Paper 3 This paper discusses how patriarchy made the name 'man' their Brand. It would guarantee their entitlement to rule and control the masses by repeating man in so many names. Partial lists are shown.

In lieu of an abstract, here is a brief excerpt of the content:36 Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. Sonny Nordmarken Queering Gendering: Trans Epistemologies and the Disruption and Production of Gender Accomplishment Practices Those who are deemed “unreal” nevertheless lay hold of the real, a laying hold that happens in concert, and a vital instability is produced by that performative surprise. —Judith Butler, Gender Trouble Beginning in the 1960s, scholars began to theorize gender as (...) a contextually specific process rather than a universal category reflecting an essential pre-discursive sex. Two interrelated traditions developed: a discursive approach, which theorized gender as performative, and an interactionist approach, which investigated the interactional achievement of gender. For Judith Butler, “what we take to be an internal essence of gender is manufactured through a sustained set of acts, posited through the gendered stylization of the body.”1 Gender is therefore performative : it is a series of effects produced through the repetition and citation of stylized acts, which are named via and thus produced through discourse ; discourse also produces the defining limits of subjects.2 Candace West and Don Zimmerman theorized gender as a “routine, methodical, 1. Judith Butler, Gender Trouble, 10th anniversary ed. (New York: Routledge, 1999), xv. 2. Butler, Gender Trouble; Judith Butler, Bodies that Matter: On the Discursive Limits of Sex (New York: Routledge, 1993); Judith Butler, Undoing Gender (New York: Routledge, 2004). Sonny Nordmarken 37 and recurring accomplishment” produced in social interaction.3 They observed how, in the relational process of “doing gender,” social actors display gender, presenting an appearance to others, who attribute gender by interpreting this appearance. In this article, I investigate how actors interactionally challenge and construct discursive structures in order to contribute to scholarship that analyzes the role language plays in such interactions.4 Following Sandy Stone, who suggests that transsexuals are not a class, nor a third gender, but a genre, “a set of embodied texts,” who, through their interpretation, might potentially disrupt dichotomous sexuality and gender categories, I examine the spaces in which the discursive and the interactional merge to investigate how gender minorities, as simultaneous subjects, texts, social actors, and cultural workers, queer hegemonic gender practices.5 I argue that members of trans linguistic communities and gender nonconforming individuals queer the normative gender process in two ways: by productively linguistically communicating third-person gender pronouns and by disruptively inhibiting gender’s hegemonic attribution. Lal Zimman has made parallel observations, explaining linguistic gender self-determination practices as a new cultural phenomenon, focusing on terminology for types of gendered persons, grammatical gender forms (i.e., pronouns), and lexical items that relate to embodied sex.6 My analysis builds on Zimman’s observations using sociological, performance 3. Candace West and Don H. Zimmerman, “Doing Gender,” Gender & Society 1, no. 2 (1987): 126. 4. For example, see Mimi Schippers, “Recovering the Feminine Other: Masculinity, Femininity, and Gender Hegemony,” Theory and Society 36, no. 1 (2007): 85–102. 5. Sandy Stone, “The Empire Strikes Back: A Posttranssexual Manifesto,” in Body Guards: The Cultural Politics of Gender Ambiguity, ed. Julia Epstein and Kristina Straub (New York: Routledge, 1991), 296. The term “gender minorities ” encompasses individuals identifying with gender identity terms other than those they were assigned and individuals with gender nonconforming appearance. 6. See Lal Zimman, “Transgender Language Reform: Some Challenges and Strategies for Promoting Trans-affirming, Gender-Inclusive Language,” Journal of Language and Discrimination 1, no. 1 (2017): 84–105; Lal Zimman, “Trans People’s Linguistic Self-Determination and the Dialogic Nature of Identity,” in Representing Trans: Linguistic, Legal, and Everyday Perspectives, ed. Evan Hazenberg and Miriam Meyerhoff (Wellington, New Zealand: Victoria University Press, 2017). 38 Sonny Nordmarken studies and performativity frameworks to theorize these practices. By approximating new gender pronoun-attribution norms that bring a trans queer paradigm to life in interactions and by disregarding their perceptions of each other’s bodies, actors accomplish gender pronouns linguistically, override hegemonic gender attribution norms, and reorganize gender accountability. These practices institutionalize a new interpretive frame and accountability structure through which social actors create and recognize a variety of gender expressions, identities, and pronouns, reworking performativity to produce gender minorities as subjects. I argue that this gendering-queering is a form of disidentificatory gender accomplishment. In addition, I... (shrink)

Much has been written on Derrida’s and Butler's discussions of Austin’s speech act theory, but one thing at least remains unclear: why does performativity hinge on the notion of “force,” and what “force” are we here talking about? For Austin, the force of the performative signals a performative enforcement, a validating repetition of prior conditions of legitimation: it testifies to the “felicity” or “success” of the performative event.According to Derrida, this articulation between force and success closes off the eventness of (...) the event; it implies an ontological reduction and reconstruction, that is, an appropriation of the event in the form of performative power. However, the performative, if it is to truly produce an event, must exceed prior conditions of validation and transform, in its performance, the conditions of validity it was meant to repeat. Eventness must remain beyond and without power. In this perspective, the article explores the “force” which Derrida describes as “force of the event”: an excessive force in the face of which “performative force” must fail. At bottom undecidable, “the force of the event” suggests the fallibility of force and the force of fallibility. I compare this self-deconstructive notion of force with Butler’s subversive politics of the performative, which theorizes “performative force” as the force of a failure – but a successful failure – to comply with the norm: a non-normative repetition and a reappropriation that forces change, and of which “queer” is at once the example, the model, and the very name. While Derrida’s is an attempt to think the uncanny force of a strange, non-appropriable, non-ontologizable, and perhaps “queer” event or quasi-event, characterized by fallibility and undecidability, Butler’s theory of power and her notion of “performative force” reverse, but fundamentally maintain, Austin’s ontological oppositions between success and failure, legitimacy and illegitimacy, repetition and change. (shrink)

This paper theorizes the relationship between women's studies and gender studies and will explore the increasing use of the category 'gender' to analyse sexual divisions and the related growth of gender studies courses. It will also examine the creation of 'men's studies' courses and an increasing emphasis on the deconstruction of masculinity within social theory. A number of questions are raised around these shifts and changes. Should we welcome them because they broaden the scope of theoretical enquiry, encompassing both female (...) and male experience, and further the institutionalization of gender issues within the academy? Or should we be critical of such developments because they may lead to a narrower political and theoretical agenda in terms of analyses of women's experience? (shrink)

The naming of violence in feminist political campaigns and in the context of feminist theory has rhetorical and political effects. Feminist contention about the scope and meaning of ‘Violence against Women' (VAW) and ‘Sex and Gender-Based Violence' (SGBV), and about the concepts of gender and of violence itself, are fundamentally debates about the politics of feminist contestation, and the goals, strategies and tactics of feminist organisation, campaigns and action. This article examines the propulsion since the late twentieth century of the (...) problems of VAW and SGBV on to global and national political agendas. The feminist theory that underpins the uptake of this new agenda is contested by opponents of feminism. More significantly for the article it is also contested within feminism, in disputes about how feminist political aims should be furthered, through what institutions and with what strategic goals in view. The article aims to show that theoretical and philosophical controversy about the concepts of violence, and sex and gender, are always political, both in the sense that they are an aspect of feminist competition about how feminist politics should proceed, and in the sense that the political implications of concepts and theory must always be a significant factor in their salience for feminist action. (shrink)

