book. The author comments on feminist theory's criticism of liberalism and the potential for feminist methodology to address the oppression of women globally. Topics include the argument for women's rights as human rights and criticism of the women's rights movement by African scholars, as well as a discussion of the (...) Massai tribe. (shrink)

The essays in this volume consider how feminism has affected a range of academic disciplines - psychology, art, art history, history, social work and literary criticism. Particular attention is given to certain relationships: feminism and socialism; feminism and deconstruction; men and feminism; academic discourse and wider cultural values and theory and practice. The contributions on literary criticism deal with specific questions within that field, while those on other disciplines adopt a broad approach.

In response to the discussion between William W. Morgan and Annette Kolodny in the Summer 1976 issue of Critical Inquiry I would like to address the issue of separating judgments based on feminism as an ideology from purely aesthetic judgments. Peripherally this included the issue of "prescriptive criticism," so labeled by Cheri Register in Feminist Literary Criticism: Explorations in Theory.1 In the same book, as Kolodny points out,2 I called for criticism that exists in the (...) "prophetic mode." Kolodny indicates reservations about both concepts without fully exploring the issue. I would like to explain my statement here and to explore further the issue of feminism and aesthetics. When I called for criticism in the prophetic mode, I did not intend to promote an idea of the critic as ideological prophet. Rather, as I explain in the context from which the term is taken,3 I am speaking of the engaged scholar who is concerned to influence the future by her/his work today. S/he chooses her/his work with an eye to encourage political and social changes. Obviously, for a feminist this translates into a concern for a future in which women will be free from many of the restrictions that have held them down in the past. Much feminist criticism is thus corrective criticism designed to redress the imbalance in current literary curricula, and more generally to reintroduce "the feminine" into the public culture. · 1. Cheri Register, "American Feminist Literary Criticism: A Bibliographical Introduction ," Feminist Literary Criticism: Explorations in Theory, ed. Josephine Donovan pp. 11-24.· 2. Annette Kolodny, "The Feminist as Literary Critic," Critical Inquiry 2 : 828.· 3. Josephine Donovan, "Critical Re-Vision," Feminist Literary Criticism, p. 81, n. 2. Josephine Donovan, currently working on a literary biography of Sarah Orne Jewett, has written "Feminist Style Criticism," "Sexual Politics in the Short Stories of Sylvia Plath," and has edited Feminist Literary Criticism: Explorations in Theory. Although the occasion for this response was the exchange between Annette Kolodny and William W. Morgan , the questions raised by Ms. Donovan have some bearing on other topics discussed in Critical Inquiry—e.g., the nature of accepted canons in the arts . In addition the question of how we may interpret literary works from the past that contain currently unacceptable representations of women has implications as well for how we respond to "objectionable" representations of ethnic and religious groups and even of social classes. The editors expect to see these issues explored further in the future. (shrink)

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 ...

This essay addresses the troubling and uncanny figure of Mother in feminist theory, psychoanalytic theory, literary criticism, and real life. Readings of feminist literary criticism and the films Alien and Aliens explore the liminality of Mother and the consequences for feminist thought and practice of the persistent narrative modes (the sentimental and the gothic) locatable in all of these discourses on/of Motherhood.

In the past three decades, feminist scholars have produced an extraordinary rich body of theoretical writing in humanities and social science disciplines. This revised and updated second edition of Theorizing Feminism: Parallel Trends in the Humanities and Social Sciences, is a genuinely interdisciplinary anthology of significant contributions to feminist theory.This timely reader is creatively edited, and contains insightful introductory material. It illuminates the historical development of feminist theory as well as the current state of the field. Emphasizing (...) common themes and interests in the humanities and social sciences, the editors have chosen topics that remain relevant to current debates, reflect the interests of a diverse community of thinkers, and have been central to feminist theory in many disciplines.The contributors include leading figures from the fields of psychology, literary criticism, sociology, philosophy, anthropology, art history, law, and economics. This is the ideal text for any advanced course on interdisciplinary feminist theory, one that fills a long-standing gap in feminist pedagogy. (shrink)

This work explores the vast differences between oral and literate cultures, offering an account of the intellectual, literary and social effects of writing, print and electronic technology.

