Feminist philosophers and social theorists have engaged in an extensive critique of the project of modernity during the past three decades. However, many feminists seem to assume that the critique of religion essential to this project remains valid. Radical criticism of religion in the European tradition presupposes a theory of religion that is highly ethnocentric, and Marx's theory of religion serves as a case in point.

A number of sociologists have identified the emergence of a ‘new paradigm’ of health, based on the principle that the National Health Service should seek to prevent ill-health rather than simply treat the sick. The sociology of health promotion that has emerged over the past 15 years has contributed to debates about risk, lifestyle and consumerism, but the gendered nature of what some refer to as the ‘new morality of health’, and in particular its urging of feminine attributes, has largely (...) been neglected. This article provides a critical examination of the ‘new paradigm’ of health and its relationship to femininity. I suggest that femininity involves a certain attitude to the body that we also find in current health policy, and cultural representations of health more generally: that the body is essentially uncontrollable (yet something we should seek to control, as a matter of virtue), that it is a good in and of itself, and that it is synonymous with the self. (shrink)

This article is concerned with Jeanette Winterson's use and reworking of post-modern concepts of the body in her novel Written on the Body. Feminist appropriations of those concepts can be problematic: they tend to focus on the way in which a coherent body image is constructed and then imposed on the body parts, whereas many feminist theorists continue to emphasize the wholeness and integrity of the female body. Written on the Body offers constructive ways of theorizing the female body within (...) a postmodern framework, because it is shaped by concepts of wholeness and fragmentation at the same time. Winterson develops a critique of androcentric science and medicine that strives to know the female body by dissecting it, analogous to the way modern society compartmentalizes human lives into neat manageable units. Against this, a concept of wholeness is strategically employed. Likewise, Winterson criticizes the equation of the female body with a penetrable surface. The androcentric concept of sexuality that associates penetration with the exploration of hidden depths and the achievement of power and knowledge is unmasked as necrophiliac. However, by constructing a lover/narrator whose gender remains undeclared, Winterson manages to unsettle perceptions of gendered difference. The text produces different meanings depending on whether the narrator is read as a man or a woman, and sexuality requires a basic human sameness from which a host of differences emerge that may or may not be gendered. In Written on the Body, Winterson disturbs fixed boundaries and rigidly gendered identities that objectify the body in order to build up a concept of the body that is fluid and leaves room for changes and mergings with other bodies, where bodies are held together not by a stable body image and a gendered identity, but by forces of connection and interaction between parts of the body. (shrink)

La comparaison des portraits à l’huile réalisés par Romaine Brooks dans les années 20 et les photographies de Claude Cahun et sa partenaire Marcel Moore de la même époque rend visible les positions idéologiques conflictuelles que ces women of vision défendirent dans les milieux artistique et politique où les débats sur la femme moderne se sont élaborés.

This article examines the limitations associated with Irigaray’s concept of a culture of difference. I suggest that her concept of sexual difference depends upon a conservative fiction of sameness. I argue that a fiction of phallic sameness underpins her evangelical championing of difference, and that such a fiction retains a conservative blindness to the complexities of contemporary social relations and erases the positive effects oppositional discourses have had on the culture of modernity. I question the debt Irigaray disavows to other (...) non-difference feminism, her insistence that woman are radically marginalized and suggest that her culture of difference is prescriptive and normative. Egalitarian feminism, understood as a postmodern project, is far more strategic, insofar as it offers a multiply-situated analysis of the relationship between women and power within modernity. I replace Irigaray’s negative image of the egalitarian feminist as an unnatural woman with the figure of the cyborg who embraces ontological impurity and strategically works within culture. (shrink)