Against the backdrop of a longstanding feminist critique that Michel Foucault’s call to anonymity is insensitive to the erasure of marginalized persons, I aim to contribute to a critical account of anonymity as a feminist Foucauldian ideal. I do this in two ways. First, I analyze the tactical role of anonymity in the Prisons Information Group, an organization in which Foucault was involved. Second, I analyze the unique paradoxes of anonymity faced by gender non-conforming prisoners then and now. I conclude (...) that anonymity is ideally a situational and multi-layered tactic. By developing a modality of anonymity accountable to the differential politics involved in the chosen or forced renunciation of a name, I contribute to a critical evaluation of anonymity as a practice of resistance from within and beyond the prison system. (shrink)

Preface and acknowledgments -- Prelude -- 1. Gender, sexuality, and meaning: An overview -- Part I. Politics and scholarship: 2. Language and gender -- 3. Feminism in linguistics -- 4. Difference and language: A linguist's perspective -- Part II. Social practice, social meanings, and selves: 5. Communities of practice: Where language, gender, and power all live -- 6. Intonation in a man's world -- 7. Constructing meaning, constructing selves: Snapshots of language, gender, and class from Belten High -- Part III. (...) Constructing content in discourse: 8. The sexual reproduction of meaning: A discourse-based theory -- 9. Prototypes, pronouns, and persons -- 10. What's in a name?: Social labeling and gender practices -- 11. Queering semantics: Definitional struggles -- Coda: 12. Breaking through the 'glass ceiling': Can linguistic awareness help? (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Converging on an Open QuestErnesto Laclau (bio)I very much enjoyed the exchange in which Judith Butler and I engaged last year, through an e-mail correspondence between what Borges would have called the “unlikely geographies” of Berkeley and London. The points of convergence of our respective approaches are clear: as Butler points out, the process of gender formation that she describes and the logic of hegemony as presented in my (...) work (and in that which I wrote in collaboration with Chantal Mouffe) coincide in several of their assumptions. Neither we nor Butler see identities—political in one case, gendered in the other—as the expression of an intemporal mechanism or principle, but as products of the enactment of contingent norms; and both of us deny those norms a transcendental status, an a priori “hardness” which would reproduce itself unchanged in all historical instances. On the contrary, we see them as submitted to historical variations and as penetrated by a constitutive indetermination and ambiguity.I have used the word “transcendental” ex professo, because it is the status of the transcendental which is at the root of many of the most crucial problems in contemporary theory. Most people would agree that transcendentalism, in its classical formulations, is today unsustainable, but there is also a generalized agreement that some kind of weak transcendentalism is unavoidable. In the deconstructionist tradition, for instance, the notion of “quasi-transcendentals” has acquired considerable currency. But most theoretical approaches are haunted by the perplexing question of the precise status of that “quasi.” The problem touches on, on the one hand, the question of “metalanguage”; on the other, the status, in theory building, of categories that apparently refer to empirical events but that in practice have a quasi-transcendental status, operating as the a priori conditions of intelligibility of a whole discursive domain. What is the status in psychoanalysis, for instance, of categories such as “phallus,” of the “castration complex”? Because of the undecided status of the “quasi,” we are confronted with a plurality of alternatives, whose two polar extremes would be a total hardening of those categories, which would thus become a priori conditions of all possible human development, and a no less extreme historicism which sees in them only contingent events, products of particular cultural formations. The first extreme is confronted with the whole array of problems emerging from any transcendentalization of empirical conditions; the second, with the difficulties derived from not dealing with those conditions which make possible even a historicist discourse. The logic of the “quasi” tries to avoid both extremes, but it is extremely unclear in what that logic would consist of. These are questions which have not been dealt with enough, in either Butler’s approach or in mine; but they are issues to which both of us will have to return—perhaps in future exchanges.Let me now move to two central points contained in Butler’s latest piece, published in this issue of Diacritics as an addendum to our original exchange. They relate to the relationship between hegemony and iteration, and to the role of names in fixing meaning. I think that iteration belongs to the structure of any hegemonic operation, but that the latter stresses a double dimension of both repetition and displacement of meaning. To understand how these two dimensions interact with each other is crucial in order to grasp the [End Page 17] logic of the political. (I understand hegemony to be the central category in political analysis.) As Derrida has shown, iterability (the possibility of repetition in a plurality of instances) is something which belongs to the essence of the sign. What would something be which occurs in only one instance? It would simply not be a sign. But if the sign has to be the same, it also has to be different each time—and in that case the instance of its differential use has to be as part of its internal structure as the dimension of sameness. Now, in that case, it can only remain the same by becoming something constantly different from itself. This is the point where the usefulness of this analysis for a theory of the hegemonic becomes visible: for... (shrink)

Abstract:This article examines early critiques of ecofeminism, including those usefully articulated by pathfinding ecofeminist philosopher Victoria Davion, and argues that concerns over essentialist tendencies in ecofeminism are misplaced. The article holds that the term "ecofeminism" performs theoretically and politically useful work by allowing us to think of feminism and environmentalism together—the term ought not be jettisoned in favor of other terms such as, for example, environmental feminism. While taking this stance, this article nonetheless explores in depth the productive effects and (...) development of such critiques into the current era of ecofeminist writings and activisms, paying significant attention to the role Davion's ovial 1994 essay "Is Ecofeminism Feminist?" and the other works it inspired have played in indelibly altering ecofeminism for the better, producing a more nuanced theoretical stance regarding gender and ecological degradation and oppression that is now, more than three decades later, shedding important light on specific environmental problems and how such problems are, as all ecofeminisms argue, conceptually and materially connected to social oppressions. (shrink)

This article explores the representational practices of feminist theorising around gender and violence. Adapting Liz Kelly’s notion of the continuum of women’s experiences of sexual violence, I argue that ‘continuum thinking’ can offer important interventions which unsettle binaries, recognise grey areas in women’s experiences and avoid ‘othering’ specific communities. Continuum thinking allows us to understand connections whilst nevertheless maintaining distinctions that are important conceptually, politically and legally. However, this is dependent upon recognising the multiplicity of continuums in feminist theorising – (...) as well as in policy contexts – and the different ways in which they operate. A discussion of contemporary theory and policy suggests that this multiplicity is not always recognised, resulting in a flattening of distinctions which can make it difficult to recognise the specifically gendered patterns of violence and experience. I conclude by considering how focusing on men’s behaviour might offer one way of unsettling the contemporary orthodoxy which equates gender-based violence and violence against women. (shrink)

In this paper the authors deal with the story of Saman Abbas, an 18-year-old girl of Pakistani origin, who disappeared in Italy and was killed by her family after she refused an arranged marriage. The case raised a public debate between right-wing parties, who accused the left-wing parties of being culpably blind to the danger of Islam and too tolerant towards illiberal cultures, and left-wing politicians who responded equating Saman’s murder with the domestic killing of Italian women. We argue that (...) neither position does justice to Saman’s story. We hold that Saman’s case is an example of intersectional oppression where gender oppression is intertwined with the immigrant’s oppression in a Western democracy. Thus, we counter the dilemma posed by Susan Okin, namely that there is an inherent conflict between the rights of minority cultures and the rights of women. In order to rebut Okin’s position, we rehearse multicultural positions concerning the protection of minority cultures, on the one side, and feminist positions regarding the promotion of autonomous choice, on the other. Our conclusion is that (a) multiculturalism cannot be identified with cultural rights, and (b) that what are autonomous choices and what are, instead, adaptive is difficult to ascertain and, especially, difficult to apply in politics. Structural oppression is instead the key normative notion for addressing equality among genders and among citizens at large. The intersectional oppression suffered by women like Saman cannot be addressed by a restriction of toleration for immigrant cultures or simply by security measures. To prevent more cases like Saman’s in the future, the immigrant oppression should be taken seriously as well. In the context of fairer terms of inclusion, conditions of reciprocal trust between minority and majority may develop and the deconstruction of the patriarchal view of family can start. (shrink)