"We translate what American women write, they never translate our texts," wrote Helene Cixous almost two decades ago. Her complaint about the unavailability of French feminist writing in English has long since been rectified, but the situation for feminist writing by German-speaking philosophers remains today what it was then. This pioneering collection takes a giant step forward to overcoming this handicap, revealing the full richness and variety of feminist critique ongoing in this linguistic community. The essays offer (...) fresh readings of thinkers from the Enlightenment to the present, including those often discussed by feminists everywhere—such as Freud, Habermas, Hegel, Kant, and Rousseau—as well as some less subjected to feminist critique such as Benjamin and Weininger. In their Introduction the editors provide the context for understanding both how these essays fit into the larger picture of developing feminist theory and what makes their contribution in some ways distinctive. (shrink)

In the past two decades, feminist scholars have produced an abundance of theoretical writing in humanities and social science disciplines. The result is a body of work that is extraordinarily rich, hard to keep up with, and extremely difficult to teach.With the appearance of Theorizing Feminism: Parallel Trends in the Humanities and Social Sciences, the first genuinely interdisciplinary anthology of significant contributions to feminist theory, teachers will finally have a volume that does justice to their topic. Creatively edited, (...) with insightful introductory material, this timely reader illuminates the historical development of feminist theory as well as the current state of the field.Emphasizing common themes and interests in the humanities and social sciences, the editors have chosen those topics that have been central to feminist theory in many disciplines, that remain relevant to current debates, and that reflect the interests of a diverse community of thinkers.The contributors include leading figures from psychology, literary criticism, sociology, philosophy, anthropology, art history, law, and economics. This is the ideal text for any advanced course on interdisciplinary feminist theory, one that fills a long-standing gap in feminist pedagogy. (shrink)

Erin Wunker is a feminist killjoy, and she thinks you should be one, too. Following in the tradition of Sara Ahmed (the originator of the concept "feminist killjoy"), Wunker brings memoir, theory, literary criticism, pop culture, and feminist thinking together in this collection of essays that take up Ahmed's project as a multi-faceted lens through which to read the world from a feminist point of view. Neither totemic nor complete, the non-fiction essays that make (...) up Notes from a Feminist Killjoy: Essays on Everyday Life attempt to think publicly about why we need feminism, and especially why we need the figure of the feminist killjoy, now. From the complicated practices of being a mother and a feminist, to building friendship amongst women as a community-building and -sustaining project, to writing that addresses rape culture from the Canadian context and beyond, Notes from a Feminist Killjoy: Essays on Everyday Life invites the reader into a conversation about gender, feminism, and living in our inequitable world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface Sometimes, even those of us who have organized our entire lives around the transformative possibilities of Black feminist thought can sit back in wonder at the expansiveness of this intergenerational transnational practice.Thisspecialissuetakesamomenttoimbibewhere we have been, where we are, and where we have yet to journey. The contributors to this special issue on, or more precisely, of Black feminist thought find Black feminist thinking in a (...) wide range of times, places, and forms. Each of the contributors invites us to bear witness in a distinct way to the pushes and pulls of critical engagement with Black feminist thought. Biomythic origin point “mitochondrial eve” brainstorms the archive and admonishes those of us looking back to “be a forest of your own / dreams.” Gladys Bentley sends unrequited texts to... Gladys Bentley. Everything is possible here, even what should never have happened. In If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday, Farah Jasmine Griffin, one of the most dedicated and prolific stewards of Black feminist thought as a liberatory practice, cites Rita Dove’s poem “Canary” to evoke the protective strategies Black women employ to hold something (ourselves, each other) sacred in an unfree world.1 The lineage we participate in through our Black 1. Farah Jasmine Griffin, If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday (New York: Ballantine Books, 2001), 155–56. “Be a Mystery”: (The Infinity of) Black Feminist Thought 8Preface feminist intellectual labor is sacred to us. For generations, even before the name “Black Feminist,” it has existed as a form of love, communion, protest, and prophecy, often far from the spotlight. Nurtured by the warmth of imagination, practices became praxis. Griffin and others have ensured a tradition wherein, to invoke Griffin’s paraphrase of Toni Morrison in her tribute to Nellie McKay, “the mothers may soar and the daughters may know their names.”2 We are some of the daughters. But we are living in times that neither we nor our mothers would hardly recognize. Abolitionist queer Black feminists are topping the New York Times bestseller lists. Our scholars and experts speak on the nightly news. Some of what were once our most marginalized proposals have become policies, funding keywords, and even memes. The Movement for Black Lives, one of the largest and most visible social movements of our time, or any time, explicitly connects its vision to the foundational Combahee River Collective statement. We do this work now in the light of recognition. Masses of people think they know what Black feminism is, and yet, this is not the world that we dreamed. We, the current generation of practicing Black feminist thinkers, are faced with the consequences of Black feminist practice feeling like less of a mystery. We celebrate the legacy our foremothers have made possible, and we must also think creatively, lovingly, and sometimes even cryptically about what this moment can and must mother—or bring into being. It has to bring into being something we cannot describe from here, something we have not yet known. It is exhilaratingly beautiful to look upon what’s been made possible, but we know there is so much more than recognition. Undaunted by a world still hellbent on not caring for or loving us, even as it consumes our insights, theories, and modes of organizing, we create worlds filled with an abundance of joy, affirmation, and ingenuity. It is from this robust, ancestral practice of world-making that this special issue emerges. The pieces found here provide insight into one of the most dynamic aspects of Black feminist thought: its generative power. The range of topics included in this special issue encapsulates the breadth of this interdisciplinary, transnational, multimodal, and 2. Farah Jasmine Griffin, “That the Mothers May Soar and the Daughters May Know Their Names: A Retrospective of Black Feminist Literary Criticism,” Signs 32, no. 2 (Winter 2007): 483–507. Preface 9 intergenerational practice. Given the seemingly infinite nodes and entry points of Black feminist thought, it is befitting that this issue coheres because of an unboundedness and porousness among the pieces. The art essays, articles, field reviews, and conversations converse, dance, and harmonize with... (shrink)

