In `Secular Womynism: A View From The Left', I introduced and articulated a viable alternative approach to the concept known as `Traditional Womanism'. In so doing, the term `Feminist Womynist Philosopher/ Philosophy were born as an epistemological construct. As a further explication of the definition and praxis of the term, I now offer, Secular Womynism: Part II: An Epistemology…It IS… What It IS!' This article will serve as a more focused prolegomena involving the fiftyeight components of which the term, feminist (...) womynist philosopher is comprised. The aforementioned components constitute the foundation of what will, at some point in the evolution of Womynist Theory, come to be called, `Womynist Ways of Knowing: A Womynist Epistemology', and will serve as the first such concrete claim within the discourse of Womynist thought. (shrink)

In a fifty-two–line interpolation appearing towards the end of many Romance of the Rose manuscripts, the narrator compares the female image over the entry to the tower of Jealousy—the one at which Venus fires her burning arrow—to the head of Medusa. This passage entered the Rose manuscript tradition in the late thirteenth or early fourteenth century, possibly within the lifetime of Jean de Meun; it recurs throughout the fourteenth and fifteenth centuries. A reading of the Medusa interpolation raises (...) the important critical issue of significant variants in a manuscript tradition and the evidence they offer for a medieval reading of the text in question. A close examination of the Medusa passage expands our understanding of the reception of the Rose during the twenty or thirty years immediately following the completion of Jean de Meun's continuation. An inquiry into the relevance of Medusa to the Rose, and in particular to this moment in the Rose, helps us to appreciate something of what the poem may have meant for its first readers. As I will show, the Medusa passage participates in a larger mythographic program extending throughout the conjoined Rose, exploring the nature of feminine sexuality and its effects on men. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Medusa Complex:Matricide and the Fantasy of CastrationJessica Elbert MayockThe theoretical structures of psychoanalysis have excluded the female subject by placing her outside of the Symbolic, and feminist theorists' responses to this problem have been divided. Some theorists (such as Kristeva) accept the notion of an unalterable Lacanian Symbolic, while others (such as Irigaray) maintain that the current Symbolic is a manifestation of male fantasy, and suggest that (...) feminist thinkers explore the possibility of reorganizing the Symbolic. Amber Jacobs, in her recent work On Matricide (2007), takes up this challenge by analyzing matricide in myth in order to reveal matricide as latent content untheorized within psychoanalysis. Jacobs claims that the structure of the Lacanian Symbolic illegitimately asserts the "law of the father" as the only possible law, excluding any possibility of a "law of the mother" by erasing the maternal role in theory and symbolization. Her project, following Irigaray, is to make visible those unconscious contents excluded by the patriarchal imaginary in order to "be able to intervene into psychoanalysis for the purpose of working toward theorization of unconscious structures that are not reducible to the structure of Oedipus alone" (Jacobs 2007, x). If Jacobs's suggestion is correct, then analysis of Freud's evidence for the Oedipus Complex (and its accompanying concepts) will reveal repressed contents and traces of these untheorized unconscious structures—particularly those associated with the maternal body.With these considerations in mind, I take up the Freudian case of Little Hans, where Freud finds his most seminal evidence for castration anxiety [End Page 158] and the Oedipus Complex. I will demonstrate Freud's systematic occlusion of the maternal body through his overvaluation of the male body/the phallus in order to expose the elements of male fantasy that construct the Oedipus Complex. I organize these psychical elements in a configuration called "The Medusa Complex," since Freud uses the image of Medusa to explain his theory of castration. In rereading the details of this case, a powerful male fantasy begins to emerge: the desire to appropriate the female generative power. This is achieved through the theory of castration, which the decapitation of Medusa symbolizes, and the unconscious wish for male parthenogenesis—one product of this wish is the Lacanian Symbolic structure, where only the male principle of the phallus is generative. The Medusa Complex is comprised of the two intertwined male fantasies of female castration and male parthenogenesis, as well as the associated resistances that result from initiation into this paradigm. The theory of castration and the Oedipus Complex are attempts to conceal the powerful maternal body and assert male superiority and dominance.In the case of Little Hans, "Analysis of a Phobia in a Five Year Old Boy" (1909), Little Hans develops a fear of horses (especially biting horses) and is afraid to go out into the street. Hans's treatment is undertaken by his father, a medical doctor, who keeps careful notes and acts under Freud's supervision (mostly via letters). The boy's phobia begins around the time his little sister Hanna is born, as