This article is about the future of sociology, as transformations in the digital and biological sciences lay claim to the discipline’s jurisdictional hold over ‘the social’. Rather than analyse the specifics of these transformations, however, the focus of the article is on how a narrative of methodological crisis is sustained in sociology, and on how such a narrative conjures very particular disciplinary futures. Through a close reading of key texts, the article makes two claims: (1) that a surprisingly conventional urge (...) towards disciplinary reproduction often animates accounts of sociology’s crisis; (2) that, even more surprisingly, these same accounts are often haunted by a hidden metaphorical architecture centred on biology, vitality, vigour and life. The central gambit of the article is that, perhaps in spite of itself, this subterranean image of life actually hints at less reproductively conventional ways of understanding – and intervening in – sociology’s methodological ‘crisis’. Drawing, empirically, on the author’s recent work on urban stress and, theoretically, on Stefan Helmreich’s (2011, 2016) account of ‘limit biologies’, the articles ends with a call for a ‘limit sociology’ – a form of attention that could, similarly, expand rather than contract the present moment of transformation. At the heart of the article is a hope that thinking with such a limit may help sociologists to imagine a less deadening future than that on offer from a canonised discipline cathected by endless crisis-talk. (shrink)

Current critical pedagogical scholarship has theorized the epistemological and social intersection between globalization and educational technology according to two distinct positions. For some, this intersection offers new liberatory knowledges and opportunities that can subvert social homogenization and economic disparity. For others, this relationship is just another phase of neoimperialism that should be politically and ideologically resisted. In contrast, we argue that the intersection between globalization and educational technologies is rather a manifestation of larger economic and logical forces, and that resistance (...) to such circumstances can neither be purely ideological or social. Instead, we contend that such a theoretical and pedagogical foreclosure dialectically actualizes conditions for real change—particularly when it complicates educational research technologies and their impact on epistemological multiplicity. (shrink)

Prompted by what is seen as a missing analysis in the discussions about passion and affect in education, this essay attempts to clarify and provide a context for understanding the contribution of Foucault in the discourse of passion. In particular, the author traces the politics of passion in Foucault's work. A ‘politics of passion’ is the analysis that challenges the cultural and historical emotional rules with respect to what passion is, how it is expressed, who gets to express it and (...) under what circumstances. It is argued that a discussion of Foucault's ideas on passion provides a way of sharpening and clarifying his politics on affect, particularly what is relevant to individual and collective emotional control in education. (shrink)

This paper is concerned with the competing and complimentary relationships between intersubjectivity and discursive logic. It contends that the ultimate failure of Husserlian phenomenology is a testament to the dilemma of subjectivist philosophy. Indeed, political philosophy requires a paradigm-shift from subjectivity to intersubjectivity. With this in mind, this paper examines the classical encounter between morality and ethical life in connection with discursive ethics. While it argues that Habermas still retains a strong residue of subjectivist philosophy, it attempts to clarify the (...) discursive analysis of Foucault and probes into its applicability to practical philosophy. (shrink)

Modern aesthetics in its early phase was “consciousness aesthetics” which upheld spirit but obviated body, hence offered demonstration for the priority of refined art as well as elite culture. In its later period, modern aesthetics converted into “somaesthetics” which, at the same time when it affirmed the identity of consciousness and body, laid particular stress on body, hence offered basis for the reasonableness of popular art as well as mass culture. Thus consciousness aesthetics and somaesthetics have their respective reasonableness and (...) limitation. We should transcend the opposition between them, acknowledging the spirit aspect of aesthetics as well as the body aspect of it and affirming the dominant position of spirit, so as to establish a modern aesthetics characterized by body-mind integration. (shrink)