The simultaneous publication in 1992 of two texts dealing with a global decline in sperm potency, P. D. James’s The Children of Men and Elisabeth Carlsen’s “Evidence for Decreasing Quality of Semen during the Past 50 Years,” inaugurates the exploration of another kind of sterility: the failure of feminist literary criticism and feminist science studies to converge as a fertile zone of inquiry and analysis. This article considers the modern discipline of literary studies, as well (...) as feminist literary criticism and feminist science studies, and suggests how Latour’s seven rules of method might be adapted to produce cross-fertilization between these fields... (shrink)

It is hardly necessary to rent I Spit on Your Grave or Tool Box Murders for your VCR in order to find images of sexuality contaminated by depersonalization or violence. As far back as Rabelais’ Gargantua, for example, Panurge proposes to build a wall around Paris out of the pleasure-twats of women [which] are much cheaper than stones”: “the largest … in front” would be followed by “the medium-sized, and last of all, the least and smallest,” all interlaced with “many (...) horney joy-dinguses” so that fortification would be impregnable, except for the “ordure and excretions” of the flies it would doubtlessly attract.1 Two centuries later, one of Rabelais’ compatriots, the Marquis de Lade, described the rage of a sexually initiated daughter against a woman who refuses to consider her “pleasure-twat” “cheaper than stones.” The Sadeian heroine first sodomizes her puritanical mother with an artificial penis, then has her infected with syphilis, and finally performs infibulations to prevent the infected semen from leaking out: “Quickly, quickly, fetch me needle and threat! … Spread your thighs, Mama, so I can stitch you together.”2One century later in England, the author of My Secret Life explained that, when in a state of sexual excitement, “he is ready to fuck anything,” from his sister to his grandmother, from a ten-year-old, to a woman of sixty, for a standing prick has no conscience.” To this credo, he adds the admonition, “Woe be to the female whom he gets a chance at, if she does not want him, for he will have her if he can.”3 The sexually aroused man in the contemporary American film Looking for Mr. Goodbar curses the woman who does not want him as much as she wants a room of her own and the freedom to choose a succession of male lovers. After he resentfully determines to have her when he gets the chance , he rapes her and finally knifes her to death, exclaiming “That’s what you want, bitch, right? That’s what you want.”However these individual works are labeled, such passages remind us of the long history of pornography, a gender-specific genre produced primarily by and for men but focused obsessively on the female figure. In their depictions of female sexuality, narratives from Gargantua to La Philosophie dans le boudoir, My Secret Life, and Looking for Mr. Goodbar explain why definitions of the pornographic have recently moved away from “obscenity,” a term that generally refers to the sexually stimulating effects of a picture, a novel, or a film on the male reader/observer, and toward “dehumanization,” a word that is used to evoke the objectification of women. As Irene Diamond has demonstrated, during the past decade the generally held assumption that pornography is about male sexuality has been qualified by those who argue that “the ‘what’ of pornography is not sex but power and violence, and the ‘who’ of concern are no longer male consumers and artists but women.”4 1. François Rabelais, Gargantua and Pantagruel, trans. Jacques Le Clercq , bk. 2, chap. 15. I have used this translation because it is employed in Helene Iswolsky’s translation of Mikhail Bakhtin’s Rabelais and His World . With no analysis of gender, Bakhtin’s exclusive focus on the grotesque wipes out the significance of Rabelais’ sexual imagery.2. Marquis de Sade, quoted in a brilliant reading of this text by Angela Carter, The Sadeian Woman and the Ideology of Pornography , p. 127; all further references to this work , abbreviated SW, will be included in the text.3. My Secret Life , p. 361.4. Irene Diamond, “Pornography and Repression: A Reconsideration,” in Women: Sex and Sexuality, ed. Catharine Stimpson and Ethel Spector Person , p. 132. Susan Gubar is professor of English and women’s studies at Indiana University, Bloomington. Together with Sandra M. Gilbert, she has coauthored The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination and co-edited both Shakespeare’s Sisters: Feminist Essays on Women Poets and the Norton Anthology of Literature by Women: The Tradition in English. This fall they will publish the first volume of a three-volume work, No Man’s Land: The Place of the Woman Writer in the Twentieth Century. Her previous contribution to Critical Inquiry is “ ‘The Blank Page’ and the Issues of Female Creativity”. (shrink)