Freud and the father eventually admit, though her role in their narrative is nonexistent.1 They interpret Hans's phobia as a classic Oedipal triangle in which he desires his mother and fears the hostility of his father; his fear is translated into fear of the castrating father. Throughout the case, Freud and the father emphasize the boy's alleged awe of the adult male genital organ. In this paper, I will revisit the case (preserved in careful detail by the boy's father) and systematically return the maternal body to its rightful place within the narrative, shifting both the structure and the meaning of the phobia.I am here reading the case as an example of manifest content—like the surface content of a dream—in order to expose the male desires that create it. The current Symbolic is essentially a dream of the male imaginary, and my method is to reveal the latent content of the dream, especially the fantasies that inform it. Desire is the generating force behind this dream, and until we encounter and understand this desire, it will continue to compulsively... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 43-56 [Access article in PDF] Jack London's Medusa of Truth Per Serritslev Petersen FROM THE VERY START of his literary career, Jack London believed that a good fiction writer must also be a good thinker—that fictional authenticity and integrity must somehow be imbedded in philosophical authenticity and integrity. In his early essay "On the Writer's Philosophy of Life," and in his early letters (...) to Cloudsley Johns, his intellectually "slovenly" friend (who also happened to share his literary ambitions and interests), London insists, again and again, on the proper philosophical foundation of the successful writer. This is how poor Cloudsley, who had previously been told to "get in and systematically ground [himself] in history, economics, biology and the kindred branches" 1 gets browbeaten by his self-appointed mentor and master, a veritable Jack of all trades, in a letter dated March 15, 1900: "To be well fitted for the tragedy of existence (intellectual existence), one must have a working philosophy, a synthesis of things. Have you a synthesis of things? Do you write, and talk, and build upon a foundation which you know is securely laid? Or do you not rather build with a hazy idea of 'to hell with the foundation.'" London then proceeds to catechize his friend on scientific principles such as the indestructibility of Matter, the persistence of Force, and the overall "dynamic principle, true of the metamorphosis of the universe"—principles that Cloudsley is urged to study "carefully and painstakingly" before he can ever claim to have "a firm foundation for [his] philosophy of life" (Letters, pp. 170-71).In London's admittedly heavy-handed ad hominem argument, one recognizes the philosophical sledgehammer of Ernest Everhard, the revolutionary hero of The Iron Heel and one of the fictional exponents of "that cold forbidding philosophy, materialistic monism," 2 which also [End Page 43] served as the scientific foundation of London's own philosophy of life. There are, however, not one, but two components to London's philosophy, which, as I shall argue in this essay, together constitute an essentially dialectical construction, a dynamic juxtaposition of and negotiation with, on the one hand, the "cold forbidding" Medusa of Truth and, on the other hand, the life-enhancing Aphrodite of Romance, the second of which is one of several versions of the vital Maia-Lie (Maia being the Buddhist term for the power that creates or re-creates the world as cosmic illusion).Two points need to be stressed from the outset. First, London's work is implicitly aligned with literary naturalism—the "Zolaistic Movement" of modern American fiction that the genteel writer and editor Thomas Bailey Aldrich famously condemned for its "miasmatic breath" 3 —even though London himself would always qualify his own naturalism by insisting that, artistically, he was "an emotional materialist" (Letters, p. 329), and that his realism was, in the words of Martin Eden, one of his fictional alter egos, "an impassioned realism, shot through with human aspiration and faith." 4 Second, London's work is explicitly aligned with philosophical naturalism (as distinct from supernaturalism)—that is, naturalism as the philosophical or epistemological view that, to quote The Oxford Companion to Philosophy (1995), "everything is natural, i.e. that everything there is belongs to the world of nature, and so can be studied by the methods appropriate for studying that world." In philosophical practice, naturalism and materialism have tended to coalesce, materialism being basically understood as the view that everything is made of matter, which can be studied by the methods of natural science. Like London's philosophical alter ego Ernest Everhard (and also like fictional protagonists such as Wolf Larsen and Martin Eden), London declared himself "a materialistic monist," although, as he admitted to Cloudsley Johns, "there is dam little satisfaction in it." Rhetorically impersonating, as it were, Wolf Larsen, London, in the same letter, asks himself and his correspondent, "what squirming anywhere, damned or otherwise, means anything? That's the question I am always prone to put: What's this chemical ferment called life about? Small wonder that small men... (shrink)