Following postmodernism, post-colonialism reflects modernity from a new perspective-the cultural perspective. Post-colonialism interprets colonialism contained in modernity, deconstructs orientalism and cultural hegemonism, and turns western reflection of modernity into an inquiry about the global relationship between the East and the West. Post-colonialism brings forward a new theoretical domain, that is, the colonizational relationship between the East and the West in the process of modernization. This interpretation expresses a strong tendency of anti-western centrality and shares some ideas with Marxism. This article (...) discusses the essence, characteristics, and limitation of post-colonialism from the viewpoint of Marxism, expecting to further the study of post-colonialism and its relationship with Marxism. (shrink)

This article explores some current transformations of the social. It argues for a shift from a model of sociality based on community towards a network sociality. This shift is particularly visible in urban spaces and in the cultural industries. However, it seems to become paradigmatic more widely of the information society. The article is to be read as a cultural hypothesis. In the first part I introduce some examples that document the rise of a network sociality. Most of these examples (...) are drawn from a two-year ethnographic study of London's new media. The second part consists of a critique of some theoretical accounts of contemporary transformations of sociality. The third part is an attempt to outline the concept of network sociality. It is a form of sociality that is ephemeral but intense, it is informational and technological, it combines work and play, it is disembedded and generic, and it emerges in the context of individualization. (shrink)

This article groups the rhetoric of hate on the Internet into five generic categories. Although continuous with its ancestral form, we argue that in its discontinuity this cyberspace variant is uniquely harmful to children because of its diffuse textuality, anonymity, and potential for immersive, user-interactivity. This unique postmodern grammar compels us to confront the sacrosanct premises of our paradoxical ethic of tolerance. We conclude that a postmodern ethic that features accountability can be derived by augmenting our conception of critical praxis.

In the last decade, a number of studies have been published relating the in media highlighted problems of the Swedish school to the cluster of reforms launched around 1990. It has been pointed out that, e.g., the municipalization of the school, the introduction of a management by objectives as well as an educational system structured by a voucher model, all carried out in the years around 1990, substantially have contributed to the current problems in Swedish schools. As has been shown (...) in a number of studies, the ideas permeating the reforms are not specific to the educational sector, but can be related to other societal reforms aiming at increasing decentralization as well as a further market orientation. (shrink)

Journal of Philosophy of Education, EarlyView.

In his Ghosts of My Life, Mark Fisher argues that in the 21st century Western culture is in a state of stasis, which ‘has been buried, interred behind a superficial frenzy of “newness”, of perpetual movement’. To substantiate this claim Fisher contrasts contemporary pop music, particularly that with a ‘classic’ sound – such as recordings by Adele, Amy Winehouse and Arctic Monkeys – with the pop of the 1970s and ‘80s, the ‘mutations’ of which enabled listeners of his generation to (...) ‘measure the passage of cultural time’, concluding that today it is ‘the very sense of future shock which has disappeared from’ music and from culture generally. In this paper I apply Fisher’s observations to science fiction cinema focusing, on three recent time travel movies – Sound of My Voice, Looper and About Time – and arguing that only the first can truly be considered science fiction, even though its relationship to the genre is the most problematic, since it may not involve time travel at all, and that the others, where time travel is used unambiguously, are instead exercises in what I term ‘genre-splicing’ – the introduction of elements of one type of narrative to another – a process which, like the ‘classic’ pop sound, is an indication of the lack of a sense of the future in current Western culture. A key element of Sound of My Voice is the promise of a future in which the culture industry has been replaced by an authentic folk culture; while this may appear merely a nostalgic fantasy, also identifiable in Looper’s fetishism of aspects of the Old West and the use of ‘nu-folk’ on About Time’s soundtrack, I argue, drawing on Walter Benjamin’s writings on nostalgia, that the Sound of My Voice’s representation of a ‘folk future’ is not an escapist fantasy but, like the uncertainty of the film’s generic status, a provocation, which asks us to reconsider our relationship both to contemporary capitalism and to the future which can be made to happen. (shrink)