The crux of feminist ideological alignments is the struggle for the woman’s liberation from patriarchal subjectivities. This study investigates the utilization of poetry by Patricia Jabbeh Wesley to challenge patriarchal dominance and expose the gimmicks of female devaluation by hegemonic imperialism. Wesley’s poems: “Inequality in Hell” and “My Auntie’s Woman-Lappa Husband” which sufficiently explore feminist consciousness from Wesley’s poetry collection, Where the Road Turns, were purposively selected and subjected to close reading and qualitative analysis. The poems were critically (...) analyzed through the lens of postcolonial feminist literary criticism which examines issues of phallocentric structures, especially in formerly colonized states. The selected poems show the itchy pains of masculinity and devaluation of womanhood in canonical text. Wesley’s poetry invites her readers to a philosophical introspection of patriarchal order with respect to the unbalanced treatment of women in postcolonial Liberia. The poet, through her art, exposes the unfair imaging of women globally. (shrink)

Understanding Literary Theory is the essential guide for every reader looking to understand what literary theory is and why it matters. This concise and accessible text introduces today's foremost schools of literary theory, offering historical background and outlining the important ideas of each. The theories are then applied to a variety of classic short stories, demonstrating how the different theoretical approaches can yield diverse interpretations of the same literary works. This volume separates itself from similar texts (...) by providing clear and accurate explanations of theory's most challenging concepts. It examines all of the major schools of criticism, including ecocriticism, ethnic studies, feminism, formalism, Marxism, narratology, new historicism, postcolonialism, postmodernism, post-structuralism, psychoanalysis, queer theory, reader response, and structuralism. Each chapter begins with a straightforward summary that outlines the focus of the theoretical approach, its notable practitioners, its advantages and disadvantages, and a concise definition. The chapters then delve into each theory by explaining the key concepts and the ideas that led to them. This book is indispensable for anyone intimidated by words like deconstruction, differance, heteroglossia or hyperreality. Understanding Literary Theory shows readers the interpretative possibilities that literary theory can provide. It is the ideal introduction for those who want to get the most out of the literature they read. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophie, Greta, Cuiyuan, and Feminist DesireStories by Ding Ling, Alice Munro, and Eileen ChangYuhui Bao (bio) and Ian Dennis (bio)Desire has a history and, for a literary criticism inflected by mimetic theory, novelistic prose fiction offers a privileged view of its unfolding. We study novelistic fiction, as opposed to various romance genres, to grasp that history, for what its authors have been able to see, understand, (...) and dramatize—this is the procedural model, indeed the authority established by René Girard and that has largely governed such criticism thereafter.1 But of the three short fictions we consider here—two Chinese and one Canadian—only two are fully novelistic in character, in that they attempt to describe and diagnose—rather than merely express—emergent and changing desires. Students of Girard, of course, recognize here the distinction between the romanesque and romantique. to which one might add the understandings of genre developed by a number of other theorists.2However, we might also concede that all fictions are invariably and to some degree romantic—some desire, necessarily mediated, is always operative, in writers and readers alike, before or even as it is demystified, if indeed it is. Furthermore, a passionate fictional commitment to that which Girard boldly [End Page 131] designated the mensonge romantique may actually reveal or clarify, at least for later readers, that which the author seeks half- or unconsciously to conceal. It is with this possibility in mind that we propose to consider our other subject fiction, "Miss Sophie's Diary" (莎菲女士的日记 sha fei nv shi de ri ji; 1927) by the pioneering Chinese woman writer Ding Ling (丁玲 ding ling).3 "Miss Sophie's Diary," to be clear, is no simple romance; it is at least hybrid, and in its brave if perhaps only partially successful pursuit of the truth of desire, subtly revelatory. Miss Sophie (莎菲 sha fei), chronically ill with tuberculosis and half-separated from a human world she both longs for and despises, with her aggrieved sense of superiority and desperate, shameful longing for those she passionately feels to be her inferiors, with her loquacious rationalizing and constant, perverse reversals of attitude, is a kind of Dostoyevskian "underground woman," afflicted as well with a touch of the "nausea" later made prestigious by J.