This article discusses the viability of a feminist constructivist approach of knowledge through the careful reading of the work of the feminist scholar and historian of science and technology, Donna Haraway. Haraway proposes an interpretation of objectivity in terms of "situated knowledges. " Both the subject and the object of knowledge are endowed with the status of material-semiotic actors. By blurring the epistemological boundary between subject and object, Haraway's narratives about scientific discourse become populated with hybrid subjects/objects. The author argues (...) that the ethics of these hybrid subjects consists of an uneasy mixture of a Nietzschean and a socialist-Christian ethic. The article concludes by setting out why Haraway's project constitutes an inter esting effort tofuse postmodern insights and feminist commitments. (shrink)

ABSTRACT If phenomenology is a research methodology uniquely positioned to enable us to learn from others, I aim to demonstrate the idea that cinema is a privileged site from which to investigate the notion of virtuality (sight and reality), even in an age where vision’s predominance is waning. In order to do so, I consider the painfully disruptive mother-daughter relationship found cross-culturally and discourse-analytically in contemporary patriarchal societies. This bond is arguably of central concern to feminists (and women in general) (...) since previous research has found that the fractious nature of this dynamic points to a very specific psychological deformation of the female psyche under conditions of sexist oppression. The views of French psychoanalyst and philosopher Julia Kristeva and other feminist contributors to the debate on this psychological construct are considered. The possibility of a cultural remedy inspired by a secularised trend of Chinese Buddhism in post-Maoist China, a society very different from that of the West, is investigated. This will involve the analysis of the film Curse of the Golden Flower (Chinese Mandarin soundtrack and English subtitles). I subsequently explore whether or not a valuable model for the compromised mother/daughter relationship is available within the context of the notion of a “slave economy” in the comparatively healthier mother/son relationship of (contemporary) Han Chinese culture. By means of cross-cultural analysis as research tool, this article finds confirmation for the proposition of a positive mother/daughter dynamic in the French novelist Colette’s relationship with her mother, Sido. In conclusion, I find that cinema (as an art form serving the eye, i.e. virtuality) is particularly well suited as a site to investigate psychological phenomena by way of interpretative phenomenology as a research methodology, even as vision – as the human sense of choice – has begun to wane amid a global crisis in masculinity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 10.2 (2005) 75-99 [Access article in PDF] Gynocentric Eco-Logics Trish Glazebrook All of our teachings come from things in nature, they come from the growing cycle, and everything is tied to the earth.1Ludwig Fleck describes in his Genesis and Development of a Scientific Fact how the concept of syphilis is "a result of the development and confluence of several lines of collective thought" (Fleck 1979, (...) 23). Diagnosis and treatment of the disease required that its symptomatology undergo transformation from "an undifferentiated and confused mass of information about chronic diseases characterized by skin symptoms" (1979, 1) into the concept of a single disease. Identifying the Spirochaeta pallida bacterium and diagnosing syphilis by means of the Wasserman reaction was only possible when an unclearly related collection of symptoms could be experienced as belonging together in a unified phenomenology.Likewise, I wish to provide a diagnosis and etiology, and suggest a curative possibility for a disease of modernity I will call phallic logic. Symptomatic of this sickness are wide-spread social alienation, global domination and oppression on the basis of gender, race, class and color, and epidemic eco-destruction. A body of critique exists in ecofeminist analyses that experiences these symptoms as a single disease: the phallic logic of modernity. "Logic" in this context does not mean the formal discipline [End Page 75] in which rules for the proper manipulation of abstract statements are laid down. Rather, "logic" in the sense used here is an epistemological term. It means the ways that understanding is structured. Phallic logic is the structure of understanding that permeates patriarchy. This logic takes its paradigm from scientific objectivity, but even voices from within the sciences themselves are arguing that contemporary human being must establish new ways of thinking about nature.I propose that such new eco-logics, that is, ways of thinking about nature, take their guidance from the physical environment. If nature informs knowledge claims, then knowledge itself is construed organically: it is finite and changing rather than fixed and eternal. Such logics can encompass the finitude of physical embodiment as an epistemological principle, and hence I identify them as gynocentric. They are not grounded in the disembodied Cartesian subject that feminists have shown so often and clearly to be typical of androcentric philosophizing. These logics draw instead on the physicality of environmental elements as well as of the thinker, and thus they allow nature's temporality to resonate within knowledge itself. They are not satisfied with a conceptual contrast between nature's on-going coming-to-be and passing-away and the alleged universality of knowledge. Rather, they take nature as a model for truth and acknowledge that nature infuses the things we say to be truth.There is an abundance of arguments for the differences between male and female writing and thinking.2 I speak in accord with these voices, but I frame my project differently. I will begin by presenting evidence of a call for alternative epistemologies from within the sciences, and then use ecofeminist analyses to argue that the scientists in question are moving away from a phallic logic toward gynocentric eco-logics. Next I will make clear three assumptions that underlie my account. The first two are Heideggerian. I accept his argument that the logic of modernity is scientific objectivity, and I use his account of truth and essence to argue that knowledge is situated rather than universal. Hence gynocentric eco-logics entail an essentialism that is historical rather than biological. I give up biology as the fixative for essence, but avoid a decline into what is entirely arbitrary and subjective by fixing essence in terms of cultural and historical location. Hence I am using a Heideggerian notion of situatedness, but applying it specifically to gender such that I can maintain that the category of "woman" is neither universal, nor shattered irreparably into [End Page 76] fragmented individualism. My Heideggerianism is further qualified in that I am not writing in the spirit of Heidegger's life-time project. I will take the force of his insights to be epistemological rather than metaphysical or ontological... (shrink)

This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests – siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard of hearing, (...) short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires. It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)