The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual (...) arts, literature, religions and philosophy will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

Woman and Authority in Ian McEwan's "Conversation with a Cupboard Man" and Its Film Adaptation The paper analyzes Ian McEwan's short story "Conversation with a Cup-board Man" and its film adaptation made in Poland by director Mariusz Grzegorzek in 1993. In many works McEwan shows women in more positive light than men. This short story, however, deals with a mother's total domination of her son's life. The text is in the form of first-person narration of the son but it (...) is the figure of the mother that is of utmost importance.The protagonist describes his life from his childhood. His mother wanted him to remain a baby as long as possible, depriving him of free will and leaving him totally dependent on her. Her attitude changed when she found a partner. The protagonist, now seventeen, had rapidly to grow up from a baby into an adult. Childhood and total passivity remain for him ideals to be pursued, and a cramped cupboard becomes his favourite environment. The influence of his upbringing remains with him for ever. After analyzing the short story the paper explores parallels to other works by McEwan and other writers. The importance of the use of the indeterminate article in the title is discussed. Attention is given to the issue of defamiliarization. And the ambivalent attitude of the protagonist towards his mother is examined.The second part of the paper deals with the film adaptation. Grzegorzek has imaginatively developed the short story into a full-blown feature film. It preserves most of the important elements of the short story, at the same time providing new material largely in keeping with the original's tone. The director not only extrapolates, inventing new scenes to fill in the short story's unspoken gaps but also skilfully changes the narrator's comments into scenes, and this is not purely a change from telling into showing. The paper discusses the imagery of the movie, especially Oedipal motifs, references to Christ, and the impression of blood-red lips. It stresses the stronger role of the teacher from the home and his influence on the only independent action of the protagonist—the revenge on Pus-face. It is also important that the film omits any verbal expression of the protagonist's hatred towards his mother. (shrink)

This paper discusses a krater recently discovered in a cultic building at Tel Burna in the Shephelah. Of special interest is the krater’s relatively well-preserved decoration containing multiple nature scenes related to the so-called tree of life or sacred tree motif. The krater’s physical description and archaeological context and the decoration’s relationship to relevant comparanda are explored in order to elucidate the significance of its iconography. In light of this discussion, we conclude that the decoration includes an (...) abstract representation of a Canaanite goddess as a “pubis of life” variation of the “tree of life” motif on the krater as a votive vessel in the Late Bronze Age cult. (shrink)

The discourse marker use of the word like is considered by many to be superfluously sprinkled into talk, a bad habit best avoided. But a comparison of the use of like in successive tellings of stories demonstrates that like can be anticipated in advance and planned into stories. In this way, like is similar to other words and phrases tellers recycle during story telling. The anticipation of like contrasted with the uses of other discourse markers such as oh, you know, (...) and well, which almost never re-occurred in similar locations across tellings. Um and uh did sometimes re-occur; these uses are contrasted with like. Although discourse markers are generally used on the fly to handle various issues that come up in coordinating talk as it unfolds, like can be used as an integral part of the story -a marked contrast to the prevalent idea that likes are speech tics. (shrink)

Words like well, oh, and you know have long been observed and studied in spontaneous speech. With the proliferation of on-line dialogues, such as instant messaging between friends or back-and-forth postings at websites, there are increasing opportunities to observe them in spontaneous writing. In Experiment 1, the interpretation of discourse markers in on-line debates was compared to proposed functions of those markers identified in other settings. In Experiment 2, the use of discourse markers in spontaneous speech was compared to their (...) uses in spontaneous writing. Results support the conclusion that although they vary in frequency in spoken versus written domains, discourse markers are used similarly across domains, but with particular communicative functions that make them non-interchangeable. (shrink)

To generate empathy in the care of vulnerable older persons requires care providers to reflect critically on their care practices. Ethics education and training must provide them with tools to accomplish such critical reflection. It must also create a pedagogical context in which good care can be taught and cultivated. The care-ethics lab ‘sTimul’ originated in 2008 in Flanders with the stimulation of ethical reflection in care providers and care providers in training as its main goal. Also in 2008, sTimul (...) commenced the organization of empathy sessions as an attempt to achieve this goal by simulation. The empathy session is a practical and fairly straightforward way of working to provoke care providers and care providers in training to engage in ethical reflection. Characteristic of the empathy session in the care-ethics lab is the emphasis on experience as a basis for ethical reflection. (shrink)

