This essay explores the symbiotic relationship between European modernity, its vision of woman and water. The union of these three metaconcepts is consecrated by the Ovidian story of Narcissus and his other, Echo. The West finally found itself completely through Hegel, the Ur-narcissist, who explains the immutable link between that European monopoly, history (by which he means the potential for becoming modern), and the sea. The narcissism of modernity is the great theme of Marx and Engels in the Communist Manifesto, (...) which shows how the bourgeoisie seeks to remake the entire world in its own image. Psychoanalysis, through the writings of Ferenczi, joined in cementing the connection, likening woman to the primal sea to which the male ever yearns to return. And Foucault suggests a potential conclusion from this metaconceptual constellation: that Man, a Western creation, may well disappear like a face drawn on a sandy beach. (shrink)

Feminism as a radical discourse has always been a challenge to Christian Theology. The contemporary deconstructive feminist social thought that signals a radical epistemic shift in transnational politics, economics and culture invokes theology to re-locate its methodology and focus. Gayatri Chakravorty Spivak’s deconstructive feminism re-positions contemporary feminist thought in a post-Marxist, postcolonial, and postmodern epistemological context. This article tries to explore the methodological significance of the Spivakian de-constructive feminist epistemology and to sketch out its implications on the contemporary theological program. (...) The thesis is analysed in three major sections. The first section is an introduction to the Spivakian epistemological ‘itinerary’. The second section tries to explicate the contours of Spivakian feminist epistemology by elucidating three specific categories, viz: subalternity, marginality, and planetarity. The third section explores its implications on theological methodology in conversation with some of the contemporary postcolonial feminist theologians who engage creatively with Spivak. Spivakian feminist epistemology is being signified here in order to re-imagine a feminist systematic theology in a post-globalized context. (shrink)

In this essay we investigate several moments in Simone de Beauvoir's philosophical and literary texts in which she refers to echoes and echoing. We notice that echoes help Beauvoir to figure and amplify the ethical character of her concept of ambiguity, which is so central to her thought. We argue that, for Beauvoir, literature has privileged access to the ambiguity of existence and therefore maintains a special status in exposing us to alterity and bringing us face to face with ethical (...) responsibility. Considering her literary portrayals of echoing helps to explain why, despite her life-long philosophical engagement, Beauvoir preferred not to call herself a philosopher. Finally, Beauvoir's phenomenological insight is that in order to carry ethical resonance, the form of a written work must mirror the fundamentally ambiguous or echolalic ontological structure of human existence. (shrink)

You have only to listen. Derrida, Politics of Friendship 32 I am saying nothing, then, that can be said or is sayable. And yet my saying, the declaration of love or the call to the friend, the add...

This article approaches Ovid’s story of Echo and Narcissus in the Metamorphoses through some of Maurice Merleau-Ponty’s writings on expression and speech. Echo’s speech as portrayed by Ovid clearly illustrates how Merleau-Ponty describes speech in Phenomenology of Perception as a “paradoxical operation” through which we use words with already given sense and in that very process both stabilize and alter established meaning. Instead of reducing Echo to a moment of the identity and fate of Narcissus, I bring out Echo’s own (...) voice and the expression of her subjectivity through creative repetition. The short dialogue between Echo and Narcissus makes manifest that Echo’s words cannot be reduced to a simple repetition of a clear and distinct original. Rather, her speech emerges in relation to an original that is only made present as an original of a repetition in that very repetition. Echo’s voice is disruption of the words she repeats and each repetition is also its own origin. Echo’s own voice is only made present when we listen to it as something other than a simple repetition of the voice of Narcissus. The fragments she returns through her echo, lose their fragmented character through modifying and altering their already given meaning. What Echo lacks is not primarily a voice of her own but rather an unbound origin which by itself remains mute and thereby runs the risk of not expressing anything at all. Echo is repetition but it is precisely as repetition that she is also originating speech. (shrink)