Somewhere between use and mere whim there is a place for the expressivity of affect as a concept. This paper raises the question of how the concept of affect might be mobilized without reducing its expressions to the logic of work. We suggest that the very attempt to put affect to work in order to solve pressing problems may be symptomatic of an anxiety to master the events of the world. With this in mind, we make a case for the (...) importance of Georges Bataille's critique of an instrumentalist form of thinking, which reduces events to objects of human sensemaking. Bataille's “general economy” opens onto all that the restricted economy of use negates; namely, that which exceeds our efforts as humans to make sense of, and thus appropriate, events. Ultimately, Bataille's antihumanist thought limits the potential of the gift economy, by rendering it the negative of the social order. We argue that a more posthumanist thought can realize the immanent potential of affect and apprehend its gift to thinking. (shrink)

Argument, in any full sense of the word, needs resources and assumptions that postmodernism does not provide. Postmodernism is not a phenomenon that emerged ‘after modernism,’ as it were, to replace it; postmodernism is just an ultimate expression of the nihilistic tendencies of modernism, tendencies which were present from its beginning and have continued to the present. A radical critique of modernism undercuts postmodernism as well and clears the way for a revival of realist foundations for argument and rhetoric.

The field of political psychology, like the social sciences more generally, is being challenged. New theoretical direction is being demanded from within and a greater epistemological sophistication and ethical relevance is being demanded from without. In response, an outline for a reconstructed political psychology is offered here. To begin, a theoretical framework for a truly integrative political psychology is sketched. In the attempt to transcend the reductionist quality of cross-disciplinary or multidisciplinary inquiry, the theoretical approach offered here emphasizes the dually (...) structured quality of social life as the singular product of both organizing social structures and defining discourse communities on the one hand and motivated, thinking individuals on the other. To further this theoretical effort, meta-theoretical considerations are addressed. The modernist-postmodernist debate regarding the status of truth and value is used as a point of departure for constructing the epistemological foundation for political psychology. In this light, structural pragmatic guidelines for theory construction, empirical research and normative inquiry are presented. While the focus remains on political psychology in particular, it is assumed that the criticisms of present research and the suggestions for future inquiry apply to the social sciences more generally. (shrink)

Akrasia is a philosophical concept meaning the possibility to perform actions against one's best judgement. This contribution aims to clarify this phenomenon in terms of a social construction, stating it as a narrative configuration generated by an observer. The latter finds himself engaged in justifying a “problematic” line of action with regard to specific cultural beliefs referring to the self, the others and the behaviour. This paper intends to make explicit the assumptions underlying the traditional definitions of akrasia when, paradoxically, (...) an agent performs an action not in accordance with his/her best judgement. In the transition from modern to post-modern psychology, we here propose an interpretation of the phenomenon in psychological terms, envisaging akrasia as a narrative form functional to the identity processes and to the social dynamics of the structures of contemporary societies. Implications in the psychological practice will be taken into account. (shrink)

This intervention concerns the different statute of abstraction in Marx's work. By means of a critical confrontation with Chris Arthur's work, Finelli presents his thesis of the presence of a double theory and fuction of abstraction in Marx's work. In the early Marx, until the German Ideology, abstraction is, in accordance with the traditional meaning of this term, a product of the mind, an unreal spectre. More exactly, it consists in negating the common essence belonging to labouring humanity and projecting (...) it, as alienated universal, into the idea of philosophy, into the state of politics and into the money of the market. In the later Marx, the nature of abstraction is, rather than mental, practical. It is directly related to the quantity without quality of capitalist labour, and it is the product of the systemic connection of machines to labour-power. In contrast to Arthur, Finelli maintains that practical abstraction in the Marx of Capital is not located in the zone of exchange and the market, where there is the mediation of money. On the contrary, it is located in the zone of production, which, for Marx, is a social ensemble not mediated by money but by relations of technological domination. (shrink)

Conceptions of Geist (mind/spirit) associated with German Romanticism shaped ideologies of national folk, not only in Europe but elsewhere in the world. In Meiji Japan (1868hidden essencespirit” in Meiji Japan and to a critique of present-day exclusionary ideologies of Japanese spirit and identity.