We explored the differential impact of auditory information and written contextual information on the recognition of verbal irony in spontaneous speech. Based on relevance theory, we predicted that speakers would provide acoustic disambiguation cues when speaking in situations that lack other sources of information, such as a visual channel. We further predicted that listeners would use this information, in addition to context, when interpreting the utterances. People were presented with spontaneously produced ironic and nonironic utterances from radio talk shows in (...) written or auditory form, with or without written contextual information. When the utterances were read without written contextual information, all utterances were rated as equally ironic. But when they were heard as opposed to read, or when they were presented in irony-biasing contexts, originally ironic utterances were rated as more sarcastic than originally nonironic utterances. This evidence suggests both acoustic and contextual information are used when inferring ironic intent in spontaneous speech, and validates previous manipulations of intonation in studies of irony understanding. (shrink)

Observing others in conversation is a common format for comprehending language, yet little work has been done to understand dialog comprehension. We tested whether overhearers use addressee backchannels as predictive cues for how to integrate information across speaker turns during comprehension of spontaneously produced collaborative narration. In Experiment 1, words that followed specific backchannels were recognized more slowly than words that followed either generic backchannels or pauses. In Experiment 2, we found that when the turn after the backchannel was a (...) continuation of the narrative, specific backchannels prompted the fastest verification of prior information. When the turn after was an elaboration, they prompted the slowest, indicating that overhearers took specific backchannels as cues to integrate preceding talk with subsequent talk. These findings demonstrate that overhearers capitalize on the predictive relationship between backchannels and the development of speakers’ talk, coordinating information across conversational roles. (shrink)

The COVID-19 pandemic has presented a global threat to physical and mental health worldwide. Research has highlighted adverse impacts of COVID-19 on wellbeing but has yet to offer insights as to how wellbeing may be protected. Inspired by developments in wellbeing science and guided by our own theoretical framework, we examined the role of various potentially protective factors in a sample of 138 participants from the United Kingdom. Protective factors included physical activity, tragic optimism, gratitude, social support, and nature connectedness. (...) Initial analysis involved the application of one-sample t-tests, which confirmed that wellbeing in the current sample was significantly lower compared to previous samples. Protective factors were observed to account for up to 50% of variance in wellbeing in a hierarchical linear regression that controlled for a range of sociostructural factors including age, gender, and subjective social status, which impact on wellbeing but lie beyond individual control. Gratitude and tragic optimism emerged as significant contributors to the model. Our results identify key psychological attributes that may be harnessed through various positive psychology strategies to mitigate the adverse impacts of hardship and suffering, consistent with an existential positive psychology of suffering. (shrink)

Beginning with a definition of 'ethos' as one's dwelling place and 'ethics' as the practice of that which constitutes one's 'ethos', this thesis explores the relation between the production of meaning, embodiment and difference in the philosophies of Hegel, Nietzsche and Heidegger. The aim is to explore the possibility of an ethics of sexual difference evoked by Foucault's and Derrida's re-reading of this philosophical tradition. ;The frame for my analysis is established by outlining Foucault's approach to ethics, showing how he (...) cannot account for sexual difference within his proposed aesthetics of self. The economy of difference which Derrida finds in operation under the motif of differance promises an ethics of difference which would include women. But, as he doesn't account explicitly for embodiment, Derrida has attracted the criticism that either differance is a co-option of the 'feminine' or has nothing to do with 'real-life women'. Drawing on my reading of Derrida's approach to difference, but highlighting the problem of embodiment, I return to the tradition with which Derrida and Foucault are engaged in order to locate the body of woman. ;My reading of Hegel's philosophy establishes that, for him, ethical action is based on the social constitution of the body as a sign of the self. This is drawn from his theory of the sign and his discussion of the mechanism of habit formation. I bring this reading to bear upon his discussion of 'ethical life' and sexual difference in the the Phenomenology of Spirit. ;The chapter on Nietzsche's philosophy begins with a reading of the relation between language, moral evaluation and the social constitution of the bodily self. I argue that Nietzsche's aesthetics of self is an ethics of difference pitted against a morality which assumes sameness and equality of outcome. Focusing on his notion of the 'pathos of distance' necessary for 'self-overcoming', I then locate the role of 'woman' within this ethics. ;My reading of Heidegger's early work finds that his analysis of Dasein's temporality allows for the conditions for the possibility of an ethics of difference against the normalising discourses of the 'they'. However, the distinctions he uses in this analysis are problematic as is his neglect of the question of embodiment. I bring my critique of these distinctions to Heidegger's claim that Dasein is sexually neutral and that sexual difference is an ontical 'dispersal into bodiliness and sexuality'. ;I conclude that, through their critiques of the social model of exchange between self-present individuals, all these theorists have something to offer an ethics of sexual difference. But only insofar as they do not forget the body of woman. (shrink)