-P. Sartre.4 She is clearly a harbinger of her own culture's precipitation into the world of internally mediated, indeed, metaphysical desire, what we might also call the market world, the modernity Girard credits the great European novelists from Stendhal onward with diagnosing. This story has long been described as an unprecedented and "frank" revelation "of a Chinese woman's sexual feelings and contempt for conventional views," expressing an "outspoken and unrelenting individualism."5 At the same time, it has been seen as a product of the fatally compromised and ultimately unsuccessful May Fourth literary movement,6 and not necessarily representative of its author's overall fictional production. From an orthodox Girardian critical perspective, however, the crucial interpretative question might be the degree to which Ding Ling is aware of the sources of the newly enfranchised desires her heroine wrestles with, or, as we might also put it, the degree of separation between the author's understanding and that of Miss Sophie. But such a question is perhaps easily enough answered. Ding Ling clearly does not share Girard's "novelistic" perspective on the operation of desire. But from our current perspective, does her best-known work nonetheless offer, however imperfectly, certain now-recognizable insights into historical processes of desire that our other two writers more fully realize?"Miss Sophie's Diary" is famous in China for the delicacy, depth, and explicitness with which those bold and passionate sexual desires of Sophie are exposed, even as such desires are (perhaps reassuringly) defeated, or at least revealed as illusory. Clearly the story reflects a period of cultural and personal crisis. "I was extremely confused at that time," she wrote in a later phase of self-critique. "On one hand, I was radically rebellious, believing blindly in social revolution; on the other hand, I indulged myself in a petty bourgeoisie sense, departing from revolution, so I was trapped in loneliness, struggle and misery [End... (shrink)

This article takes up the specifically literary qualities of Beauvoir's writing, in her fiction and her essays, situating her in literary history and exploring some important influences. I argue that Beauvoir's feminism emerged in her literary works well before it could be articulated in her philosophical and political writing, and that what emerged was a feminism attentive to women's lived embodiment, and intimately conscious of the contradictions of class.

"...No mere collection, but a wonderful synthesis of some of the best and most representative works of modern feminist scholarship, reflecting the richness and diversity of contemporary women's studies. It provides an informative and empowering perspective on feminist scholarly achievements of the last decades." -Dale Spender, Founding member of WITS (Women, Information, Technology, and Scholarship), is author of more than 30 books, including Feminist Theorists: Three Centuries of Key Women Thinkers and For The Record: the Making and (...) Meaning of Feminist Knowledge. "A stimulating introduction to women's studies and a really useful teaching tool." -Mary Ellen Brown, Television and Women's Culture Women's Studies: Essential Readings provides a wide range of readers with an entirely comprehensive selection of ever 140 readings on women's studies, representing the entire diversity of current feminist thinking. The book is a divided into fourteen sections that reflect primary topics within women's studies, covering theory and perspectives, including: feminist social theory; psychological and psychoanalytic theory; cross-cultural perspectives and historical perspectives, as well as themes such as: education and work; marriage and motherhood; sexuality; the law; crime and deviance; politics and the state; science, medicine and reproductive technology; language and gender; feminist literary criticism; and the media tool Features: Introductions to each section provide an overview of the main issues and debates. Commentaries on each extract locate the work of individual authors within wider debates and identify the perspective from which they are writing. Each section contains a guide to further reading. (shrink)

Introduction: Humanist Literary Theory -- Structuralism -- Deconstruction -- Psychoanalysis -- Feminist Theories -- Queer Theories -- Ideology and Discourse -- Race and Postcolonialism -- Ecocriticism -- Postmodernism -- Biographies -- Terms.