"I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulderof Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. Allthose… moments will be lost… in time. Like… tears… in rain. Time… to die." . With these lines Roy testifies to his memories and to his death, a death that has, in a sense,already taken place, and one that is, by definition, prohibited. While one cannotexperience one’s own death, death is not strictly a limit (...) on the ‘other side’; it comes to usfrom the grave, haunting our lives here and now. If there is a being-towards-death, there isa death-towards-being, and in this interminable aporia, Roy, the ‘replicant’, testifies toDeckard, the ‘human’ – who might himself be a replicant. Roy gives his memories, and doesnot ask for return. He gives, he dies. And he has become immortal, `tears in rain’ havingbecome the film’s signature to which the fans continue to countersign,attesting to Roy’s testimony. Between the signature and countersignature there is aresonance and an affiliation, to the point, as paradoxical as this may seem, where it cannotbe properly distinguished which came first. Did Roy’s signature call for itscountersignature, or did Roy and the film ‘follow’ the fans? Frankly, there is no‘first’ here. This is not a sequential history. This is a story about ‘humanity’–technology. (shrink)

The paper explores the non-institutional potential of the concept of community as it has been formulated in contemporary French philosophy. Special attention is given to historical experience, particularly in a globalizing world. Fantasies of the historical which attest to such experience are treated as constitutive of an anonymous community defined neither by a fixed identity nor by a given substance. Despite its anonymity, community calls for articulation and translation, producing various ‘as-if presentations’, to remember the Kantian term.

Sally Gadow's work is a sophisticated version of a familiar line of thought in nursing. She creates a chain of distinctions which is intended to differentiate cultural narratives, and particularly the ‘science narrative’, from imaginative narratives, especially poetry. Cultural narratives regulate and restrict; imaginative narratives are creative, liberating and potentially transcendent. These ideological effects are (supposedly) achieved through different structures of language. Scientific language, for example, is abstract and literal, while poetry is sensuous and metaphorical. In this paper, I argue (...) that Gadow's way of discriminating between science and poetry fails. In the first place, the ideological valence she assigns to each of them is unwarranted. Science and poetry can both be harnessed to the project of emancipation, just as both can be incorporated in a strategy of oppression. In the second place, the claim that poetry and science are distinguished by their respective linguistic features – specifically, that one is metaphorical and the other literal – cannot be sustained. I illustrate this argument, as Gadow illustrates hers, by reference to the concept of embodiment, and consider whether Gadow is correct in thinking that poetry, not science, makes it possible for individuals (especially women) to ‘reclaim the body’. I also suggest that Gadow's brand of postmodernism echoes Romanticism, whose defining characteristic was an insistent contrast between poetry and science. This is ‘flip side’ postmodernism, which merely opposes modernist values, preferring subjectivity to objectivity, feeling to rationality, and multiple realities to truth. It is less radical, and far less interesting, than ‘remix’ postmodernism, whose objective is not to reverse the polarities, but to reconfigure the entire circuit. (shrink)