Han Kang's 2007 novel The Vegetarian, published in English translation in 2015, tells a story of one woman's refusal to eat meat. Yeong-hye's refusal comes from her desire to eschew the intersecting violence of patriarchy and carnism, which gradually reveals an underlying psychosis and drive towards self-attrition. Because of the central motifs of bodily transgression and self-abnegation in the novel, critics have compered Han Kang's Yeong-hye to Frantz Kafka's Gregor Samsa or the hunger artist. Just as the hunger artist (...) seeks seclusion from human sociality in the space of his vacuous interiority, so does Yeong-hye sequester herself from the gaze of others in her visions of... (shrink)

This article discusses ways to operationalise the concept of culturally appropriate computer-mediated communication, utilising information systems (IS) development methodologies and adopting a postmodern and postcolonial perspective. By way of illustration, it describes progress on the participative development of the Ieramugadu Cultural Information System. This project is designed to develop and evaluate innovative procedures for elicitation, analysis, storage and communication of indigenous cultural heritage information. It is investigating culturally appropriate IS design techniques, multimedia approaches and ways to ensure protection of secret/sacred (...) information. Ethical issues are foregrounded. (shrink)

Bilingualism has been identified as a potential cognitive factor linked to delayed onset of dementia as well as boosting executive functions in healthy individuals. However, more recently, this claim has been called into question following several failed replications. It remains unclear whether these contradictory findings reflect how bilingualism is defined between studies, or methodological limitations when measuring the bilingual effect. One key issue is that despite the claims that bilingualism yields general protection to cognitive processes, studies reporting putative bilingual differences (...) are often focused on domain specific experimental paradigms. This study chose a broader approach, by considering the consequences of bilingualism on a wide range of cognitive functions within individuals. We utilised 19 measures of different cognitive functions commonly associated with bilingual effects, to form a “cognitive profile” for 215 non-clinical participants. We recruited Welsh speakers, who as a group of bilinguals were highly homogeneous, as means of isolating the bilingualism criterion. We sought to determine if such analyses would independently classify bilingual/monolingual participant groups based on emergent patterns driven by collected cognitive profiles, such that population differences would emerge. Multiple predictive models were trained to independently recognise the cognitive profiles of bilinguals, older adults and higher education attainment. Despite managing to successfully classify cognitive profiles based on age and education, the model failed to differentiate between bilingual and monolingual cognitive ability at a rate greater than that of chance. Repeated modelling using alternative definitions of bilingualism, and just the older adults, yielded similar results. In all cases then, using our “bottom–up” analytical approach, there was no evidence that bilingualism as a variable indicated differential cognitive performance – as a consequence, we conclude that bilinguals are not cognitively different from their monolingual counterparts, even in older demographics. We suggest that studies that have reported a bilingual advantage could well have confounded other key variables that may be driving reported advantages. We recommend that future research refine the machine learning methods used in this study to further investigate the complex relationship between bilingualism and cognition. (shrink)