Abstract Street has argued that the meta-ethical realist is faced with a dilemma. Either evolutionary forces have had a distorting influenced on our ability to track moral properties or evolutionary forces influenced our beliefs in the direction of tracking moral properties. Street argues that if the realist accepts the first horn of the dilemma, the realist must accept implausible skepticism regarding moral beliefs. If the realist accepts the second horn of the dilemma, the realist owes an explanation of the fitness (...) producing nature of moral beliefs. As Street establishes the dialectic, the anti-realist’s explanation is better. I will argue that Street’s first horn is question begging then I will grasp the second horn of the dilemma and argue that only the realist can explain the role of moral beliefs in our evolutionary history. My argument will take the form of a dilemma. For our evaluative judgments to be fitness conducive, they must be responsive to the right sort of external world properties. The non-reductive realist can provide such a set of properties. On the first horn of the dilemma, the anti-realist cannot. The realist, unlike the anti-realist, can explain why our evaluative judgments are fitness conducive. The realist has won the explanatory battle. On the second horn of the dilemma, the anti-realist can provide a set of non-normative external world properties that our evaluative attitudes are responsive to. In doing so, the anti-realist has provided the heretofore-missing component of the reductive realist’s project. Again, the realist has won. (shrink)

Reads modern philosophy (and the university) as rooted in an audiocentric fantasy.

This article draws from Adriana Cavarero’s considerations on the role of the body in diverse contemporary modalities of violence. We propose a conceptual path along some ideas from Jacques Lacan, Judith Butler and Kaja Silverman in order to state, on the one hand, an onto-epistemological turn that understands the body as the effect of social norms and, on the other, an ethical and political reflection about the levels of violent exposure that suffer those bodies that are excluded from the cultural (...) frames that make a life livable. The concave mirror—as a possibility for other alternative ways of representing the body—is postulated as an alternative to the hegemonic ways in which the representation operates in the configuration of the body as a totality and unity: those that theory links to the flat mirror. (shrink)

El presente artículo busca presentar consideraciones bioéticas y antropológicas relacionadas con el documentado hecho de la alta pérdida de embriones que ocurre con la aplicación de las tecnologías de reproducción asistida en humanos. Se ilustran datos numéricos disponibles, provenientes del “2013 Assisted Reproductive Technology. National Summary Report” del CDC. Dada la alta pérdida de vidas humanas en estos procesos y los factores de insolidaridad y de ocultamiento del respeto por el derecho a la vida humana sin excepción, se plantea la (...) existencia de una similitud con la trágica situación de los náufragos de la Medusa, clásica obra de Géricault, en los inicios del siglo XIX. Se intenta, además, desde la disciplina de la bioética, llamar la atención sobre la necesidad de una formación de la conciencia crítica en este tema, pues no todo lo factible técnicamente tiene licitud ética a la luz de la razón. (shrink)

Turning animals into art through genetic manipulation poses many questions for how we think about our relationship with other species. Here, I explore three rather disparate sets of issues. First, I ask to what extent the production of such living “artforms” really is as transgressive as advocates claim. Whether or not it counts as radical in terms of art I cannot say: but it is not at all radical, I argue, in terms of how we think about our human place (...) in the world. On the contrary, producing these animals only reinforces our own sense of our importance. The second theme I explore is the extent to which making transgenic organisms for any purposes is radical in terms of complexity. Here, I focus on the idea of complexity as a concept in developmental biology; genetic manipulation may be successful to commercial companies, but it is deeply troubling to many biologists who consider that its deeply entrenched reductionism is enormously problematic. What risks do we run by ignoring nature’s own complexity—and creativity? And—in particular—what risks do we run of damaging or compromising animal welfare? The third theme turns to public perceptions of these new technologies (whether in science or art), and notes the extent of public unease. This unease is not simply a question of public ignorance about the technology, but reflects the enormously rich ways in which we make meanings about animals, and relate to them. These are, I suggest, a far more potent source of creativity than simply moving genes around to make photogenic animals. (shrink)

El feminismo ha conseguido en los últimos años importantes avances hacia la igualdad entre hombres y mujeres en las sociedades occidentales. Y, sin embargo, tanto la misoginia como la ginofobia siguen vigentes, provocando una «deflación de expectativas » entre las mujeres que se incorporan a los mundos de la política, la información, las organizaciones empresariales, el poder económico, el saber, la religión o la creatividad, y se topan con el techo de cristal a pleno funcionamiento. El artículo se centra en (...) las mujeres creadoras para examinar la cólera expresada en el arte feminista como respuesta a la exclusión y defender estrategias feministas de análisis y corrección de desigualdades. (shrink)