Sally Gadow's work is a sophisticated version of a familiar line of thought in nursing. She creates a chain of distinctions which is intended to differentiate cultural narratives, and particularly the ‘science narrative’, from imaginative narratives, especially poetry. Cultural narratives regulate and restrict; imaginative narratives are creative, liberating and potentially transcendent. These ideological effects are (supposedly) achieved through different structures of language. Scientific language, for example, is abstract and literal, while poetry is sensuous and metaphorical. In this paper, I argue (...) that Gadow's way of discriminating between science and poetry fails. In the first place, the ideological valence she assigns to each of them is unwarranted. Science and poetry can both be harnessed to the project of emancipation, just as both can be incorporated in a strategy of oppression. In the second place, the claim that poetry and science are distinguished by their respective linguistic features – specifically, that one is metaphorical and the other literal – cannot be sustained. I illustrate this argument, as Gadow illustrates hers, by reference to the concept of embodiment, and consider whether Gadow is correct in thinking that poetry, not science, makes it possible for individuals (especially women) to ‘reclaim the body’. I also suggest that Gadow's brand of postmodernism echoes Romanticism, whose defining characteristic was an insistent contrast between poetry and science. This is ‘flip side’ postmodernism, which merely opposes modernist values, preferring subjectivity to objectivity, feeling to rationality, and multiple realities to truth. It is less radical, and far less interesting, than ‘remix’ postmodernism, whose objective is not to reverse the polarities, but to reconfigure the entire circuit. (shrink)

This piece reconstructs and reflects upon the terms of the theoretical projection underlying Max Tomba’s book,Marx’s Temporalities, with particular reference to his use of the concepts of multiple temporalities and temporal layers. Tomba’s use of these concepts, it is argued, productively relocates Marx’s writings within the framework of the twentieth-century philosophy of time. However, Tomba’s dependence upon received versions of these concepts, untransformed, reproduces theoretical problems implicit within them, which have been intensified by recent developments within global capital. The application (...) of these concepts to an understanding of the historical present, understood as a situation of globally disjunctive contemporaneity, is seen to be, in part, vitiated by their embeddedness within an increasingly exhausted past. (shrink)

This paper is a cultural studies analysis of the Microsoft computer video game, ZooTycoon™. Through a critical reading using the "circuit of culture," questions of the gamer's subject position, the role of wildlife and implicit and explicit messages about contemporary attitudes toward the environment are explored. Drawing on Susan Davis' book, Spectacular Nature: Corporate Culture and the Sea World Experience (1997), this paper unpacks the virtual theme parks created in Zoo Tycoon™ for their (dis) continuities with Davis's findings. The virtual (...) animals are found to serve as both labor and products in this game that teaches capitalist business strategy and managerial skills. This popular culture text is an example of a product that harnesses the environmental impulse and redirects that impulse back into commodity capitalism. (shrink)

: This paper is a cultural studies analysis of the Microsoft computer video game, ZooTycoon™. Through a critical reading using the "circuit of culture," questions of the gamer's subject position, the role of wildlife and implicit and explicit messages about contemporary attitudes toward the environment are explored. Drawing on Susan Davis' book, Spectacular Nature: Corporate Culture and the Sea World Experience (1997), this paper unpacks the virtual theme parks created in Zoo Tycoon™ for their (dis)continuities with Davis's findings. The virtual (...) animals are found to serve as both labor and products in this game that teaches capitalist business strategy and managerial skills. This popular culture text is an example of a product that harnesses the environmental impulse and redirects that impulse back into commodity capitalism. (shrink)

This article considers the process of commodification as a cultural means of the reproduction of subjectivity. The particular aim is to highlight the psychic processes that are tempted by commodification. Thus, at the background of this essay, there is a psychoanalytical notion of the self that has been developed in an examination of subjectivity and play, a notion based especially on the thinking of D.W. Winnicott and Jessica Benjamin. These analysts see an ambivalent self‐destructiveness of the self reformulated in relation (...) to the ‘potential space’ of play. In relation to this analysis, the influence of advanced capitalism on the self is discussed in some of its more competitive scenes of consumptions. The quiz show The Weakest Link, for example, is considered as a pale, commodified form of play. It is argued that the main seduction of the show is the dwindled and distorted potential space offered by its ultimate, destructive, and in the last analysis sado‐masochistic logic of exchange. In addition to The Weakest Link, a couple of relevant thematisations of commodified culture by contemporary Finnish literature are brought out. Moreover, the commodification of subjectivity by the means of play is loosely related to some general characterisations concerning the prevailing cultural situation. (shrink)