There has been little previous scholarship regarding the aims, options and impact of ethics education on residential care‐givers. This manuscript details findings from a pragmatic cluster trial evaluating the impact of three different approaches to ethics education. The focus of the article is on one of the interventions, an immersive simulation experience. The simulation experience required residential care‐givers to assume the profile of elderly care‐recipients for a 24‐hr period. The care‐givers were student nurses. The project was reviewed favourably by a (...) university ethics committee, and participants provided informed consent. Data from six postsimulation experience focus groups were analysed thematically and three themes were identified: the experience of vulnerability, dignity in care and the organisation of care. Findings suggest that the immersive simulation experience had a powerful immediate impact as participants described epiphanous insights relating to their care experiences. It is suggested that reflecting on and recording epiphanous events has the potential to sustain ethical care practices. Further research is required to evaluate the impact of different ethics education interventions in different cultural contexts. Exploration is also required regarding the meaning and significance of care epiphanies, those “most delicate and evanescent of moments,” for the sustainability of ethical care. (shrink)

In his commentary on the Light Verse (Q. 24:35), the Andalusian mystic and Qurʾān exegete Abū al-Ḥakam Ibn Barrajān (d. 1141) presents the blessed tree (al-shajara al-mubāraka) not simply as a terrestrial olive tree in Syria or even as a mystical allegory, but as the ultimate locus of divine disclosure and the highest metaphysical entity in the cosmos that subsumes the world of creation. This article assesses the originality of Ibn Barrajān’s contribution to the heavenly tree (...) class='Hi'>motif by examining his unique mystical and exegetical theories informing his ontological reading of the blessed tree, including the concept of the ‘reality upon which creation is created’ and the ‘universal servant’. In addition to analysing the internal logic of Ibn Barrajān’s discourse, this article explores the larger interpretive themes recurrent across exoteric, Sufi, and philosophical interpretations of the Light Verse up to the twelfth century that the author may have had access to in al-Andalus, including the treatises of the Brethren of Purity (Ikhwān al-ṣafā) and Biblical sources. Finally, this article highlights how Ibn Barrajān weaves the Qurʾānic good tree (al-shajara al-ṭayyiba) and the lote tree of the furthest boundary (sidrat al-muntahā) into his overarching understanding of the blessed tree. It also considers how his reading may have contributed to later readings by Ibn ʿArabī (d. 1240) and some of his intellectual heirs. (shrink)

The article is devoted to study of the modes of inheritance of cultural symbols. In particular, it is a research of perception in Christianity of preceding cultures’ archetypes. The study provides the analysis of semantic links between the symbols of the World Tree, the Vivifying Cross and the meaning of the Blessed Virgin image. The article shows how the pre-Christian symbols of the World Tree and the cross itself were merged and transformed in Christian theology, liturgy and iconography (...) in the image of Golgotha Cross. The cross acquires the features of a Cosmic Tree, which combines the lower and the upper worlds – the heaven and the earth, life and death. The symbol of the tree is often substituted by the image of a woman appearing in this case as a symbol of life and fertility and evokes the associations with the genealogical tree. Therefore, the connection between the World Tree and the Blessed Virgin is proved to be natural. On the basis of the historical sources the author analyzes the legends and evidences of the revelations and discoveries of the Blessed Mary’s icons on the trees of a certain kinds. The study explicates the symbolic meaning of those trees spread in a global world, in Slavic and Ukrainian cultural traditions. In particular, the research encloses the semantics of the following kinds of trees: fir tree, linden, pear tree, oak, willow, blackthorn. Every kind of those trees has a special symbolic meaning. The novelty of the research is that it for the first time proves the semantic connection of sacred meaning of miracle icons and of the certain kinds of trees. The study defines the limited range of those trees and, on the other hand, the kinds of other trees believed to be vile and thus never appeared in the legends about the discoveries of miracle icons. As a conclusion, the research proves the existence of the autochtonal tradition of correlation of the semantics of miracle icons of Our Lady with the certain kinds of trees in the result of synthesis of the ancient symbolism and Christianity. In every case, the symbolic meanings of trees had archaic origin and connection with the ancient cosmogonical concepts. Depending on the particular semantic nuance emphasized in the World Tree, the priority of a certain kind of tree determined. On the whole, the study demonstrates the importance of the symbols in forming of cultural identity and for understanding of interrelations of cultures at the deep semantic level. (shrink)