O livro Amor pelo avesso: de Afrodite a Medusa. Estética da Existência entre antigos e contemporâneos, de autoria de Cassiana Lopes Stephan, fruto de sua tese em Filosofia apresentada na Universidade Federal do Paraná, é tecido por uma espécie de escrita realizada com o próprio sangue, como diria Nietzsche; em um texto filosófico visceral, de crise e agonia, a autora nos convida a participar de uma discussão sobre as perspectivas ético-políticas das relações amorosas. Tal incursão filosófica se dá desde (...) os antigos, com ênfase no estoicismo e no cinismo, levando-nos à aproximação tanto das reflexões contemporâneas de Michel Foucault, Pierre Hadot, Maurice Blanchot, Jean-Pierre Vernant, Sarah Kofman, Judith Butler, dentre outros, como também da inquietante literatura de Marguerite Duras e de produções cinematográficas baseadas em seus roteiros. (shrink)

O livro Amor pelo avesso: de Afrodite a Medusa. Estética da Existência entre antigos e contemporâneos, de autoria de Cassiana Lopes Stephan, fruto de sua tese em Filosofia apresentada na Universidade Federal do Paraná, é tecido por uma espécie de escrita realizada com o próprio sangue, como diria Nietzsche; em um texto filosófico visceral, de crise e agonia, a autora nos convida a participar de uma discussão sobre as perspectivas ético-políticas das relações amorosas. Tal incursão filosófica se dá desde (...) os antigos, com ênfase no estoicismo e no cinismo, levando-nos à aproximação tanto das reflexões contemporâneas de Michel Foucault, Pierre Hadot, Maurice Blanchot, Jean-Pierre Vernant, Sarah Kofman, Judith Butler, dentre outros, como também da inquietante literatura de Marguerite Duras e de produções cinematográficas baseadas em seus roteiros. (shrink)

No comprehensive theory of development is available yet. Traditionally, we regard the development of animals as a sequence of changes through which an adult multicellular animal is produced, starting from a single cell which is usually a fertilized egg, through increasingly complex stages. However, many phenomena that would not qualify as developmental according to these criteria would nevertheless qualify as developmental in that they imply nontrivial (e.g., non degenerative) changes of form, and/or substantial changes in gene expression. A broad, comparative (...) approach is badly needed. In the Cnidaria, for example, even the boundary between generations is problematic. Describing their life cycle in terms of metagenesis (alternation between polyp generation and medusa generation) or in terms of metamorphosis (polyp as larva or juvenile) are matters of semantics more than biology. The life cycle of other metazoans, described in textbooks in terms of larva-to-adult metamorphosis, is hardly different from a typical metagenetic life cycle of cnidarians. This applies to holometabolous insects and to marine invertebrates like sea urchins, where most of the larval cells are discarded at metamorphosis. The uncertain temporal and spatial boundaries of individual development are also shown by the widespread lack of a strict correspondence between adult and mature. A comprehensive theory of development should start with a zero principle of “developmental inertia,” corresponding to an indeterminate local self-perpetuation of cell-level dynamics. Indeterminate growth, scale-invariance, segmentation, and regeneration provide examples of developmental dynamics close to that. (shrink)

Words like "terrorism" and "war" no longer encompass the scope of contemporary violence. With this explosive book, Adriana Cavarero, one of the world's most provocative feminist theorists and political philosophers, effectively renders such terms obsolete. She introduces a new word—"horrorism"—to capture the experience of violence. Unlike terror, horrorism is a form of violation grounded in the offense of disfiguration and massacre. Numerous outbursts of violence fall within Cavarero's category of horrorism, especially when the phenomenology of violence is considered from the (...) perspective of the victim rather than that of the warrior. Cavarero locates horrorism in the philosophical, political, literary, and artistic representations of defenseless and vulnerable victims. She considers both terror and horror on the battlefields of the _Iliad_, in the decapitation of Medusa, and in the murder of Medea's children. In the modern arena, she forges a link between horror, extermination, and massacre, especially the Nazi death camps, and revisits the work of Primo Levi, Hannah Arendt's thesis on totalitarianism, and Arendt's debate with Georges Bataille on the estheticization of violence and cruelty. In applying the horroristic paradigm to the current phenomena of suicide bombers, torturers, and hypertechnological warfare, Cavarero integrates Susan Sontag's views on photography and the eroticization of horror, as well as ideas on violence and the state advanced by Thomas Hobbes and Carl Schmitt. Through her searing analysis, Caverero proves that violence against the helpless claims a specific vocabulary, one that has been known for millennia, and not just to the Western tradition. Where common language fails to form a picture of atrocity, horrorism paints a brilliant portrait of its vivid reality. (shrink)