Francis Mulhern’s Figures of Catastrophe argues for the existence of a hitherto-unnoticed generic form: the condition of culture novel, which offers a metacultural reflection on the conditions for the existence of culture and for access to culture. Mulhern’s analysis is located within the framework of Marxist reflections on culture, the history of British cultural Marxism, and Mulhern’s own project of the critique and analysis of ‘metaculture’ in Britain. In particular, this review focuses on Mulhern’s contention that the ‘condition of culture (...) novel’ offers a catastrophic or even nihilistic vision of the access to culture by the working class. Mulhern’s argument is that the ‘condition of culture’ novel accompanies the emergence, solidification and collapse of the British culture of ‘labourism’. This review explores the consequences of this argument for the assessment of ‘culture’ and the future of the novel as a site of reflection on the condition of culture. (shrink)

György Márkus’s post-Marxist writings on high culture are evaluated in terms of their possible contribution to a neo-Marxist theory of high culture. Because of the highly essayistic character of Márkus’s presentation, this necessarily involves investigation of their dependence on his previous work. According to Márkus, Marxism can be critically reconstructed and superseded on the basis of an independent theorization of the consequences of Marx’s most basic theoretical move: the identification of production as paradigmatic for social action in general. In section (...) 3 this idea of the production paradigm is criticized. In section 4 I show how in Márkus this idea is made the basis of an ostensibly historicist concept of critical theory, in which not only the theory’s object is historicized, but the theory is itself organized as an articulation of the needs of historically specific constituencies. I argue, however, that in reality the idea of the production paradigm stands in fundamental contradiction to this methodological ideal. Márkus’s theory of high culture likewise combines historicist ambitions and reliance on the dehistoricized ‘production paradigm’. I argue that his ‘systematically dialectical’ deployment of this notion allows a quasi-historicist conceptualization of modern high culture as a whole, but that this method simultaneously renders theorization of high culture’s connection with more ‘infrastructural’ social relations problematic, and tends to exclude reflection on the ‘utopian moment’ in high cultural practice today. Section 5, and some remarks at the end of Section 11 suggest horizons for a genuinely historicist theory of high culture, in relation to the constitutive failure of Marxism to confront its dependency on the institutions of high culture, and also suggest a possible confluence and conflict with Roy Bhaskar’s work. (shrink)

This article explores the way that senile dementia is represented in contemporary culture, with particular reference to texts which narrate the experience of caring for a parent or spouse with one form of the illness. These narratives raise problematic issues about the materiality of the body and its relation to individual identity, and the unstable relationship between memory and identity in postmodern culture, by drawing on the actual experience of bodily dependency and disorientating memory loss in dementia patients. These speculations (...) about the body, memory and the self are ultimately related in narratives of dementia to the inevitable process of aging and dying and the cultural meanings attached to it. The article places the representation of dementing illnesses within a Foucauldian narrative of surveillance and control in the discourse of aging and death in modern Western societies, redemptive views of illness in western culture and arguments about death in contemporary theory. (shrink)

Certain familiar theoretic claims of both popular and academic postmodernism are examined for their implications as to the necessary and desirable limits of social life. Taken to the end, these claims promote errancy as a means of freeing conduct from the constraints of foundation. But this kind of freedom, one which treats all limitation as pernicious, generates social action that is mechanical, scattered, and without substance—it is a pyrrhic emancipation which trades content for self-sufficiency and thus constitutes an empty life (...) of unhappy social dispersion. And yet an opportunity does remain to address the way a limit can also be inspiring if we think through how interpretation, a limit which is itself limited, invites nevertheless what Derrida glossed as joyous affirmation. Interpretation, though imperfect, offers powers that are genuine and enjoyable because these powers supply life with content and thus with the vitalizing collective and individual possibility of conduct which is affirmative (and disaffirmative). Perhaps it could even be said that interpretation emancipates us from the emptiness of pure freedom. (shrink)