Philosophical arguments regarding academic freedom can sometimes appear removed from the real conflicts playing out in contemporary universities. This paper focusses on a set of issues at the front line of these conflicts, namely, questions regarding sex, gender and gender identity. We document the ways in which the work of academics has been affected by political activism around these questions and, drawing on our respective disciplinary expertise as a sociologist and a philosopher, elucidate the costs of curtailing discussion on fundamental (...) demographic and conceptual categories. We discuss some philosophical work that addresses the conceptual distinction between academic freedom and free speech and explore how these notions are intertwined in significant ways in universities. Our discussion elucidates and emphasises the educational costs of curtailing academic freedom. (shrink)

Judith Butler’s idea of gender as performative (introduced in Gender Trouble and now a commonplace in feminist theory) is brought into dialogue with feminist performance art (exemplified by Valie Export, the Austrian media- and performance-artist). Butler’s claim that gender is performative and that it can be changed only through a parodic repetition of performative acts is revisited through the lens of Export’s subversive performance pieces. This “interaction” between theory and art practice shall highlight the political potential of Butler’s work and (...) serve to expand her notion of parody as it pertains more directly to women and the female body. (shrink)

What does woman mean? According to two competing views, it can be seen as a sex term or as a gender term. Recently, Jennifer Saul has put forward a contextualist view, according to which woman can have different meanings in different contexts. The main motivation for this view seems to involve moral and political considerations, namely, that this view can do justice to the claims of trans women. Unfortunately, Saul argues, on further reflection the contextualist view fails to do justice (...) to those moral and political claims that motivated the view in the first place. In this article I argue that there is a version of the contextualist view that can indeed capture those moral and political aims, and in addition, I use this case to illustrate an important and more general claim, namely, that moral and political considerations can be relevant to the descriptive project of finding out what certain politically significant terms actually mean. (shrink)

In this collection of her provocative essays on Third World art and culture, award-winning filmmaker and theorist Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, Trinh examines Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. In one essay, taking off from ideas raised earlier by Zora Neale Hurston, Trinh considers with astonishment the (...) search by Western "experts" for the hidden values of a person or culture, a process of legitimized voyeurism that, she argues, ultimately equates psychological conflicts with depth , while inner experience is reduced to mere personal feeling. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. Feminist struggle is heterogeneous. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game.". (shrink)

Four women have been conventionally framed as wives and/or mistresses and/or sexual partners in the biographical reception of Karl Marx and Friedrich Engels as heterosexual men. These women were Jenny Marx, Helene Demuth, Mary Burns, and Lydia Burns. How exactly they appear in the few contemporary texts and rare images that survive is less interesting than the determination of subsequent biographers of the two “great men” to make these women fit a familiar genre, namely intellectual biography. An analysis of Marx–Engels (...) biographies shows how this masculinized genre enforces an incuriosity that makes gendered political partnerships unthinkable and therefore invisible. By contrast, a positive interest in these women, which rethinks what a gendered political partnership is or could be, results in a significantly different view of the two men. As historical figures, they shift from being individualized or paired‐with‐each‐other “great thinkers” to communist/socialist activists working in and through everyday spaces and material practices. Their pamphlets, articles, and books thus appear more as immediate political interventions and less as timeless theorizing or as the raw material for such intellectualizing reconstructions. (shrink)

An edition of three essays by the leading French philosopher and theorist Jacques Derrida on the ethical, political and linguistic issues posed by the act of 'naming'. Passions: An Oblique Offering is a reflection on the question of the response, on the duty and obligation to respond, and on the possibility of not responding - which is to say, on the ethics and politics of responsibility. Sauf le nom (Post Scriptum) considers the problematics of naming and alterity, or transcendence, raised (...) inevitably by a rigorous negative theology. Much of the text is organised around close readings of the poetry of Angelus Silesius. The final essay, Khora, explores the problem of space or spacing, of the word 'khora' in Plato's Timaeus. Even as it places and makes possible nothing less than the whole world, 'khora' opens, dislocates and displaces all the categories that govern the production of that world, from naming to gender. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 575 Geneviève Pagé Gender at the Crossing: Ideological Travelings of US and French Thought in Montreal Feminism This article recounts a story about Montreal feminism using the narrative thread of its conceptual language. It is a story of language as a political choice that guides our actions, but also language as a political issue, a barrier, a tool (...) that structures our thinking and that reflects and reproduces relations of power in knowledge production and dissemination. Gender is the central character in this story—its role representing the way US, French, and Quebec theoretical traditions are deeply in dialogue with each other; yet this dialogue is arbitrary and filled with long silences. In reviewing the dialogue, this article identifies a few elements that play a significant role in favoring or impeding the traveling of ideas and concepts, focusing, in the case of Quebec, on how part of the feminist movement, comprised of radical or “revolutionary” feminists, engages with and constructs theory. The article begins by briefly tracing the evolving meanings of gender in the United States from the 1920s to the twenty-first century. Then, turning to France, a second section identifies elements limiting the traveling of US understandings of gender in French feminist theory, especially the predominance of specific traditions of thought, namely existentialism and Marxism, leading to different ways of thinking about oppression, patriarchy, sexism, and the idea of womanhood. In a third section, I shift the focus to Quebec, particularly Francophone Montreal, to survey its feminist thought, political traditions, and 576 Geneviève Pagé translation. Its history, its people, and its geographic location put it at the convergence of US and French influences, but with a distinct added local imperative: the struggle for national liberation. The specific ways in which Quebec nationalism has foregrounded power and politics around language has had a major impact on how Quebec feminists have negotiated relations with their southern feminist neighbors. In this sense, Quebec feminism presents an excellent case study of language operating as an axis of power. Furthermore, in the context of globalization and resistances to globalizing processes, Montreal provides a perfect example by which to highlight both transnational influences and local specificities. Montreal, as a classic example of Mary Louise Pratt’s cultural and linguistic “contact zone”—the space where communities of practices interact—is a city in which one can clearly identify “the intellectual and linguistic points of contact between cultures, and make visible the political pressure that activates them.”1 I treat translations that occur in this context as the process of connecting and communicating between communities. As queer theorist Juana María Rodríguez has noted in another context, “the process of translation involves more than merely translating languages; it involves translating cultures, values, and institutions of power.”2 Similarly, translation here involves an exchange between symbolic and semiotic structures of both the original and the new communities. Zooming out of Montreal, I then address the politics of translation on a more global scale, pointing out the particular ways the production and dissemination of knowledge is especially beholden to market relations. All these reflections help us understand the traveling of ideas, concepts, and ideologies across linguistic barriers. I conclude that it is in the interest of feminists to pay particular attention to what knowledge is produced from different standpoints and in different languages and what it can teach us. 1. Mary Louise Pratt, “Arts of the Contact Zone,” Profession (1991): 34; Sherry Simon, Gender in Translation: Cultural Identity and the Politics of Transmission (New York: Routledge, 1996), 36. 2. Juana María Rodríguez, Queer Latinidad: Identity Practices, Discursive Spaces (New York: NYU Press, 2003), 19. Geneviève Pagé  577 Gender in the United States It is among US feminists that the conceptualization of the gender/sex dichotomy first developed. However, gender—the word—ironically comes to English from the French genre and shares with that word its derivation from the Latin genus, meaning “kind,” “sort,” or “type.” The derivation is most visible in the borrowing in English of the French genre, for example, in literary forms such as fiction or poetry. Similarly, both the English... (shrink)

Since 2023, the UK government's response to the “migrant crisis” has revolved around two controversial flagship policies: the deportation of asylum seekers to Rwanda, and the detention of migrants aboard a giant barge. In this short article, I examine the colonial and gendered dimensions of the two policies, finding them to be examples of the coloniality of gender. What this indicates, I suggest, is that the purpose of these policies is not merely to deter potential migrants—particularly LGBTQIA+ migrants—but also to (...) create a political narrative that allows the Conservative Party to garner right-wing votes by participating in high-profile culture wars; namely, the debate over transgender rights and the debate over how the UK should reckon with its imperial past. (shrink)