To understand Lacan’s thinking process on vision, the entirety of his teaching must be taken into consideration. Until the 60s, the visual field is the imaginary, the constitutive principle of reality in its phenomenal giving to the experience of a subject. This register is the opposite of the field of the word with the L schema and, subsequently, as subordinated to the symbolic system according to the model of the optical schema of the inverted flower vase of Bouasse. It is (...) only with the 1964 seminar that Lacan makes a daring turnaround through which the visual becomes a sign of the emergence of a real that is irreducible to both reality and the mediation of the subject of knowledge. The split that separates reality and the real is reproduced in Lacan within the visual field, which is, on the one hand, the cardinal principle of the consistency of the experience of reality, and on the other, it is an element of irreducibility to reality. This produces a cascade of consequences: first of all, the modification of the presentation of the mirror stage. Unlike the voice, which through prosody, tone, and volume, finds some strips with which anchor itself imaginatively to reality, the gaze, invisible and elusive, escapes the imaginary grasp. Captured in myths, it reveals its power and ability to annihilate—as in the myth of Medusa’s gaze—or to make people fall in love but only with a narcissistic love that leads inexorably to death as in the myth of Narcissus. The gaze is elusive because the subject is dependent on it in the field of desire. Like the voice, it is about the desire on which the subject is supported; it is one of the objects on which the phantom depends. In our opinion, thanks to this characteristic, the gaze object can make remote psychoanalytic treatment possible through easily accessible videoconferencing tools and, at the same time, create new conditions within it that should be carefully evaluated to understand its implications in the session itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Das Medusenhaupt der Kritik, Kantstudien Ergänzungshefte by Manfred GawlinaHenry E. AllisonManfred Gawlina. Das Medusenhaupt der Kritik, Kantstudien Ergänzungshefte 128. Berlin-New York: Walter de Gruyter, 1996. Pp. ix + 345.This work is the first full scale study of the controversy between Kant and the Wolffian philosopher Johann August Eberhard. The controversy was launched by Eberhard’s publication in 1788 of the first part of the first volume of the Philosophisches (...) Magazin, a journal which he and a handful of associates created specifically as an organ for attacking the Kantian philosophy from the standpoint of Leibniz and Wolff. The central claim was that whatever is true in the Kantian philosophy is already contained in Leibniz, and where Kant differs from Leibniz (such as in the denial of knowledge of things in themselves or “true things”) he goes astray. Kant reacted strongly to this [End Page 632] critique, first in a pair of letters to Reinhold (May 12 and 19, 1789) and then in his own published response, with the sarcastic title: Über eine Entdeckung. nach der alle neue Kritik der reinen Vernunft durch eine ältere entbehrlich gemacht werden soll1 From Eberhard’s side the controversy continued through three more volumes of the Philosophisches Magazin (1790–92), and two volumes of its successor, Philosophisches Archiv (1792–95). Although Kant himself did not respond directly to these subsequent attacks, he contributed material to Johann Schulz for his review of the second volume of the Philosophisches Magazin.Gawlina analyzes the controversy at both the pragmatic and philosophical levels. The former includes a consideration of the motivations of the protagonists and the various strategies and tactics adopted in an attempt to convince the philosophical public of the correctness of their respective positions. Eberhard, for his part, was particularly concerned with the threat which the Critique, which Kant himself describes as the “Medusa head” (hence the title), posed to the survival of Leibnizian-style metaphysics, while Kant’s primary concern was with the misrepresentation of his own philosophy that he saw in Eberhard’s attack. At the philosophical level, the controversy is presented as a clash between two conflicting and ultimately irreconcilable philosophical paradigms: the first being the ontological orientation of Leibniz (defended by Eberhard) according to which pure (contradiction-free) thought mirrors being (this entails that logic has ontological significance), and the epistemological-transcendental orientation of Kant, according to which the fundamental questions concern the conditions of human knowledge and the justification of its claims. The author is well aware that there are epistemological elements in Leibniz and ontological ones in Kant (most notably the claims about space and time in the Transcendental Aesthetic), but he argues persuasively that these are grounded in the philosopher’s respective ontological and epistemological standpoints.This general thesis serves to illuminate virtually all of the main points of the controversy, including the question of why Eberhard refuses to admit either the significance or novelty of the analytic-synthetic distinction, while Kant insists on both. Of particular interest in this regard is the author’s discussion of the distinction between Schranken (limits) and Grenzen (boundaries), which Kant himself draws in the Prolegomena (§58). This distinction becomes relevant to the controversy because of Eberhard’s frequent appeal to the fact that Leibniz recognizes the Schranken of human knowledge as part of his attempt to show that Leibniz anticipated Kant in providing a “critique of pure reason.” As Gawlina notes, however, the limits of knowledge, as understood by Leibniz, are merely de facto constraints on the extent to which finite minds are capable of grasping things from the eternalistic perspective of God, whereas the boundaries insisted on by Kant are principled restrictions, grounded in the positive conditions of the possibility of cognition for finite knowers. [End Page 633]Although Gawlina thus clearly indicates the ways in which Eberhard misunderstood and misrepresented Kant’s position, he refuses to declare Kant the victor in the controversy. This is partly on historical and partly on philosophical grounds. Historically, the reason is that in spite of all of its limitations, Eberhard’s critique of Kant did succeed in raising questions among Kant’s followers regarding the coherence of the... (shrink)

