The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of women’s bodies (...) contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

In this paper I distil a concept of the imaginary with which to make good the claim that our mode of embodied subjectivity is an imaginary embodiment in an imaginary world. The concept of the imaginary employed is not one in which imaginary worlds are contrasted with the real, but one in which imagination is a condition of there being a real for us. The images and forms in terms of which our imagined bodies and worlds are constituted carry, in (...) an interdependent way, cognition and affects. Imagined configurations have a resilience which makes their displacement more than a matter of appealing to considerations of truth or falsity. It involves encounters with alternative imagined configurations which can be recognized as making both cognitive and affective sense. (shrink)

Although the ways in which the fields of gender studies, feminist theory and politics have grown and developed in Bosnia and Herzegovina over the last decade are largely unaccounted for in feminist scholarship, their lessons, insights and potentials are relevant for scholarship and politics that weaves through the traumatic knots of postcoloniality and biopolitics. This article looks at the politics of witnessing through a creative approach to losses and the potential politics of hope in such a context. It engages with (...) several lines of inquiry through a dialogue of `local'/`global' feminist and postcolonial theory and practice, through subaltern lenses of transnational feminist solidarities and informed by the lessons of non-institutional public spaces of thinking, judging and acting as instances of vernacular cosmopolitanism in the field of cultural production within Bosnia. Continuously re-emerging postcolonial/biopolitical fractures, induced by the global/local political economy of capital and violence, also produce political (cultural/artistic/public) practices of witnessing which shake and reshuffle our quests for social and political transformation. Embracing them effectively is one of the most important lessons of Bosnian (postcolonial, post-war, post-communist...) ambivalences and forbearances. Such hopeful political navigation through injustices and injuries inflicted by global/local regimes of biopolitics and capital is fundamentally about reinvigorating the scholarship and politics of gender, witnessing, postcoloniality and trauma along creative feminist trajectories. (shrink)

For many years feminist theologians have found much in common with process theology. As a consequence a robust tradition has developed that links feminist theology with many aspects of process theology. An important element of this tradition is the attempt to draw similarities between postmodernism and feminist process theology. In this article I argue, first, that the connection between feminist process theology and postmodernism is philosophically problematic and, second, that another contemporary feminist approach, the new materialism, provides the basis for (...) a more fruitful dialogue between feminist theology and process theology. My goal is to extend this dialogue. (shrink)

Michel Foucault has become famous for a series of books that have permanently altered our understanding of many institutions of Western society. He analyzed mental institutions in the remarkable Madness and Civilization; hospitals in The Birth of the Clinic; prisons in Discipline and Punish; and schools and families in The History of Sexuality. But the general reader as well as the specialist is apt to miss the consistent purposes that lay behind these difficult individual studies, thus losing sight of the (...) broad social vision and political aims that unified them. Now, in this superb set of essays and interviews, Foucault has provided a much-needed guide to Foucault. These pieces, ranging over the entire spectrum of his concerns, enabled Foucault, in his most intimate and accessible voice, to interpret the conclusions of his research in each area and to demonstrate the contribution of each to the magnificent -- and terrifying -- portrait of society that he was patiently compiling. For, as Foucault shows, what he was always describing was the nature of power in society; not the conventional treatment of power that concentrates on powerful individuals and repressive institutions, but the much more pervasive and insidious mechanisms by which power "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives" Foucault's investigations of prisons, schools, barracks, hospitals, factories, cities, lodgings, families, and other organized forms of social life are each a segment of one of the most astonishing intellectual enterprises of all time -- and, as this book proves, one which possesses profound implications for understanding the social control of our bodies and our minds. (shrink)

It explicates Arendt's major works - The Human Condition, Between Past and Future, On Revolution, The Life of the Mind, and Lectures on Kant's Political Philosophy - and explores her contributions to democratic theory and to contemporary postmodern and neo-Kantian political philosophy.

In recent years feminist scholarship has increasingly focused on the importance of the body and its representations in virtually every social, cultural, and intellectual context. Many have argued that because women are more closely identified with their bodies, they have access to privileged and different kinds of knowledge than men. In this landmark new book, Paula Cooey offers a different perspective on the significance of the body in the context of religious life and practice. Building on the pathbreaking work of (...) Elaine Scarry in The Body in Pain, Cooey looks at a wide range of evidence, from the Argentine prison narrative of Alicia Partnoy, to the novels of Toni Morrison and the paintings of Frida Kahlo. Drawing on current social theory and critique, cognitive psychology, contemporary fiction and art, and women's accounts of religious experience, Cooey relates the reality of sentience to the social construction of reality. Beginning with an examination of the female body as a metaphor for alternative knowledge, she considers the significance of physical pain and pleasure to the religious imagination, and the relations between sentience, sensuality, and female subjectivity. Cooey succeeds in bringing forward a sophisticated new understanding of the religious importance of the body, at the same time laying the foundations of a feminist theory of religion. (shrink)

What is a woman? And what does it mean to be a feminist today? In her first full-scale engagement with feminist theory since her internationally renowned Sexual/Textual Politics (1985), Toril Moi challenges the dominant trends in contemporary feminist and cultural thought, arguing for a feminism of freedom inspired by Simone de Beauvoir's The Second Sex. Written in a clear and engaging style What is a Woman? brings together two brand new book-length theoretical interventions, Moi's work on Freud and Bourdieu, and (...) her studies of desire and knowledge in literature. In the controversial title-essay, Toril Moi radically rethinks current debates about sex, gender, and the body - challenging the commonly held belief that the sex/gender distinction is fundamental to all feminist theory. Moi rejects every attempt to define masculinity and femininity, including efforts to define femininity as that which 'cannot be defined. In the second new book-length essay, 'I am a Woman', Toril Moi reworks the relationship between the personal and the philosophical, pursuing ways to write theory that do not neglect the claims of the personal. Setting up an encounter between contemporary theory and Simone de Beauvoir, Moi radically rethinks the need, and difficulty, of finding one's own philosophical voice by placing it in new theoretical contexts. A sustained refusal to lay down theoretical or political requirements for femininity, and a powerful argument for a feminism of freedom, What is a Woman? is a deeply original contribution to feminist theory. (shrink)