This article examines three divergent constructions about the salience of legal gender in lay people’s everyday lives and readiness to decertify gender. In our interviews (and survey data), generally participants minimised the importance of legal gender. The central argument in this article is that feminist socio-legal scholars applying legal consciousness studies to legal reform topics should find scrutinizing the construction of interview talk useful. We illustrate this argument by adapting and applying Ewick and Silbey’s (1998) ‘The Common Place of Law: (...) Stories from Everyday Life', ‘before’, ‘with’ and ‘against’ typology to interview talk about legal gender, and critique their cognitivist approach by offering a constructionist alternative. In our analysis, we offer a detailed discursive explication of three key legal consciousness themes. These themes offer a balanced representation of a dataset problematically ‘skewed’ towards sex-based rights feminist perspectives, namely that ‘before’ legal gender is an anti-decertification account, decertification would be risky for natal females; a ‘with’ legal gender construction is neither for nor against decertification per se, though the impact of decertification is produced in accounts as limited and unimportant; and ‘against’ legal gender is a pro-decertification classification, as not abolished legal gender is constructed as harmful to already marginalised groups. In concluding, we explore the reasoning for the lack of readiness for decertification currently, and return to the value of examining the construction of lay discourse about legal matters as talk is a form of social action. We suggest that applying discursive analysis to themes in legal consciousness studies enables a refocusing on the how rather than purely the what of divergent legal consciousnesses, and that this approach is a fruitful addition to feminist socio-legal studies. (shrink)

Political debate regarding trans youth’s access to gender-affirming care (GAC) has pushed many to advocate for GAC by pointing to tragic, pathological outcomes of non-treatment, namely suicide. However, these pathologized arguments are a harmful ethical “shortcut” which should be replaced by a meaningful engagement with the ethics of providing GAC to youth.

While Susan Moller Okin found much to celebrate in Rawls's earlier articulation of his theory of justice, she worried that his later turn to political liberalism evacuated his theory of its feminist potential. Here, I argue that we need not be so pessimistic: some of the strongest arguments for pursuing certain feminist projects can and should be made from within a politically liberal framework. In advancing this claim, I develop Rawls's idea of primary goods—namely those goods that all citizens need (...) qua citizens—as a key conceptual resource for arguing for the elimination of the gendered division of labor using public reason. Drawing on recent empirical literature, I point out that the gendered division of labor continues to distribute to women an unfair allocation of primary goods. I then advocate for a specific public policy, which I call Gender Egalitarian Daddy Quota—a parental leave policy that sets aside time specifically for fathers to encourage men and women to engage in childcare related leave-taking to similar extents—on the grounds that this policy would help secure a fairer distribution of primary goods, and thus is required as a matter of justice. (shrink)

Abstract:AbstractDrawing from qualitative data in a Southern African context, this article explores meanings assigned to names for female genitalia to establish whether males and females assign the same meanings to the same vocabulary used in naming or whether they associate the same vocabulary with different meanings. The study illustrates that while males associate the meanings of terms for female genitalia with well-established, stigmatized views of women, female informants associate the same terms with different meanings that provide alternative views about women (...) and, at the same time, appear to be a form of reclamation of Southern African women’s personhood, identity, and agency. Although males, through these vocabulary items, metaphorically associate female genitalia with possession, which discursively constructs women as powerless objects that can be owned and commoditized, females draw from the philosophy of Africana womanism, indicating that even in asymmetrically structured societies, some women subjectively and purposefully construct their own identities as strong, smart, socially conscious, and independent. (shrink)

Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble , demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides denaturalizing (...) drag from non-denaturalizing drag? Butler locates denaturalizing drag in the film ‘Female Trouble’ , where Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues the cross-dressing performances in ‘Some Like It Hot’ as drag, which are better understood as instances of theatrical disguise. Narrative analysis reveals that all the characters in ‘Some Like It Hot’ function within a dystopian critique of heteronormativity. Because the film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy the strictures of heterosexual romance. Butler thus overlooks a discourse of critique and destabilization alternative to gay perspectives. Current developments in sexual politics, broadly conceived, track both Butlerian concepts of performativity and dystopian critiques of heteronormativity. (shrink)

This paper looks at the gendered underpinnings of religion using a feminist lens. It names the violence embedded in the gendered notions of religious ideology and praxis and shows how religion can be “injurious” to women’s growth because of the following factors: the hierarchical dualism that alienates them from the Spirit and identifies them with the body while marginalizing them through their positioning on the lower rungs of the hierarchical ladder; the exclusive male imagery of God and its mediation by (...) an all male priestly class and the scriptural injunctions which are inscribed by patriarchal thought and deployed to keep women in defined roles and spaces. Catholic teachings and practices are taken as a case of analysis to unearth the political dynamics by which religion reinforces ‘gendering –women’s exclusion from theological knowledge making spaces and the gendered religious indoctrination which become hegemonic codes that shape women’s consciousness and keep them without grievance in their subjugated status. It shows further how female body and sexuality are major sites of religious gender politics through the strict controls on women’s dress-codes and the sexual servicing expected of them in marriage. Finally, the paper advocates critical thought as a tool for exploding the hardened rock of gendered religious foundations and shows how overcoming the contradictory consciousness and waking up to a critical consciousness becomes imperative for women to be freed of the gender dictates of religion. Key words : gender, religion, theological knowledge-making, sexuality, critical consciusness. (shrink)

Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble, demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides denaturalizing drag (...) from non-denaturalizing drag? Butler locates denaturalizing drag in the film ‘Female Trouble’, where Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues the cross-dressing performances in ‘Some Like It Hot’ as drag, which are better understood as instances of theatrical disguise. Narrative analysis reveals that all the characters in ‘Some Like It Hot’ function within a dystopian critique of heteronormativity. Because the film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy the strictures of heterosexual romance. Butler thus overlooks a discourse of critique and destabilization alternative to gay perspectives. Current developments in sexual politics, broadly conceived, track both Butlerian concepts of performativity and dystopian critiques of heteronormativity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gaia, Gender, and Sovereignty in the AnthropoceneDanielle SandsIn a 2011 lecture addressing ecological crisis, sociologist Bruno Latour advanced James Lovelock’s Gaia model as a way of re-conceptualizing nature in an Anthropocene or “postnatural” (Latour 2011, 9) world.1 For Latour, Gaia, a mythological goddess reinvented by Lovelock as a scientific metaphor, embodies the collision between discourses, “this mix up of science and politics” (Latour 2011, 8), which the Anthropocene represents. (...) In its deviation from benevolent images of Mother Nature, Gaia provides an alternative account of the human relationship with the natural world, one that implies that our response to the Anthropocene crisis should not derive from a solely scientific framework. Latour seizes upon the image of Gaia with fervor, celebrating “her” not only as an assemblage of different discourses, but, in “her” disunity and non-sovereignty, as an alternative political paradigm. Of less political interest for Latour is the gendering of Gaia; like Lovelock before him, Latour regards the feminizing of Gaia as an affective metaphorical device and not a political issue.2It is hard not to view Latour’s “Gaia politics” (Latour 2004, 5) as part of a broader tendency to revivify conservative frameworks in the face of crisis, here a crisis of a hitherto unknown scale.3 As Claire Colebrook wryly notes of post-apocalyptic narratives: “it is easier to imagine the end of the world […] than it is to think outside the structuring fantasies of gender.” Where Latour stops short—just—of endorsing what Colebrook calls “an active male heroism driven by a female fragility that appears to hold the promise of the future” [End Page 287] (Colebrook 2014 v.2, 150), his restraint does not extend to all advocates of Gaia-led theories. Witness, for example, Eileen Crist’s feverish call to arms: “[T]his is our moment. It is the moment to face the root of the terrible trouble we have unleashed for the biosphere and for ourselves: our expansionism, arrogance, and domination within the biosphere. In acts of beauty, and without fear, this is our moment to put Gaia first” (Crist 2010, 330). In Crist’s hands, Gaia—and the Anthropocene framework that is presupposed but here disavowed—not only offers an alibi for apocalyptic language and discredited narratives, but more importantly, unwittingly endorses the very worldview—uncritical, narcissistic, and heavily gendered—that it purports to replace.4The Anthropocene compels us to question the literal and metaphorical place of the human. In projecting human maternity onto the earth, the figure of Gaia and that of Mother Earth before her restrict thought to an immobile narcissism. In this article, I shall first address the way in which a purportedly progressive feminized figure of Gaia actually absents woman, denying female agency in favor of male sovereignty. I shall frame this discussion both within ecofeminist debates and in light of recent Anthropocene rhetoric. Secondly, I shall contextualize Gaia within the broader problem of figuring the female, asking whether an Anthropocene framework necessarily inclines us toward the replication of gender stereotypes.Gendering Gaia and the Woman-Nature ConnectionA clear aim of James Lovelock’s adoption of the name Gaia as a metaphor for “the living planet” earth (Lovelock 1988, 19) was to stimulate humans to accept their previously neglected environmental responsibilities. By according Gaia an identity, one that chimed both with ancient narratives and 1970s sensibilities, Lovelock invited humans to acknowledge that there was a living victim of their environmental misdemeanors. For Lovelock, speaking of the earth as Gaia counters proprietorial conceptions stemming from the damaging notion of human stewardship and undermines the notion of earth as a passive or inert object upon which human agents act. Assessing Lovelock’s approach, Mary Midgley asks: “Was it necessary to use language that apparently personified the earth?” (Midgley 2007, 8) and concludes affirmatively, asserting that the concept of a mechanistic universe is so deeply ingrained in human thought that Lovelock needed to name the earth in order to facilitate such an imaginative leap.By framing the earth as female, Lovelock capitalized on age-old tensions in the concept of the female: Gaia is nurturing but ruthless, fragile... (shrink)

The starting point of this paper is that most of the international transboundary water management (TWM) processes taking place globally are driven by ‘the hydraulic mission’ —primarily the construction of mega-infrastructure such as dams and water transfer schemes. The paper argues that such heroic engineering approaches are essentially a masculinised discourse, with its emphasis being on construction, command and control. As a result of this masculinised discourse, the primary actors in TWM processes have been states—represented by technical, economic and political (...) elites operating in what generally gets termed ‘the national interest’. Left out are the local communities relying on the resource directly: the water users; the poor; women; and other important groups. Instruments such as the UN Watercourses Convention of 1997 make an effort to present an attempt at a gender-balanced approach—through asserting the importance of the ‘no-harm rule’ and the ‘equitable share approach’. However, they end up supporting the status quo through the omission of any reference to gender issues. The paper provides an overview of the masculinised discourse on TWM institutions, proposing that this is the case because of the intersection of two masculinised fields—water resource management and the disciplines engaged in the research of transboundary water management, namely, political science and international relations. The paper investigates two southern African examples that illustrate the potential for including a gendered perspective and pro-poor policies that take into account the needs of the water users or ‘stakeholders’. The analysis includes the international and regional legal agreements on transboundary water issues, searching for evidence of a gendered approach. It is concluded that the laws and organisations responsible for transboundary water management currently do not reflect a gendered approach, despite the international recognition given to the necessity of including women in water management structures at all levels. (shrink)

Purpose of the paper is to establish the emergence and evolution of a gender problematics from the foundations of classical philosophy, namely, from the phenomenon of will-to-truth as the spontaneous desire of man to understand the life. To achieve this purpose, the following tasks are solved: 1) to investigate the way in which philosophy constitutes itself; 2) to establish how the category of "sex" manifests, both in the natural and in the social contexts; 3) to determine the correlation of gender (...) studies and philosophy. Theoretical basis. If for the methodology of gender studies it is inherent to proceed from the contextuality and value foundations of knowledge, then in this paper gender is considered directly from the being-in-world, human presence. Originality. The distinction between will-to-truth and will-to-knowledge, conducted for the first time by Michel Foucault, is used as a method by which the ontological demand of sex is revealed. Conclusions. As a result of the study, it was found that scientific developments in the field of gender issues in their subject matter are not mainly descended from subject sphere of classical philosophy. Sex is not substantiated metaphysically, and it is ontical, not ontological attribute of the human kind; its presentation as the determining factor of the cultural history in context of femininity/masculinity dichotomy is biased. This quality is similar to Nietzsche’s will to power, i.e., determination of definite knowledge that is later used in legal, socio-political discourse, corrects language practice, determines scientific researches making them dependant on axiological component of culture. As the social justice problem is solved, gender as the subject of social study loses its actuality. (shrink)

As it stands, Derrida’s protest is deficient in any sense of how the discourses of South African racism have been at once historically constituted and politically constitutive. For to begin to investigate how the representation of racial difference has functioned in South Africa’s political and economic life, it is necessary to recognize and track the shifting character of these discourses. Derrida, however, blurs historical differences by conferring on the single term apartheid a spurious autonomy and agency: “The word concentrates separation…. (...) By isolating being apart in some sort of essence or hypostasis, the word corrupts it into a quasi-ontological segregation” . Is it indeed the word, apartheid, or is it Derrida himself, operating here in “another regime of abstraction” , removing the word from its place in the discourse of South African racism, raising it to another power, and setting separation itself apart? Derrida is repelled by the word, yet seduced by its divisiveness, the division in the inner structure of the term itself which he elevates to a state of being.The essay’s opening analysis of the word apartheid is, then, symptomatic of a severance of word from history. When Derrida asks, “Hasn’t apartheid always been the archival record of the unnameable?” , the answer is a straightforward no. Despite its notoriety and currency overseas, the term apartheid has not always been the “watchword” of the Nationalist regime. . It has its own history, and that history is closely entwined with a developing ideology of race which has not only been created to deliberately rationalize and temper South Africa’s image at home and abroad, but can also be seen to be intimately allied to different stages of the country’s political and economic development. Because he views apartheid as a “unique appellation” , Derrida has little to say about the politically persuasive function that successive racist lexicons have served in South Africa. To face the challenge of investigating the strategic role of representation, one would have to part ways with him by releasing that pariah of a word, apartheid, from its quarantine from historical process, examining it instead in the context of developing discourses of racial difference. Anne McClintock is a Ph.D. candidate in English at Columbia University. She is working on a dissertation on race and gender in British imperial culture and is the author of a monograph on Simon de Beauvoir. Rob Nixon, in the same program at Columbia, is working on the topic of exile and Third World-metropolitan relations in the writing of V. S. and Shiva Naipaul. (shrink)