Not understanding that doing nothing can be much more preferable to doing something potentially harmful. Recent developments in cognitive science have highlighted the power that stories, metaphors, and archetypes have on human thinking. In fact, to a large extent they are our thinking. Consider the archetypal image of the young adult male hero. He is brave, active, adventurous, innovative, knowledgeable, clever, confident, independent, in control, and not constrained by family, tradition, or public opinion. He is a character that appears in (...) myths, in histories of conquest and discovery—from Odysseus to the Medusa-slayer, the.. (shrink)

This essay is an interpretation of Nietzsche’s enigmatic idea of the Eternal Return of the Same in the context of his life rather than of his philosophy. Nietzsche never explained his ‘abysmal thought’ and referred to it directly only in a few passages of his published writings, but numerous interpretations have been made in secondary literature. None of these, however, has examined the significance of this thought for Nietzsche, the man. The idea belongs to a moment of ecstasy which Nietzsche (...) experienced during the summer of 1881 in Sils-Maria, in the Swiss Alps. Like Dante, in ‘the middle of life’, he walked down the wooded Alpine slope and entered his own Inferno. On the anniversary of long-buried loss and pain, his psyche was temporarily flooded by archetypal imagery. This event is interpreted in the light of Freud’s theory of repetition compulsion, the uncanny, and the oedipal confrontation with the unconscious. From the turbulent and frightful experience, a symbol of transfiguration emerged in the shape of Eternal Return. Its likeness to Mandala, a Jungian archetype of wholeness and the self, is striking. In the years that followed, Nietzsche produced his greatest works that assured him an unassailable place in Western philosophy. And yet, there was something disturbing about this dream-thought, and Nietzsche shuddered at any mention of the thought. Linking it with the head of Medusa in his unpublished notes, he hinted at its petrifying quality. The beguiling beauty of Medusa makes her an ambiguous symbol of exhilaration, as well as terror. Under her captivating gaze, a hero’s journey towards selfhood becomes a journey into the night of madness. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work--_the power of horror_--and the potential for the face to provide an experience of the sacred. Kristeva considers (...) the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon (a holy relic in which the face of a saint appears on a piece of cloth); the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

In this paper I address what Arendt called the “problem of the new”, or, as Castoriadis put it, the problem of how to make the new “the object of our praxis”. I argue that the problem of the new requires thinking about receptivity in a new way, making it normatively and epistemically prior to creativity. I illuminate my new approach to receptivity through detailed engagement with Russell Hoban’s brilliant novel, The Medusa Frequency.

Various elements suggest that not only Medusa’s beheading, but also her metamorphosis is present on the parade shield that Caravaggio painted in 1597-1598 and that his patron, Cardinal del Monte, offered to the Grand Duke of Tuscany, Ferdinando de’ Medici. Scholars have recently insisted that the famous rotella shares many features with an engraving by Cornelis Cort, now attributed to Antonio Salamanca, a possible copy of a lost work by Leonardo. Interestingly, this engraving comes with a description of (...) class='Hi'>Medusa’s metamorphosis, taken from a passage of Boccaccio’s Genealogy of the Pagan Gods where the Ovidian myth is associated with the legend of the beautiful queen Medusa. Indeed, the Cort-Salamanca’s print shows the metamorphosis in progress: a terrified woman transforming into a monstrous hybrid of humanity and bestiality. While emphasizing the Gorgone’s double nature, Caravaggio pushes her representation in an even more naturalistic direction. Such a naturalization of Medusa, who seems to have lost even her petrifying power, fits with the apotropaic function of the shield as it is exposed in contemporary descriptions of the Grand Duke’s rotella and symbolical interpretations of the gorgoneion. (shrink)