Two of the tales mentioned in the title are in many ways typical of the great collections of stories to which they belong. What makes them conspicuous is no doubt the intensity of the erotic desire presented as the ultimate law which justifies even the most outrageous actions. The cult of eroticism is combined there with a cult of youth, which means disaster for the protagonists, who try to combine eroticism with advanced age. And yet the stories in question have (...) roots in a very different tradition in which overt eroticism is punished and can only reassert itself in a chastened form, its transformation being due to sacrifices made by the lover to become reunited with the object of his love. A medieval example of the latter tradition is here the Middle English romance, Sir Orfeo. All of the three narratives are conspicuously connected by the motif of the enchanted tree. The Middle Ages are associated with a tendency to moralize ancient literature, the most obvious example of which is the French anonymous work Ovide moralisé, and its Latin version Ovidius Moralizatus by Pierre Bersuire. In the case of The Merchant’s Tale and The Tale of the Enchanted Pear-Tree, we seem to meet with the opposite process, that is with a medieval demoralization of an essentially didactic tradition. The present article deals with the problem of how this transformation could happen and the extent of the resulting un-morality. Some use has also been made of the possible biblical parallels with the tales in question. (shrink)

Cet article propose une brève discussion de la représentation des arbres et des grottes dans l’art grec, en soulignant la tendance de ces deux motifs paysagers à se recouvrir ou à se confondre sur un plan formel.The article offers a brief discussion of tree and cave representations in Greek art, tracing a tendency of these two landscape motifs to overlap or appear in conflated form.

Das Volksmärchen L’Arbre du Bœuf vom Typ ATU 511 [Ein-, Zwei-, Dreiäuglein] ist nach P. Delarue und M.-L. Tenèze das einzige französische Märchen, welches dem Subtyp AT 511 A [Kleiner Roter Ochse] angehört. L’Arbre du Bœuf ist darüber hinaus aufgrund einiger Motive besonders interessant, weil sie vermutlich aus archaischen Glaubensvorstellungen stammen: So ist die mystische „Reise zur Sonne“ ein bestimmendes Thema, welches seinen Ursprung im indoeuropäischen Mythos findet. Der Weltbaum als Axis Mundi und die Seelenbrücke sind Verbindungen zwischen dem Dies- (...) und Jenseits, die der Märchenheld ebenso wie der Schamane bei seiner ekstatischen Reise in die lichte Himmelswelt benutzt. Magische Tier- und Helferwesen treten im Zaubermärchen auf und sind integrale Bestandteile schamanistischer Glaubenswelten. Wenn im Märchen auf oder aus dem geopferten Ochsen als heiliges Tier der Weltbaum sprießt, so findet dieses Sujet Entsprechungen in urtümlichen Kosmogonien. Damit ideell verwandt ist vielleicht das Motiv vom „Tierhorn als Weltbaum“, welches sich in archaischen kosmologischen Vorstellungen findet und sich von da her womöglich ebenso in die Märchenwelten eingemischt hat. Le conte populaire L’Arbre du Bœuf du type ATU 511 [Un Œil, Deux Yeux, Trois Yeux] d’après P. Delarue et M.-L. Tenèze est le seul conte de fées français appartenant au sous-type AT 511 A [Petit Bœuf Rouge]. En outre, L’Arbre du Bœuf est particulièrement intéressant en raison de certains motifs probablement issus de croyances archaïques : Le « voyage mystique au soleil » est un thème déterminant qui tire son origine du mythe indo-européen. L’Arbre du Monde en tant qu’Axis Mundi et le pont d’autre monde sont des liens entre l’ici et l’au-delà, que le héros de conte et le chaman utilisent dans leur voyage extatique dans le ciel lumineux. Les animaux magiques et les êtres auxiliaires apparaissent dans le conte de fées et font partie intégrante du monde de croyances chamaniques. Tout comme dans le conte de fées, l’Arbre du Monde pousse sur ou bien du bœuf sacrifié et sacré, ce motif trouve des correspondances dans les anciennes cosmogonies. Le motif de la « corne animale en tant qu’Arbre du Monde » est peut-être associé à ce concept mythique. Il se trouve dans les conceptions cosmologiques archaïques et s’est mêlé de là au monde des contes de fées. The folk tale L’Arbre du Bœuf of the type ATU 511 [One Eye, Two Eyes, Three Eyes] is according to P. Delarue and M.-L. Tenèze the only French fairy tale that belongs to the subtype AT 511 A [Little Red Ox]. In addition, L’Arbre du Bœuf is particularly interesting due to some of the motifs that probably stem from archaic beliefs: The mystical “journey to the sun” is a determining theme, which finds its origin in the Indo-European myth. The World Tree as Axis Mundi and the Soul Bridge are connections between this world and the hereafter which are harnessed by the fairy tale hero as well as the shaman in his ecstatic journey into the bright world of heaven. Magical animals and helping entities appear in the fairy tale and are fundamental parts of shamanistic beliefs. The World Tree as it sprouts on or out of the sacrificed and sacred ox finds its equivalent in ancient cosmogonies. Perhaps ideally related to this is the motif of the “animal horn as the World Tree”, which is present in archaic cosmological conceptions and has possibly interfered with the fairytale worlds as well. (shrink)