In this paper the author explores certain fulfilling personal experiences that he describes as the presencing of space, i.e. the way in which an individual’s spatial involvement may put him or her in contact with reality as a whole. These experiences are investigated from a phenomenological perspective, and the differences between them and other similar experiences, such as that of the sublime or topophilia, are highlighted. A neologism is introduced: topoaletheia to name a distinctive type of spatial experience. This concept (...) may enrich the discussion about our involvement with space in our built environments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:World Alienation in Feminist ThoughtThe Sublime Epistemology of Emphatic Anti-EssentialismBonnie Mann (bio)The earth is the very quintessence of the human condition.Hannah ArendtWe are tied to place undetachably and without reprieve.Edward CaseyThe alliance between feminism and postmodernism1 in the American academy has brought about a revolution in feminist epistemology. The early feminist epistemology of unmasking, of sorting through appearances to get to the real underneath, has been discredited as "essentialist."2 (...) Feminist standpoint epistemology was an attempt to respond to this accusation by using social location as a "standpoint" from which at least local and situated knowledge could be articulated.3 More recently, many feminists have taken on the epistemology of the simulacrum. Here "the real" plays a part only as that which dissolves into the appearances themselves. Behind the appearances, if there were such a place, would be only an abyss of absence.With this revolution in feminist epistemology comes a wholesale displacement [End Page 45] of the feminist project. Others have argued that the feminist political project is displaced in the alliance with postmodernism.4 On my view, the epistemological and political displacements accompany and instantiate an even deeper level of dispossession. The ultimate price we pay for the feminist alliance with postmodernism may well be a material displacement, in which we are dispossessed of our ability to inquire into and articulate our relationship to the earth itself. We find this planet we inhabit, this physical place that sustains us moment by moment, to be effectively shut out of what now passes as "good" feminist inquiry.In 1958, Hannah Arendt wrote already of "the advent of a new and yet unknown age," marked by world-alienation, a "twofold flight from the earth into the universe and from the world into the self" (1958, 6). The "unknown age" has now been named. Postmodernity takes this flight one step further than Arendt foresaw, however, and even folds the universe and the self into discourse. World-alienation has taken the form of the self-enclosed universe of the text. Our sojourn in the world of signs is so paradigmatic of "the postmodern condition," that asking the question of our relationship to the physical planet we inhabit seems naive and nostalgic. Anything we might say about the earth, after all, is already in language, already bound up in discourse. To speak of an "earth" or "nature" that exceeds discourse is to find oneself locked, even so, within discourse. Having lost our belief in the referentiality of language, in the relation between words and things, we are stuck with signs that refer only to other signs.A capitulation to our very real physical and phenomenological experience of world-alienation finds here its theoretical form. We give in to placelessness. As Edward S. Casey writes, "To say 'I have no place to go' is to admit to a desperate circumstance. Yet we witness daily the disturbing spectacle of people with no place to go: refugees from natural catastrophes or strife-torn countries, the homeless on the streets of modern cities, not to mention 'stray' animals. In fearing that 'the earth is becoming uninhabitable'—a virtual universal lament—we are fearing that the earth will no longer provide adequate places in which to live. The incessant motion of postmodern life in late-capitalist societies at once echoes and exacerbates this fear" (Casey 1993, xiii). Intellectually, we find ourselves in equally desperate circumstances, trapped as we are inside a language that can refer only to itself. This self-enclosure becomes a kind [End Page 46] of no place, a world-alienated space without place,5 and feminist thinking is set adrift from the physical places that give feminist thinkers our moment by moment sustenance. In its alliance with postmodernism, feminism has capitulated to the placelessness that so marks our phenomenological experience at the turn of the millennium.6Yet we inhabit this planet. Faced with its destruction we are compelled to make sense of our relationship to it and to act to save it. A feminist philosophy that turns its back on the earth embraces, rather than contests, the world-alienation of which Arendt spoke. Yet our alienation... (shrink)