Cells in the basal metazoan phylum Cnidaria are characterized by remarkable plasticity in their differentiation capacity. The mechanism controlling asymmetric cell divisions is not understood in cnidarians or in any other animal group. PIWI proteins recently have been shown to be involved in maintaining the self‐renewal capacity of stem cells in organisms as diverse as ciliates, flies, worms and mammals. Seipel et al.1 find that, in the cnidarian Podocoryne carnea, the Piwi homolog Cniwi is transcriptionally upregulated when the polyp generates (...) buds, which will develop into medusae. Since transdifferentiation of striated muscle cells to smooth muscle cells also activated Cniwi expression, Cniwi appears to play a crucial role in differentiation events. The discovery should facilitate elucidation of the poorly understood factors that control asymmetric cell divisions at the beginning of animal evolution. BioEssays 26:929–931, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

Jane Campion’s work regularly revolves around women’s often complex relationship with socio-cultural discourses and their articulation in language, whether in familial and institutional structures or in cultural and creative practice. In this sense, Campion’s filmmaking continues a feminist tradition of exploration regarding female subjectivity, identity and desire as it is represented in language (cinematic or otherwise). In the Cut (2003), adapted from Susanna Moore’s novel of the same name, again places language and the (dis)articulation of the female voice at its (...) heart: the renewal of which is positioned within the film as crucial to women’s survival. In taking its cue from Hélène Cixous’s ‘The Laugh of the Medusa’ (1976) and later writings such as ‘Castration or Decapitation?' (1981) and ‘Coming to Writing' (1991), this article frames its discussion of Campion’s interrogation of ‘Woman’s’ attempts at the articulation of the self as an exemplar (in both theme and form) of Cixousian strategies. The article will argue that techniques such as a cinematic écriture feminine, and the appropriation and adaptation of the language of Hollywood genre film, form part of Campion’s feminist inquiry into the discourses and legacies of a phallogocentric patriarchal culture which traditionally delimit Woman as a ‘speaking’ subject. In this way, In the Cut exposes the tensions between what Cixous calls the ‘Absolute Woman’ of culture (the aphonic hysteric) and attempts towards agency, thus challenging phallogocentric representations of women. In using these strategies, Campion’s adaptation creates a polyphonic artefact which not only revises Moore’s novel but also re-visits (in order to reclaim) female articulation; re-writing phallogocentric claims to agency and subjectivity, imagining women's ‘survival’ through language. In this sense, then, adaptation itself can be thought of as a feminist act of subversion. (shrink)

An introduction to the paragone -- The archetype of beauty : Narcissus and the birth of the beau idéal -- Pygmalion and Galatea : the battle between iconophobes and iconodules -- Salomé versus Medusa.

The story of Medea has exerted a powerful influence on creative artists since the time of Euripides. It is a tale that has been told in many ways and in several genres. This article offers a discussion of Christa Wolf's 1996 novel, Medea.Stimmen (Medea. Voices), a modern retelling through the voices, and conflicting perspectives, of the major characters involved with Medea, including Jason, Agameda, Akamas, Leukon, Glauce and Medea herself.Medea's role within feminist literary reception and women's literature cannot be overlooked (...) because of the crucial archetype she represents. One task of Feminist criticism has been to expose, deconstruct and rectify prevalent male (mis) interpretations of female archetypes, such as Medea, Medusa and others, and the patriarchal distortions they introduced through 3 000 years of male literature. In the patriarchal realm, Medea represents the Witch, the black Sorceress, and the archetype of the Negative Mother. These negative interpretations or archetypes may be attributed to misogynist perceptions of Medea as the vilest of women, because she committed the most despicable of all crimes — killing her children, the patriarchy's heirs — to take revenge on Jason, the husband who abandons her in Corinth (her place of exile) to marry Glauce, King Creon of Corinth's daughter, for reasons of political expedience.As a writer with her roots in the former East-German regime, Wolf perceives the Medea story as an account of a woman with both extraordinary powers and human shortcomings, who is misunderstood by the Colchians and the Corinthians alike. Wolf explores the distorted patriarchal motives for their loathing of Medea and Medea's ultimate powerlessness to do anything more than accept her tragic destiny. In doing so, Wolf does not attempt to manipulate the Medea story to suit the one-sidedness of some more radical feminist ideologies. (shrink)

