Charming Cadavers. Horrific Figurations of the Feminine in Indian Buddhist Hagiographic Literature. Liz Wilson. The University of Chicago Press, Chicago 1996. xvi, 258 pp. Cloth: $55.00; £43.95. ISBN 0-226-90053-3; paper: $19.95, £15.95. ISBN 0-226-90054-1.

This article takes the linguistic space of North India during the nineteenth and twentieth centuries and tries to see how a nationalistic linguistic ideology that was shaping up at that time, creating Hindi and Urdu linguistic communities, used gender as a tool to portray and assert a masculinist vision of language and nation. It involved not just censoring certain representations of women and their cultural spaces, but also using the issue of ‘vulgar’ representations as a premise to marginalize certain languages (...) and their literature. The article looks at the colonial ideology that worked as an enforcer for the nationalists to work towards achieving what they felt as a sanitized and moral form of literature and culture. The linguistic ideology that accompanied these revisions was of projecting Hindi (Khari Boli) as a national language while limiting spaces of other languages, such as Braj, Urdu and Bhojpuri, in the region, by criticizing either their use of sexual imagery or by stereotyping them in a gendered way. This article investigates the arguments of nationalist writers and highlights their masculinist and patriarchal ideas in their bid for the new national language. (shrink)

While the central ideal of Roman philosophy exemplified by Lucretius, Cicero and Seneca appears to be the masculine values of self-sufficiency and domination, this book argues, through close attention to metaphor and figures, that the Romans also recognized, as constitutive parts of human experience, what for them were feminine concepts such as embodiment, vulnerability and dependency. Expressed especially in the personification of grammatically feminine nouns such as Nature and Philosophy 'herself', the Roman's recognition of this private 'feminine' part of himself (...) presents a contrast with his acknowledged, public self and challenges the common philosophical narrative of the emergence of subjectivity and individuality with modernity. To meet this challenge, Alex Dressler offers both theoretical exposition and case studies, developing robust typologies of personification and personhood that will be useable for a variety of subjects beyond classics, including rhetoric, comparative literature, gender studies, political theory and the history of ideas. (shrink)

ABSTRACTTranslated into English in 2004, Vladimir Jankelevitch’s book Music and the Ineffable has made a significant impact in anglophone musicology. I argue that the figure of the feminine is central to his understanding of music and musical ineffability, and use feminist philosophers’ interpretations and critiques of the figure of the feminine in his close friend and colleague Emmanuel Levinas’s work to unpack the gender politics of Jankelevitch’s book and the secondary literature on it. I focus on the figure of (...) the feminine in Time and the Other and Totality and Infinity, which are works we have evidence Jankelevitch read. There, Levinas describes the feminine as a “form of being” that is “inexhaustible, infinite” and thus “refuses thematization positively”. This is nearly identical to Jankelevitch’s definition of musical ineffability as “fertile inexplicability”. Not only is Jankelevitch’s concept of musical ineffability identical to Levinas’s concept of the feminine, it is also couched in gendered terms throughout Music and the Ineffable. “Musical ineffability” in Jankelevitch’s sense is thus a parallel to Levinas’s concept of the feminine. I then read Jankelevitch and his interpreters in musicology through feminist scholarship on Levinas to show how the former two succumb to the same ultimately patriarchal flaws as the latter. For example, just as Levinas prioritizes paternity and the reproduction of patriarchy, muiscologist Carolyn Abbate uses Jankelevitch as the white masculine other in which musicology recognizes itself as both different and the same. (shrink)

Who cares about details? As Naomi Schor explains in her highly influential book, we do-but it has not always been so. The interest in detail--in art, in literature, and as an aesthetic category--is the product of the decline of classicism and the rise of realism. But the story of the detail is as political as it is aesthetic. Secularization, the disciplining of society, the rise of consumerism, the invention of the quotidian, have all brought detail to the fore. In (...) this classic work of aesthetic and feminist theory, now available in a new paperback edition, Schor provides ways of thinking about details and ornament in literature, art, and architecture, and uncovering the unspoken but powerful ideologies that attached gender to details. Wide-ranging and richly argued, Reading in Detail presents ideas about reading (and viewing) that will enhance the study of literature and the arts. (shrink)

The author of the phenomenal bestsellers He and She discusses the importance of regaining the feminine dimension in our lives. According to Johnson, regaining the power of feminine feeling and value is critical to the development of human peace and consciousness.

The European Legacy, Volume 17, Issue 4, Page 564-566, July 2012.