The practical difficulties that trouble any effort to discuss “pluralism” in American literary studies can be glimpsed in the following exchange. In a 1980 interview in the Literary Review of Edinburgh, Ken Newton put this question to Derrida:It might be argued that deconstruction inevitably leads to pluralist interpretation and ultimately to the view that any interpretation is as good as any other. Do you believe this and how do you select some interpretations as being better than others?Derrida replied:I am not (...) a pluralist and I would never say that every interpretation is equal but I do not select. The interpretations select themselves. I am a Nietzschean in that sense. You know that Nietzsche insisted on the fact that the principle of differentiation was in itself selective. The eternal return of the same was not repetition, it was a selection of the more powerful forces. So I would say that some are more powerful than others. The hierarchy is between forces and not between true and false.1­­The irony of Newton’s identification of pluralism with the very interpretive irresponsibility that it accuses others—Derrida foremost among them—of embracing is certainly not lost on those critics who call themselves pluralists; it comes as no surprise to them that Derrida declines to join their company. Nevertheless, the breezy gloss of pluralism as “the view that any interpretation is as good as any other” is bound to seem plausible to the large numbers of readers for whom the word denotes a generalized tolerance the refusal of dogmatism. That Derrida should be called upon to dissociate himself from pluralism is in fact symptomatic of the profound confusion surrounding the term. At present, the pervasiveness of such loose talk compels pluralists to defend themselves regularly against this kind of misinterpretation. Thus, the colloquial reading of pluralism that construes it as mere relativism, the absence of principled constraints, is frequently acknowledged, if only to be rejected. Even Bruch Erlich must emphasize that pluralism does not want “a totally free critical market, for that involves the proliferation of a hundred flowers, what Booth dismissively terms ‘chaotic warfare.’ ”2 1. James Kearn and Ken Newton, “An Interview with Jacques Derrida,” Literary Review 14 , p.21.2. Bruce Erlich, “Amphibolies: On the Critical Self-Contradictions of ‘Pluralism,’ ” this volume, p. 527; all further references to this essay will be included in the text. Ellen Rooney teaches English and women’s studies at Brown University. She is currently at work on a study entitled Seductive Reasoning: Pluralism and the Problematic of General Persuasion. (shrink)

Belgian data from the PIDOP project show that boys are more involved than girls in illegal political actions, namely the production of graffiti and other acts of “incivility”. These activities must be considered in both groups as complementary to conventional political and social participation and not as their opposite. The main explanatory factor is the level of the perceived efficaciousness of such actions. The lack of trust in institutions and the level of awareness of societal discrimination play no significant explanatory (...) role. In males, the involvement level in these activities depends on feelings of personal discrimination and on the lack of freedom concerning individual choice, confirming the theory of societal vulnerability and Honneth’s theory of recognition. This level also increases along with increasing opportunities to make acquaintances and have fun in the neighbourhood. In females, this involvement is explained by the distance with regard to pro-sociality level. (shrink)

This article seeks to sketch the contours of a good society, distinguished by its gender justice and the plural recognition of egalitarian difference. I begin by reconstructing Nancy Fraser’s arguments highlighting the link between distributive justice and relations of recognition, in particular as it applies to gender justice. In a second step, I show that the debate on the politics of recognition has confirmed what empirical analyses already indicated, namely that Fraser’s status model takes too reductive a stance towards the (...) identity-constituting effects of relations of recognition. The simple demand that identities be recognized, however, glosses over the paradox of recognition, which arises out of the ambiguity between the demand for equal respect and the demand for the recognition of difference. This paradox cannot be resolved unless one takes into consideration the compensatory effect of value pluralism, that is, the inherent pluralism of recognition, well captured in the notion of ‘egalitarian difference’. (shrink)

This paper examines the long dialogue between Africana phenomenology and Africana feminism. In particular, it examines the exchanges between WEB Du Bois, Frantz Fanon, Lewis Gordon and Sylvia Wynter on the one hand, and a number of black feminists on the other, including bell hooks, Natasha Barnes, Farrah Griffin, and Joy James. The primary outcome of the survey of these exchanges is that the pro-feminist spaces created by black male phenomenologists have all been insufficient for the full representation of the (...) black female voice. In the words of Sylvia Wynter, such a full representation can only come through "a feminism in its own name". (shrink)

In this article we take off from critiques of psychological and school bullying typologies as creating problematic binary categories of bully and victim and neglecting sociocultural aspects of gender and sexuality. We review bullying research informed by Judith Butler’s theories of discursive performativity, which help us to understand how subjectification works through performative repetitions of heterosexual gender norms. We then build on these insights drawing on the feminist new materialist approach of Karen Barad’s posthuman performativity, which we argue enlarges our (...) scope of inquiry in profound ways. Barad’s theories suggest we move from psychological models of the inter-personal, and from Butlerian notions of discursive subjectification, to ideas of discursive-material intra-action to consider the more-thanhuman relationalities of bullying. Throughout the article, we demonstrate the approach using examples from qualitative research with teens in the UK and Australia, exploring nonhuman agentic matter such as space, objects and time as shaping the constitution of gender and sexual bullying events. Specifically we examine the discursive-material agential intraactions of skirts and hair through which ‘girl’ and ‘boy’ and ‘slut’ and ‘gay’ materialise in school spacetimematterings. In our conclusion we briefly suggest how the new materialism helps to shift the frame of attention and responses informing gendered intraactions in schools. (shrink)

On the winter morning of 16 June 1976, fifteen thousand black children marched on Orlando Stadium in Soweto, carrying slogans dashed on the backs of exercise books. The children were stopped by armed police who opened fire, and thirteen-year-old Hector Peterson became the first of hundreds of schoolchildren to be shot down by police in the months that followed. If, a decade later, the meaning of Soweto’s “year of fire” is still contested,1 it began in this way with a symbolic (...) display of contempt for the unpalatable values of Bantu education, a public rejection of the “culture of malnutrition” with which blacks had been fed.2 The local provocation for the Orlando march was a ruling that black children be taught arithmetic and social studies in Afrikaans—the language of the white cabinet minister, soldier, and pass official, prison guard, and policeman. But the Soweto march sprang from deeper grievances than instruction in Afrikaans, and the calamitous year that passed not only gave rise to a rekindling of black political resistance but visibly illuminated the cultural aspects of coercion and revolt.The children’s defacement of exercise books and the breaking of school ranks presaged a nationwide rebellion of uncommon proportion. The revolt spread across the country from community to community, in strikes, boycotts, and street barricades. It represented in part the climax of a long struggle between the British and Afrikaans interlopers for control over an unwilling black populace and was at the same time a flagrant sign of the contestation of culture, an open declaration by blacks that cultural value, far from shimmering out of reach in the transcendent beyond, would now be fought for with barricades of tires, empty classrooms, and precocious organization. 1. At least three general analyses of the Soweto uprising have emerged: deeper African National Congress involvement in the community; strains on the educational system, unemployment and recession, with greater industrial militancy stemming from the strikes in the early seventies; and the emergence of Black Consciousness ideology. See Tom Lodge, Black Politics in South Africa Since 1945 , pp. 321-62.2. See M. K. Malefane, “ ‘The Sun Will Rise’: Review of the Allahpoets at the Market Theatre, Johannesburg,” Staffrider ; reprinted in Soweto Poetry, ed. Michael Chapman, South African Literature Studies, no. 2 , p. 91. Soweto Poetry will hereafter be cited as SP. Anne McClintock is a Ph.D. candidate in English at Columbia University. She is the author of a monograph on Simone de Beauvoir and is working on a dissertation on race and gender in British imperial culture. Her previous contribution to Critical Inquiry , “No Names Apart: The Separation of Word and History in Derrida’s ‘Le Dernier Mot du Racisme,’ ” appeared in the Autumn 1986 issue. (shrink)

This book offers a model introduction to political philosophy, addressing philosophers from Plato to Rawls and Nozick, with each thinker treated as exploring perennial problems. These include ethical truth, free will, the common good, whether God exists, whether America could become a Hobbesian world sovereign, appeals to nature, free speech, the nature of rights, how one can argue with Nietzsche, whether history is predictable, whether the market can be humanized, and assumed genetic differences between races and genders. When a thinker (...) poses a problem not resolvable at that time, (such as racial equality) modern social science and economics are used to provide answers. There are two persistent themes in this book: namely, that a futile search for ethical truth has drained the original image of the good society (Plato and Aristotle) of its rich content, and that the market has replaced justice as the ordering principle of human society leaving philosophers helpless unless they learn economics. (shrink)