"... both an excellent introduction and a thoroughgoing analysis of Kristeva’s writing." —Signs "The book is a brilliant combination of a recuperative and a critical reading of Kristeva’s work." —Changes: An International Journal of Psychology & Psychotherapy "... a thorough, detailed, and critical analysis of the writings of Julia Kristeva." —Elizabeth Grosz "... the most involved and engaging study of Julia Kristeva’s work to date..." —The Year’s Work in Critical and Cultural Theory This first full-scale feminist interpretation of Kristeva’s (...) work situates her within the context of French feminism. Oliver guides her readers through Kristeva’s intellectual formation in linguistics, Freud, Lacan, and poetics. This comprehensive introduction to Kristeva makes accessible her important contributions to philosophy, linguistics, and psychoanalytic feminism. (shrink)

In his article “Freedom of Interpretation: Bakhtin and the Challenge of Feminist Criticism” , Wayne Booth develops an argument for “ethical” literary criticism, criticism that is concerned with the ideologies inherent in works of literature and the effects these ideologies may have on the reader. Or, as he phrases it himself: “What we are talking about [is] human ideals, how they are created in art and thus implanted in readers and left uncriticized” . Booth’s starting (...) point, his “inspiration” for this argument, is Mikhail Bakhtin’s notion of “dialogism” and, in particular, Bakhtin’s use of this notion in his interpretation of François Rabelais’ Gargantua and Pantagruel narratives.1 For those not familiar with Booth’s essay , I will briefly summarize his argument in support of ethical criticism.Booth begins with much praise for Bakhtin because Bakhtin seems to have discovered in Rabelais a linguistic technic that frees the reader from the ideologies inherent in language . As Booth paraphrases Bakhtin, any writer who employs the languages of different ideologies within one text freed the reader from the “prison-house of language” to the extent that he allows the reader to view each ideology from the outside, from these other languages, so that this reader can judge each ideology in terms other than those which the ideology builds into its own language. 1. See Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsky . Richard M. Berrong is visiting assistant professor of French at the University of Nebraska. He is the author of Every Man for Himself: Social Order and Its Dissolution in Rabelais and Rabelair and Bakhtin Revisited: The Presence and Exclusion of Popular Culture in “Gargantua and Pantagruel”. (shrink)

The Truth That Never Hurts brings together for the first time more than two decades of literary criticism & political thought about gender, race, sexuality, power & social change. As one of the first writers in the United States to claim Black feminism for Black women in the early seventies, this authors works has been ground breaking in defining a Black women's literary tradition; in examining the sexual politics of the lives of Black & other women of (...) color; in representing the lives of Black lesbians & gay men; & in making connections between race, class, sexuality, & gender. Her essay "Toward a Black Feminist Criticism," is often cited as a major catalyst in opening the field of Black women's literature. This essay also presented the first serious discussion of Black lesbian writing. Essays about racism in the women's movement, Black & Jewish relations, & homophobia in the Black community have ignited dialogue about topics that few other writers address. The collection also brings together topical political commentaries that examine the 1968 Chicago convention demonstrations; attacks on the NEA; the Anita Hill/Clarence Thomas Senate hearings; & police brutality against Rodney King & Abner Louima. It also includes a never before published personal essay on racial violence, the day-to-day life of Kitchen Table Press, & the bonds between Black women that make it possible to survive. This authors writing offers a rare combination of intellectual challenge & an accessible personal voice. her commitment to telling the truth about difficult, even volatile issues, makes a unique contribution to American literature & social thought. (shrink)

The goal of this essay is to begin a reassessment of Kant's aesthetics and specifically his account of the sublime. This reassessment is intended to demonstrate its indebtedness to some recent feminist critics of philosophy and literature. Somewhat artificially, I will characterize the criticism in question as containing two categories or directions of investigation. The first sort is aimed at the unmasking of gender prejudice and ideology in the standpoint or conceptual framework of writers such as Burke and (...) Kant. the second sort of criticism is less familiar and harder to characterize, but it can be located among the works of literary critics who make use of recent poststruturalist philosophy and psychoanalysis. . . principally the work of Eve Kosofsky Sedgwick, along with that of Neil Hertz, Frances Ferguson, Joshua Wilner, and Naomi Schor. (shrink)