The present study aims to investigate the psychological mechanisms beneath the change in the facial expression of some of the beheaded characters in Caravaggio’s works, starting from The Head of Medusa, from the artist’s youth, and reaching David with the Head of Goliath, a mature workpiece, searching the continuity between them through a series of self-portraits/ self-insertions of the artist in his work. The psychodynamic analysis is limited by the constitution of its practice to the study of the process (...) of image production and the artistic imaginary, rather than to the investigation of man or the artist out of reach by means of figurative and symbolic language. This approach aims to highlight the drives of the unconscious, the structures of censorship and the technique of operating of the defensive mechanisms that ultimately could contribute to the production of such masterful images that are both seductive and confusing. The study incorporates and continues the contribution of authors such as Leo Bersani and Ulysse Dutoit who applied Laplanche’s theory of generalized seduction theory in the analysis of Caravaggio’s works, but also the mirror stage of Lacan and the masterful study of Winnicott regarding the reflection of the baby in the mimics of his mother, an unconscious unclear image that will stand forever for the perception of the self. The change of the affective resonance, expressiveness and emotional relating to violence is natural in the course of human evolution. While not even the artist Caravaggio can elude it, his work can illustrate by deflection these transforma­tions of the dynamics of the mind, it can raise new questions and open new perspectives of understanding the artistic drive. (shrink)

A narrativa da existência feminina ao longo do tempo foi sendo traçada, majoritariamente, por mãos masculinas. Entretanto, é necessário que elas sejam as autoras e não meras personagens representadas segundo uma visão do outro. Virgínia Woolf em _Um Teto Todo Seu_ e Hélène Cixous em _O Riso da Medusa_, fazem uma espécie de chamado para que as mulheres reconquistem o protagonismo de sua narrativa. Sendo uma das várias expressões, a Literatura permitiu essa autonomia. Reforça sua (geo)experiência. O _I Colóquio Palavra-mulher: (...) de uma escrita feita por mulheres_ realizado no Centro de Humanidades da Universidade Estadual do Ceará – UECE em 2022 proporcionou uma imersão literária feminina em evidência: mulheres, em sua maioria da periferia da cidade de Fortaleza – CE, que produzem uma literatura fora do cânone repleta de geografias e uma reafirmação de si enquanto mulheres. Entre as várias convidadas do evento, a coletiva BaRRósas poesia, através de sua mais recente coletânea de poesias _baRRósas: memória e poesia_ (2021) permitiu ir a fundo em uma escrita contemporânea feminina. Trazer essas mulheres, seus corpos e sua escrita é mostrar que podemos chegar até elas e dar espaço para as suas (geo)experiências. (shrink)

Hélène Cixous is perhaps best known for her paper, ‘The Laugh of the Medusa’ (1976) and her literary contributions outside academia. In this paper, we pick up a lesser known Cixous text, ‘Le Sexe ou la tête?’ that offers an interesting and provocative perspective on the traps associated with being feminine in a masculine environment. As we converse with Cixous, weaving our own words and experiences with hers, we link her work more closely with the feminine in modern-day academia. (...) We suggest that Cixous’s remarks on decapitation and voice offer a way forward for academic women to be; to speak; to recognise the double jeopardy of decapitation in the university; and to use laughter as a strategic, powerful, political act of resistance and subversion against oppressive masculine power structures. We draw on and seek to enact Cixous’s notion of écriture feminine—a disruptive style of writing that provides a mode of being, speaking, and writing that subverts the power of masculine norms in order to be heard and to bring possibilities for change. (shrink)

Starting from two paintings by Salvador Dalì (The Enigma of William Tell and Autumnal Cannibalism), the article explores Sigmund Freud and Carl Gustav Jung’s idea of erotic cannibalism. The fear of being eaten is an archetype of the collective unconscious, as fairy tales clearly reveal. Following Jacques Derrida’s reflections, the author suggests that the fear of being eaten is not limited to anthropophagic cultures, because there is a sort of symbolic cannibalism which has to do with the capacity for annihilation. (...) The petrifying gaze of Medusa, described by Jean Paul Sartre, is a good example of this symbolic cannibalism. On the opposite side of the spectrum, compared to the petrifying gaze, we find the recognizing look of a mother toward her child. For the child, the mother embodies the good subject, which is reassuring and nonthreatening (the fairy who stands in contrast to the devouring ogre in fairy tales). Sara Ruddick explicitly refers to this motherhood model in her book Maternal Thinking, where she lays out the methodology for the ethics of care. The maternal, or recognizing gaze, as the opposite of Medusa’s gaze portrayed by Sartre, is well described in a compelling text by the Italian novelist Luigi Pirandello. At the same time, it plays an important role in Georg Wilhelm Friedrich Hegel’s The Phenomenology of the Spirit. Finally, the article returns to Salvador Dalì, showing how in his life, the artist experienced the Other’s gaze in both forms: the objectifying one, represented by the artist’s father (portrayed in The Enigma of William Tell), and the recognizing one, embodied by his partner Gala (portrayed in Autumnal Cannibalism). (shrink)