This article examines how the recently introduced law on assisted reproduction in Italy, which gives symbolic legal recognition to the embryo, came about, and how a referendum, which would have repealed large sections of it, failed. The occupation of the legal space by the embryo is the outcome of a crusade by a well-organised alliance of theo-conservatives. These groups see in reproductive medicine an uncontrolled interference with their notion of the natural order of things. Such a worldview requires a total (...) ban on stem cell research, limitation of access to reproductive technologies and repressive laws to govern the area. This conservative dream scenario has come closer to being realised by the introduction of a law doing all of these things in the name of the protection of “Life”. In the case of this law, the “life” to be protected is the embryo. In the name of “Life”, scientific advances and individual liberty have been curbed. The politics of embryo citizenship is a politics which values the yet to come over the here and now, purgation over pleasure, and the transcendent over the material. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Anonymous Temporality and Gender:Rereading Merleau-PontyMegan M. BurkeThis Essay Provides a Feminist reading of Merleau-Ponty’s notion of anonymity in order to show that it is a critical resource for a feminist account of gender. For Merleau-Ponty, anonymity is a structure of temporality that is prior to the cogito; it is a time that actualizes the reflective self. It gestures away from ontological commitments rooted in presence and calls attention to (...) how senses inform and actualize one’s reflective experience, which illuminates how it is that certain habits become sedimented or deeply rooted into the structure of one’s lived experience. As such, anonymity provides a useful framework for understanding how and in what ways gender normativity is taken up and resisted in experience. Yet feminist readings of Merleau-Ponty and anonymity are divided. On the one hand, there is a strong criticism of his work in general and anonymity in particular and, on the other hand, there is an effort to recuperate aspects of his project, including anonymity. Four examples can help frame this disparate feminist reception of his work:1. Merleau-Ponty neglects sexual difference. For example, Elizabeth Grosz suggests, “Merleau-Ponty leaves out—indeed, is unable to address—the questions of sexual difference, the question of what kind of human body he is discussing, what kind of perceptual functions, and what kind of sexual desire result from the sexual morphology and particularity of the subject” (Grosz 1994, 10). [End Page 138]2. Anonymity neglects sexual difference. Shannon Sullivan is representative of this point, claiming, “Merleau-Ponty’s notion of the anonymous or impersonal body … leads one to overlook” difference; “Merleau-Ponty fails to realize” difference; “He is wrong” (Sullivan 2001, 71).3. Anonymity illuminates sexual difference. For Silvia Stoller “[W]ith the help of Merleau-Ponty … sexual difference presupposes an anonymous sexuality which underlies gender identifications,” making anonymity important to a phenomenological account of sexual difference (Stoller 2013).4. Merleau-Ponty’s account of embodied subjectivity provides insight into the lived experience of femininity. Feminist analyses of female body comportment, such as those of Iris Marion Young and Sandra Bartky, suggest that gender is a process of sedimentation (Young 1990; Bartky 1990). More specifically, they suggest gender becomes a lived experience through the repetition of particular behaviors and actions such that they become a deeply habituated part of one’s being in the world.While the feminist criticisms of Merleau-Ponty are important insofar as they caution against the acceptance of universal claims about existence, they also overlook anonymity’s relationship to time. Given that Merleau-Ponty’s characterization of anonymity is temporal through and through, this oversight is problematic. Without an account of anonymity as a kind of temporality, we miss the value of anonymity and the further insight that can be drawn from it in relation to gender. In what follows, then, I propose a solution to the disparate reception of his work. I suggest that reading anonymity as a structure of temporality illuminates how gender is taken up in lived experience. And, I suggest that anonymity can provide a strong account of gender normativity when one understands the parallels between sedimentation and anonymity with respect to temporality. By showing the strong connection between sedimentation and anonymous temporality, I suggest that it is ontologically and politically helpful to understand gender as a lived time.In the first section of this paper, I will address the main criticisms of anonymity provided by Shannon Sullivan and Luce Irigaray, while also paying attention to those from Elizabeth Grosz, Judith Butler, and Beata Stawarska. For Sullivan, Grosz, and Butler, Merleau-Ponty’s anonymous body is a neutral body, a body that fails to account for gender differences. Irigaray and Stawarska suggest that anonymity is the mark of patriarchy, making ethical and ontological solipsism fundamental to Merleau-Ponty’s work. In each of these cases, anonymity provides nothing useful for and is, in fact, a detriment to feminist projects.In the second section of this paper, I turn to Stoller’s positive reading of anonymity. For Stoller, anonymity is a political and ethical resource that challenges gender norms because it can allow for transformation in... (shrink)

It has become commonplace within feminist theory to claim that women’s lives are constructed by multiple, intersecting systems of oppression. In this thesis, I challenge the consensus that oppression is aptly captured by the theoretical model of “intersectionality.” While intersectionality originates in Black feminist thought as a purposive intervention into US antidiscrimination law, it has been detached from that context and harnessed to different representational aims. For instance, it is often asserted that intersectionality enables a representational politics that overcomes legacies (...) of exclusion within hegemonic Anglo-American feminism. I argue that intersectionality reinscribes the political exclusion of racialized women as a feature of their embodied identities. That is, it locates the failure of political representation in the “complex” identities of “intersectional” subjects, who are constructed as unrepresentable in terms of “race” or “gender” alone. Further, I argue that intersectionality fails to supplant race- and class-privileged women as the normative subjects of feminist theory and politics. In Chapter One, I demonstrate that intersectionality illicitly imports unitary concepts of “race,” “gender,” and “class.” In Chapter Two, I argue that intersectionality lacks a theory of hierarchy: it is a “flat geography” which cannot capture vertical and horizontal lines of power. In Chapter Three, I explore the role of analogical reasoning in rendering racialized women invisible both as gendered and as racialized subjects in twentieth-century social movements. To concretize this argument, I turn to Simone de Beauvoir’s use of race-sex analogies to describe (white, bourgeois) “women’s” situation in The Second Sex. In Chapter Four, I advance a programmatic unified account of oppression. I suggest that the possibility of a unified theory (as opposed to an intersectional one) is intimated in the concrete articulation of race, class, and gender. My point of departure is a phenomenology of capitalism, which reveals that these are all fundamentally modes of exploitation and appropriation. In Chapter Five, I theorize how they are made visible (and invisible) on the body. I extend Frantz Fanon’s account of “epidermalization,” drawing upon the marxian concepts of “fetishism” and “mode of appearance” to elaborate four structures of gendered racialized perception: first, the “miscegenation taboo” structures perceptions of the “purity” of whiteness and the “polluting” effects of blackness. Whiteness, theorised as a “possessive investment” and as “property” is defined by the right to exclude. Second, the “episteme of tellable differences” produces the conviction that we can automatically “tell the difference” between a body placed in one “racial” or gender category, and another—while bodies that temporarily confound classification cause fear and consternation. Third, the “race/reproduction bind” names the axiomatic assumption that “race” is reproduced through (heterosexual) procreation and that “race” is, therefore, biologically inheritable. Finally, the “fear/criminalisation reflex” refers to the bidirectional equation of particular racialised-gendered bodies with crime, and of crime with those bodies; this a function of the discursive use of ‘crime’ as an alibi for “race’” the systemic racialisation of punitive carceral institutions, and the historical origins of “race” in transatlantic chattel slavery, which shaped perceptual-cognitive associations of freedom with whiteness and captivity with blackness. (shrink)

Eroticism seems to be the essence of individuation and the freedom that brings Otherness into being. For this reason eroticism had to be disguised and softened by a mechanism of control within the society of any monolithic communist power. There- fore, one of the images that were altered was that of the woman. This was done under the pretext of a project of emancipation, initiated by the Communist party, which made claims in women’s name but utilized women’s organizations for socialist-communist (...) propaganda. The article analyzes this manipulative politics and it’s effects on the social imagery: it created the image of a New woman - the aggressive woman with the profile of a communist warrior and a masculine body in a carnival-like movement that was biased, restrictive, and gender-blind. (shrink)