While I appreciate Annette Kolodny's attempt to clarify the aims of feminist criticism, I would like to correct a historical misconception in her recent article, "Some Notes on Defining A 'Feminist Literary Criticism.'" When Kolodny comes to defining a feminist criticism, near the end of the essay, she advocates applying to individual works, without preconceived conclusions, "rigorous methods for analyzing style and image.” . . . Kolodny implies that Hawthorne wrongly condemned domestic novels (...) without having read them and that once he began reading this body of fiction he reversed his views—in short, that his initial response was unthoughtful and, in current jargon, sexist. Second, Kolodny implies that the modern reader will find the domestic novels of the 1850s as fascinating as Hawthorne found Ruth Hall. Beverly Voloshin is a teaching associate at the University of California, Berkeley. Her current area of study is mid-nineteenth-century American domestic fiction. (shrink)

In her astute study of contemporary Arab women writers, Anastasia Valassopoulos begins by noting the pitfalls of much existing criticism of writers such as El Saadawi and Djebar in the West. Citing Amal Amireh’s article on the fraught history of the reception of El Saadawi in Egypt and in Europe, Valassopoulos comments that Arab women’s literature tends to be seen as ‘documentary’, and this obscures the ‘core issue of representation’ as it is explored and challenged by women writers. In (...) the face of this omission, the present article explores a selection of works by El Saadawi and Djebar from an aesthetic perspective. El Saadawi and Djebar use literary writing as a means to escape the constraints placed upon them by patriarchy, as well as by colonialism, and uphold creativity and poetry as a possible release from imprisonment. This article also uses Glissant’s and Bhabha’s concepts of literary opacity and the right to narrate as a partial framework for a reading of the relation between writing, freedom and aesthetic form in the works of El Saadawi and Djebar. El Saadawi and Djebar purposefully deploy a form of self-effacement, both in their autobiographical representations and in their portraits of female characters, also akin to Trinh Minh-ha’s strategy in Woman, Native, Other. Minh-ha’s dissemination of the writing voice, and the affirmation of collective solidarity between multiple but internally fragmentary feminist positions, serves, then, as a further theoretical backdrop for El Saadawi’s and Djebar’s use of opacity and the right to narrate as tools in an active feminist resistance to sexist and racist discourses. Both El Saadawi and Djebar use their writing to conceive women’s liberation from various forms of imprisonment, and they figure women’s fractured, convoluted and at times opaque self-expression as a direct form of resistance to both patriarchal and colonial oppression. (shrink)

This text of Elizabeth Fox-Genovese's is published posthumously in the context of pieces dedicated to her memory. It is unclear whether she intended it for eventual publication or whether she had intended it as a lecture; nor is there decisive evidence for a date of composition. In it, she reviews the stance of feminist literary criticism toward religion and finds it to be generally negative. She regrets that feminist critics see in religion mostly a means of (...) subordinating women to men, given that most of the writers whose work they explicate were themselves fervently religious. She then examines the feminization of religion in nineteenth-century America and the growing idea at the time of female moral stewardship. After examining the contrasting approaches taken to the process of feminization by Harriet Beecher Stowe and Elizabeth Cady Stanton, Fox-Genovese then takes as her main case Augusta Jane Evans's novels Beulah and St. Elmo. She argues that feminist critics, in concentrating on questions about the marriage or independence of Evans's characters miss Evans's central concern, which was the loss and recovery of her characters' faith. The feminist critics (given their hostility to religion) misunderstand that Evans's stance was not one against female individualism, but rather (given her commitment as a Christian) a stance against the unbridled individualism of modern American society. (shrink)

Stephen Mulhall presents the first full philosophical study of the work of Stanley Cavell. Cavell, a leading contemporary American thinker, is best known for his highly influential contributions to the fields of film studies, Shakespearian literary criticism, and the confluence of psychoanalysis and literary theory; Mulhall examines the broad spectrum of his thought, elucidating its essentially philosophical roots and trajectory.

