When assumed by positions of dominance, the impersonal, analytical perspectives of scholar- narrators may serve to flatten, simplify, or render invisible the differences of constructed Others. Strategies of resistance necessarily correspond to where narrator-subjects enter relations of power. Without the presence of Others' narrations, dominance can neither value newly visible subjective agency nor confront the complicity in its own subjectivity. Intersubjectivity suggests a dialogical process that utilizes differences in lived experience to reconceive relationality.

This article argues against a conception of the body as providing a basis for truth claims within feminist discourse. Taking from Michèle Le Doeuff's theory of the work of the image within discourse, and Michel Foucault's "technologies of the self," it is argued that the doubledness of the body ("who am I? and who is she?") can be put to work to construct embodied enunicative positions within feminist theory.

Ecofeminist philosophy and literary theory need mutually to enhance each other's critical praxis. Ecofeminism provides the grounding necessary to turn the Bakhtinian dialogic method into a critical theory applicable to all of one's lived experience, while dialogics provides a method for advancing the application of ecofeminist thought in terms of literature, the other as speaking subject, and the interanimation of human and nonhuman aspects of nature. In the first part of this paper the benefits of dialogics to feminism and ecofeminism (...) are explored; in the second part dialogics as method is detailed; in the third part literary examples are discussed from a dialogical ecofeminist perspective. (shrink)

I explore connections between social divisions and diversity within the self, while striving to differentiate internal diversity and multiplicity. When the person is understood as composite or multiple, she is seen as divided into several distinct agent-like aspects. This view is found in ancient, modern, and postmodern philosophy, psychology, poetry, and lay people's accounts of their experience. I argue for a conception of the self as diverse but not composite or multiple.

By considering a variety of readings of Renaissance Florence from Burckhardt to the present, this article discusses the nature of the interrelation between the archive and the historian, with a view to illustrating the partiality of both. The records contained within the archives are by nature fragmentary; vestiges of the past, they are also partial in the sense of being subjective, testimonies to past relationships either between individuals or between individuals and institutions - social or political. Likewise, the readings of (...) historians are partial both in the sense that the historian’s research is focused upon particular parts of the archive and in his or her subjectivity as an historian. Interestingly, in this context post-Burckhardtian Florentine historiography shares common ground, however unwittingly, with certain aspects of post-modern writing in decentring the subject, for observations concerning the partial subjectivity of Burckhardt’s Renaissance individual apply equally to observations concerning the partial subjectivity of historians as writers. The fiction of an objective historical method producing hard history becomes apparent once the static relation of historian as subject researching the archive as object is reconfigured as a dynamic and dialectical process. Through the acknowledging of the contingency of such archival readings it becomes apparent that the archive itself is a symbolic construct constituted through the process of writing. (shrink)

The feminist in academe, says Paula Bennett, is like Procne married to Tereus, "inextricably wedded to the sources of her harm." An ethical justification of academic feminism can be found, not in cooperation and affiliation, but in the strategies currently necessary to ensure curricular and cultural diversity. Historically contextualized and strategically politicized, this ethic is founded on the claim that universities are places where we may all learn to know what is other than ourselves.

Essentialist and postmodern feminisms are often regarded as incompatible. I propose that Buddhist theories of subjectivity change the nature of the tension between them as presently construed because Buddhist traditions describe a mind not wholly governed by language, and a subjective mental dimension that is entirely integrated with the body and its sensations. A corollary is the compatibility Buddhists perceive between conditioned subjective states (akin to postmodern feminisms) and the unconditioned (akin to essentialist feminisms).

Political agency is vital to the formulation of a feminist politics so feminists have attempted to create a subject that eschews the sexism of the Cartesian subject while at the same time retaining agency. This paper examines some of the principal feminist attempts to reconstitute the subject along these lines. It assesses the success of these attempts in light of the question of whether the subject is a necessary component of feminist theory and practice.

This essay explores the unique temporal experience in anxiety. Drawing on first-person accounts as well as examples from literature, I attempt to show how anxiety not only disrupts our physiological and cognitive timing but also disturbs the embodied rhythms of everyday social life. The primary goal, however, is to articulate the extent to which human existence itself is a temporally structured event and to identity the ways that anxiety disrupts this structure. Using Martin Heidegger’s account of human existence as a (...) point of departure, I show how the mood of anxiety has the power to alter our self-interpretations by closing down or constricting our experience of the future. I argue that a constricted future impedes our ability ‘to be’ because it closes off the range of projective meanings that we would ordinarily draw on to create or fashion our identities. (shrink)

This essay explores the unique temporal experience in anxiety. Drawing on first-person accounts as well as examples from literature, I attempt to show how anxiety not only disrupts our physiological and cognitive timing but also disturbs the embodied rhythms of everyday social life. The primary goal, however, is to articulate the extent to which human existence itself is a temporally structured event and to identity the ways that anxiety disrupts this structure. Using Martin Heidegger’s account of human existence as a (...) point of departure, I show how the mood of anxiety has the power to alter our self-interpretations by closing down or constricting our experience of the future. I argue that a constricted future impedes our ability ‘to be’ because it closes off the range of projective meanings that we would ordinarily draw on to create or fashion our identities. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)