The article examines the individualistic manifestations of the heroes of Lesia Ukrainka’s poetic dramas. The key point is focused on the confrontation between a free personality and a passive mob. The author draws parallels between Friedrich Nietzsche’s and Lesia Ukrainka’s individualistic manifestations, and describes how the Ukrainian poetess creates her own accounts of individualism, which are close to Nietzscheanism: anti-Christianity, will to power, acceptance of destiny, self-overcoming, etc. The main difference between the two thinkers consists in Lesia Ukrainka’s approach when (...) her ideas are expressed by a strong type of woman. (shrink)

Among the most characteristic motifs in Greek mythology is the sexual union of a god with a mortal woman and the resultant birth of a hero. The existence of hexameter poetry listing the women thus favoured – the famous women in the underworld in the eleventh book of the Odyssey, and above all theEoiai– is evidence of an interest in the women involved, not only in their heroic sons, and suggests that already at an early date the theme was (...) the object not merely of passive reception but of an active consciousness. TheEoiai, indeed, saw such unions as an integral part of an earlier and better age, when mortals and immortals were closer:ξυναὶ γὰρ τότε δαῖτες ἔσαν, ξυνοὶ δὲ θόωκοιἀθανάτων τε θεῶν καταθνητοῖς τ' ἀνθρώπων(fr. 1 Μ–W)But it was not to be supposed that such a potentially rich theme would receive a unitary treatment. Already in their first appearances – at least, the first appearances for us – many individual stories are clearly distinguished by their different circumstances. A common variable is the existence, the kind and the degree of difficulty experienced by the woman as a result of the encounter. Polymele, for instance, mother of Eudorus by Hermes atIliad16.179–92, has seemingly no difficulty in leaving her child to be brought up by her father while she goes on to marry a mortal husband. But suffering of some sort is perhaps more usual, and famous sufferers include Cassandra, punished for spurning Apollo's advances; Danae, first imprisoned by her father in a brazen tower to prevent her pregnancy, and then locked in a chest with her baby and set afloat on the waves; and Semele, destroyed when her lover Zeus appeared to her in his true form. Such different experiences could suggest further multiple versions of the same general theme, diverging especially in the consequences of the union (or attempted union) for the mortal partner. Even the same characters could potentially undergo quite different variants of the story; the chief constant is the unfailing popularity of the mythical motif. (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)

Claudia Card had a long and distinguished career as a philosopher that began at a time when being a woman in philosophy was not an easy matter and ended much too soon with her passing in 2015. Starting with her first and still widely-cited article, “On Mercy,” she published ten monographs and edited volumes and nearly 150 articles and reviews on topics in moral, social, and political philosophy. She is is most widely known for her influential work in analytic (...) feminist philosophy and on evil. She was a pioneer in feminist and lesbian philosophy whose trailblazing work has influenced generations of philosophers; and in her 25 articles and two monographs on evil and evils such as rape, domestic violence, child abuse, war, terrorism, and genocide, she proposed a new way of understanding evil that made a profound contribution to philosophical thinking about these topics. This volume brings together eleven of her articles, including seven essays on war, genocide, and evil, and four essays on topics in feminist ethics. In addition, the volume includes nine essays by other authors that explore and expand upon Card’s philosophical legacy. This unique volume combines Card’s own mature voice with the best in recent scholarship on issues central to her own philosophical concerns. (shrink)