This article argues that an adequately historicized and politicized understanding of the women's movement in Nepal (or elsewhere) requires a detailed examination of the construction of the gendered subject herself in the complex geo-political space of the emergent (Nepali) nation state. In turn, this unravelling of the gendered subject in Nepal serves to reinforce the premise that the representation of ‘the Nepali Woman’ as a single over-arching category is a contemporary construction, which has been achieved at the expense of consistently (...) effacing the historically prior multiple and contested ethnic/caste identities taken by thrust upon women in what is now the new Nepal. The ‘natural’ goal of the women's movement since post-1990 Nepal to achieve a (single) feminist agenda has become part of the problem, as it can only be achieved at the expense of respecting the radical diversity and difference that is covered over by the ‘theoretical fiction’ of the unified nation of Nepal. The main important players, whether it be the women from mainstream political parties, or the women of the NGO world or the Communist Party of Nepal (Maoists), have all contributed to excluding and silencing radical diversity in the name of expediency and elite power brokering. Moreover, it is argued that the contours of this composite discourse continue to be shaped by the international aid industry in Nepal, where ‘development’ is not merely the epistemic link between Nepal and the ‘West’, it is also the locus classicus of generic apolitical consciousness-less Nepali woman whose cause is taken up by scholar and activist alike. (shrink)

Judith Butler's contribution to feminist political thought is usually approached in terms of her concept of performativity, according to which gender exists only insofar as it is ritualistically and repetitively performed, creating permanent possibilities for performing gender in new and transgressive ways. In this paper, I argue that Butler's politics of performativity is more fundamentally grounded in the concept of genealogy, which she adapts from Foucault and, ultimately, Nietzsche. Butler understands women to have a genealogy: to be located within a (...) history of overlapping practices and reinterpretations of femininity. This genealogical understanding of femininity allows Butler to propose a coalitional feminist politics, which requires no unity among women but only loosely overlapping connections. For Butler, feminist coalitions should aim to subvert, not consolidate, entrenched norms concerning femininity. Butler has been criticized, however, for failing to explain either how subversive agency is possible or why the subversion of gender norms is desirable. Reviewing these criticisms, I argue that Butler offers a convincing explanation of the possibility of subversive agency, but that the normative dimension of her political thought remains relatively underdeveloped. I explore how the normative aspect of Butler's thought could be strengthened by recasting her notion of genealogy along more thoroughly Nietzschean and materialist lines, in terms of an idea of active and multiple bodily forces. (shrink)

Purpose. Based on the comparative analysis of the European and post-Soviet countries, the purpose of the article is to study one of the manifestations of gender discrimination, namely the problem of gender equality in the sphere of labor. It involves the consistent solution to the following tasks: a) to emphasize the basic principles of gender international and legal policy; b) to reflect the praxeological dimension of providing the equal social and economic opportunities for men and women at current level; c) (...) to emphasize the key criterion for ensuring the equality in socio-cultural sphere – equality in political life; d) to study the educational level of women and the possibility of self-realization in employment equal to men. Theoretical basis. The authors proceed from the standpoint that gender equality at the present stage has become a priority of legal policy and an important principle of the state of pro-European orientation. It is characterized in the legal plane, first of all, by the equality of the social roles of men and women, and the overcoming of the gender hierarchy of social ties, in which men are perceived as higher beings by their mental and physical abilities, and their activities are more significant and of priority in comparison with the activities of women. Originality. The authors have substantiated that in many economically developed countries the problem of providing a gender is still relevant, but most of the crisis problems in this area have found their legal regulation. The motivated position of the authors is that the level of education and professionalism of women cannot serve a reason for discrimination against women, which now exists in the economic and political sphere in the post-Soviet space. Conclusions. Gender stereotypes remain the priority in woman’s keeping family household, which creates significant inequalities of women and men at the labor market. Specialized regulatory acts in the field of gender declare the equality of men and women, while labor law defines a number of norms and guarantees that complicate the employment of women. In order to improve the situation we propose to implement a number of measures, such as, creation and financial support of the programs at the state level for supporting maternity, family and childhood; examination of all normative acts and concerning the issue of gender asymmetry, and especially the norms of labor law; introduction of state monitoring of employment and income of persons as to the complying with the principle of gender equality; introduction of quotas for women’s participation in political activities, in the work of the government and parliament, etc. (shrink)

This article uses the work of Judith Butler as a platform upon which to unpack the consequences of women living in a patriarchy and the slender performance that I argue we are unwittingly engaged in. In this critical approach to the gender divide and the political dimensions of anorexia in the 21st century, this article aims to highlight some of the key concerns arising out of society’s stereotypes and norms for women and how the struggle to both conform and resist (...) these are played out on their bodies. Turning to the work of Marion Woodman and the concept of a ‘ritual of transformation’, I explore Butler’s notion of re-citation through the use of ritual, a rite aimed at liberation and a reconnection to our matriarchal lineage. This ritual can be found in the most mundane of tasks and through repetition we have the power to both conceive of new ways of living and strengthen our subversive possibilities. This ritual becomes an act which places critical agency back in our hands, something removed as we are shepherded by consumerism and mass-capitalism. It’s through a framework of Feminist Liberation Theology and Body Theology that this all takes place. If, as Butler says, our behaviour creates our reality then we must change our behaviour! (shrink)

This article draws out the political implications of some of the avatars of ancient skepticism in modern fiction. It relies on Martha Nussbaum’s claim that fiction can provide some of the best lessons in moral philosophy to refute her claim that ancient skepticism was a bad influence on morals. It surveys references to skepticism from Shakespeare through such diverse writers as Isabel de Charrière, Herman Melville, Mark Twain, Anatole France, and Albert Camus down to recent writers such as Orhan Pamuk (...) and Michel Houellebecq. The most substantial treatment is of Naguib Mahfouz’sCairo Trilogy, which is interpreted in two ways: one, as an example ofisostheniaor equipollence in arguments on both sides of questions about gender in the Islamic world, and two, as the biography of a person who claims to be a self-conscious skeptic. Skepticism emerges as a multi-faceted concept in modern literature, but there are definite references back to the ancient skeptics, including mention of the name Pyrrhonism and knowledge of the writings of Sextus Empiricus. The political implications militate against dogmatic claims to truth and knowledge of a one-dimensional justice. (shrink)

As the lowest in the caste hierarchy, Dalits in Indian society have historically suffered caste-based social exclusion from economic, civil, cultural, and political rights. Women from this community suffer from not only discrimination based on their gender but also caste identity and consequent economic deprivation. Dalit women constituted about 16.60 percent of India’s female population in 2011. Dalit women’s problems encompass not only gender and economic deprivation but also discrimination associated with religion, caste, and untouchability, which in turn results in (...) the denial of their social, economic, cultural, and political rights. They become vulnerable to sexual violence and exploitation due to their gender and caste. Dalit women also become victims of abhorrent social and religious practices such as devadasi/jogini, resulting in sexual exploitation in the name of religion. The additional discrimination faced by Dalit women on account of their gender and caste is clearly reflected in the differential achievements in human development indicators for this group. In all the indicators of human development, for example, literacy and longevity, Dalit women score worse than Dalit men and non-Dalit women. Thus, the problems of Dalit women are distinct and unique in many ways, and they suffer from the ‘triple burden’ of gender bias, caste discrimination, and economic deprivation. To gain insights into the economic and social status of Dalit women, our paper will delve more closely into their lives and encapsulate the economic and social situations of Dalit women in India. The analyses of human poverty and caste and gender discrimination are based on official data sets as well as a number of primary studies in the labor market and on reproductive health. (shrink)