In lieu of an abstract, here is a brief excerpt of the content:34 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. James Bliss Defense, Redemption, Care: Black Feminist and Queer Studies Literary theory continues to be received by some as if it were an alien or antagonistic presence from whose leaden and reductive grasp it is imperative to keep literature protected. It is rare, however, that it is the literary, as such, that (...) is being protected, rather than a certain comfortable accommodation with it—not irreducible strangeness and surprise, but the security of knowing that one’s expectations will be fulfilled and one’s competence as a reader rewarded. The pleasures of accommodation and immediate assimilation are the first that theory asks us to forego—which may do as much to make it seem forbidding and “inhumane” as anything it actually proposes. —Elizabeth W. Bruss1 I. Theory Not for the first time, we find ourselves building new genres. Pursuing new writings. Not for the first time, the theoretical and the literary envelope, eclipse, and rearticulate one another. What’s more, the theoretical has been a mode of artistic practice for so long that every page is a palimpsest, a sedimentation of sedimentations of conceptual frames— swirled, spiraling genealogies. Fluent in invented tongues, in the idioms 1. Elizabeth W. Bruss, Beautiful Theories: The Spectacle of Discourse in Contemporary Criticism (Baltimore, MD: Johns Hopkins University Press, 1982), 483. 35 James Bliss Books Discussed in This Essay Black Feminism Reimagined: After Intersectionality. By Jennifer C. Nash. Durham, NC: Duke University Press, 2019. None Like Us: Blackness, Belonging, Aesthetic Life. By Stephen Best. Durham, NC: Duke University Press, 2018. Sensual Excess: Queer Femininity and Brown Jouissance. By Amber Jamilla Musser. New York: NYU Press, 2018. Queer Times, Black Futures. By Kara Keeling. New York: NYU Press, 2019. of invention, in the fluid looseness of disintegrated discourses, our works turn singular. The monograph as signature. The page promises to freeze the text, the object, the artwork, the lifeworld, the performance, and in that stillness to teach us its movements. New moves, secret passageways, lines of escape and gaps in the walls of institutions that die, dissolve, and ossify around and inside us. And here we are. The permanent apocalypse that racial capitalism has been for most life has reached the quadrangles of the college campus. What are we even doing anymore? In the great and dreadful remaking of higher education, as students face permanent indebtedness as the cost of entry into a world without work, what is the ethical impetus for our researches and the systems within which we publish? What are the ethics of critical cultural studies in a debt mine? By what arithmetic do we benefit the students we teach to “steal from the university ” when the university is so much more adroit at stealing from them (and us)? At the same time that the contours of our professional lives are, apparently, unraveling, we find ourselves in (another) new renaissance in Black studies and Black study. We find ourselves within (another) new moment of textual production around the trio of race/gender/sexuality— that is, around Blackness or around Black feminism. 36 James Bliss Or, Black invention—where the Black female, femme, feminine, and maternal operate as synecdochic figures for a species of poiēsis.2 In the 1980s, Jacques Derrida wryly called California the “state of theory” as a function of its tectonic instability.3 In the 2010s, Blackness became the state of theory as a function of its coincidence of death and life, ending and beginning, absence and excess, apocalypse and invention. Blackness, in this instance, is as material as it is metaphor, a projection of meaning across both the great ephemeral skin and the body as flesh. This piece emerges from a sense of the necessity and the hazards of an intellectual history of a moment during which, to take a suggestive phrase from Jared Sexton, “Blackness is theory itself, anti-blackness the resistance to theory.”4 But already language presents an issue. What is the relationship between Sexton’s “theory” and the “theory” found in the epigraph from Elizabeth Bruss? Or, between Sexton’s “theory” and Lewis R. Gordon’s “theory,” as Sexton borrows from Gordon’s “Theory in... (shrink)

It is often claimed that the use of depth psychology in the interpretation of ancient texts is irrelevant and methodologically unsound. Several typical Jungian archetypes, such as the shadow, the primordial mother, and the hero, were identified, interpreted and commented on from a post-Jungian perspective. The apocryphal Book of Baruch has typically been studied as a prime example of penitential prayer in the late Second Temple Period. In this study, the book was approached from the perspective of post-Jungian literary (...) criticism. While Jungian literary criticism has become unfashionable as a result of Jung’s anti-feminist and anti-Semitic ideas, the usefulness of his theory to criticise itself was demonstrated. Although Jung’s work is haunted by racism, anti-feminism, and antisemitism, his work may still be useful for literary criticism from a psychological perspective. Contribution: The article demonstrated the value of the depth psychological approach to the interpretation of biblical material. (shrink)