This chapter focuses on the golden era and proposes an exercise of creativity whereby we imagine Diana, the Amazon, becoming Wonder Woman in order to overthrow Man's World. Through Wonder Woman's story, we can build a feminist epic that depicts women who fight patriarchy. In the novel Lesbian Peoples: Material for a Dictionary, Wittig and Zeig describe the Amazons as the warriors thanks to whom we have been able to enter the Golden Age, an age without patriarchy or (...) sex differences. Diana, by becoming Wonder Woman and by fighting against heteropatriarchal injustice, leads the war toward the destruction of this dualistic division. The connection between Amazons and Guerrilleres, between two generations of fighters against patriarchy, aims to inspire our sorority and union in this fight against heteronormative, oppressive structures that affect us all, especially women and other subjects with alternative sexual and gender identities. (shrink)

We consider the following signaling game. Nature plays first from the set {1, 2}. Player 1 (the Sender) sees this and plays from the set {A, B}. Player 2 (the Receiver) sees only Player 1’s play and plays from the set {1, 2}. Both players win if Player 2’s play equals Nature’s play and lose otherwise. Players are told whether they have won or lost, and the game is repeated. An urn scheme for learning coordination in this game is as (...) follows. Each node of the desicion tree for Players 1 and 2 contains an urn with balls of two colors for the two possible decisions. Players make decisions by drawing from the appropriate urns. After a win, each ball that was drawn is reinforced by adding another of the same color to the urn. A number of equilibria are possible for this game other than the optimal ones. However, we show that the urn scheme achieves asymptotically optimal coordination. (shrink)

Studys the philosophy of Aristotle, Plato, Descartes, Rousseau, Kant, Hume, Locke, and Hegel and examines their underlying assumptions about women.

In this article I will explore some mythological and ritual aspects related to a pair of trees, the aśvattha and the śamī. In India, since the time of the Vedic culture, these two trees have often been the protagonists of myths and rituals in which they are conceived of as a couple. In various contemporary religious contexts, one finds dendrolatric practices (vanaspatipūjā), which sometimes result in the celebration of actual tree marriages (vr̥kṣa vivāha), whereby trees grow by intertwining with (...) each other. The aśvattha and the śamī, though in today's context separately, are also subject to dendrogamic practices. In particular, the aśvattha is subject to a gender-shift whereby in some contexts, though traditionally regarded as the male tree, it acquires a female role within the couple. This phenomenon finds a parallel in various myths and rituals handed down in the Vedic texts. In fact, the araṇis, that is, the two sticks that were rubbed together during the ritual of lighting the fire, were made from the wood of the two trees. The analysis of the symbolic values linked to the coupling of the two araṇis and the many variants that this motif generated allows us to highlight, on a mythical level, the emergence of a sexuality that is not necessarily heteronormative. These versions, in fact, lead us to reflect on an arboreal nature that alludes to a sexuality that bypasses and transcends the gender binary and accounts for the fluidity found in certain contemporary arboreal ‘marriages. (shrink)

Les fouilles de Pompéi ont permis la découverte d’un vaste ensemble d’inscriptions électorales, les programmata, peintes sur les murs extérieurs des maisons, et par lesquelles un individu, le rogator (ou plusieurs), appelle à voter pour un ou des candidats aux élections locales. Une soixantaine de ces inscriptions comprend le nom d’une femme comme rogator. Qui furent ces femmes? Leur engagement obéissait-il à des modalités particulières? Peut-on déterminer quelles furent leurs raisons pour soutenir ces candidats? Comment expliquer, alors qu’elles n’avaient officiellement (...) aucun rôle politique, qu’elles prirent la parole publiquement pour s’adresser aux électeurs? Enfin, que nous disent en creux ces inscriptions sur les nécessités morales et narratives auxquelles se pliaient les sources littéraires et normatives du début de l’Empire? (shrink)

Twenty-two years after Charles Darwin began to think of character divergence from a common ancestor in his Notebook B, the now famous and iconic branching diagram appeared in the fourth chapter of On the Origin of Species.

An incidental extension of the central domain of argumentation theory with non-classical ways of constructing arguments seems to automatically raise a question that is otherwise rarely posed, namely whether or not it is useful to consider the sex of the arguer. This question is usually posed with regard to argumentation by women in particular. Do women rely more, or differently than men do on non-canonical modes of reasoning stemming from the realm of the emotional, physical and intuitive, instead of the (...) logical? One may simply refer this question to folk-linguistics. One may also take the question seriously, given the findings on women's linguistic behaviour, and for various other reasons that will be explained below.Section 1 sums up the most frequently quoted differences in language use between women and men. This is followed by a non-exhaustive, interdisciplinary review of studies on male/female differences in verbal and written argumentation.Section 2 discusses the role of language and texts in generating and maintaining ideas on gender. These gender messages not only influence the actual argumentation behaviour of women and men, but also the way such behaviour is valued.Section 3 subsequently shows that our ideas on rationality are gendered, and therefore also our ideas on the proper central domain of argumentation theory.Section 4 briefly reflects on why this kind of wrong question about the reasoning of women should sometimes be addressed seriously anyway. (shrink)

What is a woman? And what does it mean to be a feminist today? In her first full-scale engagement with feminist theory since her internationally renowned Sexual/Textual Politics (1985), Toril Moi challenges the dominant trends in contemporary feminist and cultural thought, arguing for a feminism of freedom inspired by Simone de Beauvoir's The Second Sex. Written in a clear and engaging style What is a Woman? brings together two brand new book-length theoretical interventions, Moi's work on Freud and (...) Bourdieu, and her studies of desire and knowledge in literature. In the controversial title-essay, Toril Moi radically rethinks current debates about sex, gender, and the body - challenging the commonly held belief that the sex/gender distinction is fundamental to all feminist theory. Moi rejects every attempt to define masculinity and femininity, including efforts to define femininity as that which 'cannot be defined. In the second new book-length essay, 'I am a Woman', Toril Moi reworks the relationship between the personal and the philosophical, pursuing ways to write theory that do not neglect the claims of the personal. Setting up an encounter between contemporary theory and Simone de Beauvoir, Moi radically rethinks the need, and difficulty, of finding one's own philosophical voice by placing it in new theoretical contexts. A sustained refusal to lay down theoretical or political requirements for femininity, and a powerful argument for a feminism of freedom, What is a Woman? is a deeply original contribution to feminist theory. (shrink)

In Tess of the d’Urbervilles, the innocent Tess is the object of Alec d’Urberville’s dishonorable intentions. Alec uses every wile he can think of to seduce the poor and ignorant Tess, who works keeping hens in his mother’s house: he flatters her, he impresses her with a show of wealth, he gives help to her family to win her gratitude, and he reacts with irritation and indignation when she nonetheless continues to repulse his advances, causing her to feel shame at (...) her own ingratitude and confusion as to what is right. Tess, anchored both by her own sense of virtue and her distrust of Alec’s character, continues to hold out until one fatal night when, through Alec’s machinations, they are lost together in a wood. At Tess’s insistence Alec leaves her to scout out the path home. When he returns, he finds her asleep under a tree. Hardy does not go into detail at this critical juncture. Rather, he reflects “why it was that upon this beautiful feminine tissue, sensitive as gossamer, and practically blank as snow as yet, there should have been traced such a coarse pattern as it was doomed to receive; why so often the coarse appropriates the finer thus, the wrong man the woman, the wrong woman the man, many thousand years of analytical philosophy have failed to explain to our sense of order.”. (shrink)

Lying in bed, the shriveled 86-year-old Australian woman appeared almost bionic. Congestive heart failure had rendered Mrs. A unable to breathe without a ventilator, and her failing kidneys kept her tethered to a dialysis machine 24 hours per day.