Imagining super rich women in the real and fictional world has long been a struggle. Those few depictions that do exist are scattered across time periods and literary genres, reflecting the legal restrictions that, at different points in time, would not allow women to accumulate assets independent of the patriarchal forces in their lives. The scarcity of extremely wealthy women in literature and film is confirmed by Forbes magazine’s list of the fifteen richest fictional characters that features forty different (...) fictional men and only nine women, with never more than two female characters nominated in a single year. This article explores the depiction of three exceptionally wealthy women: Cruella de Vil in The Hundred and One Dalmatians (1956) by Dodie Smith, Miss Havisham in Great Expectations (1861) by Charles Dickens, and the figure of the stepmother in various adaptations of “Cinderella.” I demonstrate how the protagonists’ wealth allows them to manipulate others and disconnect themselves from patriarchal and societal expectations. Further, I argue that these affluent antagonists are “rogued” by their respective narratives, highlighting their perceived anti-feminine and emasculating behaviour resulting in a mode of narration that greedily gazes at and shames their appearances and supposed unattractiveness. While this genealogy of rich rogues reiterates the narrow scope of imagining wealthy women on the page and on the screen, there are moments in the narratives that disrupt stereotypical depictions of these wealthy characters who defy the labels imposed on them. (shrink)

This article adds to the growing literature distinguishing second and third wave feminist theory. It opens by outlining theoretical differences between second wave and third wave definitions of femininity and the role and impact of femininity on gender relations of domination, whilst briefly acknowledging the complications of the relationship between third wave feminism and post-feminism. It then suggests that these diverging perspectives on embodied femininity result from fundamentally different second wave and third wave theories of power. (...) In doing so, it develops a third wave conceptual definition of femininity and a theoretical framework for power relations that are distinct from a second wave approach. It illustrates these differences by offering a close reading of textual representation of femininity in the film Pulp Fiction. (shrink)

Dans la littérature arabe médiévale, il existe une façon spécifique de mourir à cause d’une passion amoureuse, liée à la conception d’un amour chaste qui possède ses propres valeurs et qui ne peut s’exprimer que dans les limites de ses propres règles. Le présent article étudie les vers récités par les amants avant d’exhaler leur dernier souffle contenus dans une vingtaine de notices d’al-Wāḍiḥ al-mubīn fī ḏikr man ustušhida min al-muḥibbīn (ou Précis des martyrs de l’amour) de Mughulṭāy (m. 1361). (...) En analysant les situations dans lesquelles ces vers sont prononcés, nous avons essayé de comprendre s’il existe (ou non) une manière spécifique, déclinée au féminin, d’exprimer son émotion avant de mourir. (shrink)

The women's sensation novel of the 1860s and the New Woman fiction of the 1890s were two major examples of a perceived feminine invasion of fiction which caused a critical furore in their day. Both genres, with their shocking, `fast' heroines, fired the popular imagination by putting female sexuality on the literary agenda and undermining the `proper feminine' ideal to which nineteenth-century women and fictional heroines were supposed to aspire. By exploring in impressive depth and breadth the material and discursive (...) conditions in which these novels were produced, The `Improper' Feminine draws attention to key gendered interrelationships within the literary and wider cultures of the mid-Victorian and fin-de-diècle periods. (shrink)

A critical interpretation of Sikh literature from a feminist perspective.

In a recent article in Sociology, Diane Richardson contends that rather than focusing on theorizing the specific relationship between sexuality and gender, researchers should focus on developing frameworks that capture the complex and dynamic nature of that relationship. Towards that end, Richardson proposes ‘patterned fluidities’ as a working metaphor for feminine sexuality. This article explores the potential of the metaphor as a focal point for bringing together different strands of feminist thought on heterosexuality. It discusses if and how ‘patterned fluidities’ (...) are supported by empirical evidence and how they interact with areas of thought that do not fall within the scope of Richardson’s article, namely feminist views on postmodernity. Three contemporary Greek novels are used as examples. (shrink)

This study shows how Goethe's Die pilgernde Torin, Kleist's Die Marquise von O..., Hawthorne's The Scarlet Letter, and James' Daisy Miller can appeal to the reader who identifies a message friendly towards woman and her plight, whether the message was the author's intention or not.

Drawing on aspects of Foucauldian feminist theory Thomas Hardy, Femininity and Dissent offers original and detailed readings of six critically under-valued novels: Desperate Remedies, A Pair of Blue Eyes, The Hand of Ethelberta, A Laodicean, Two on a Tower and The Well-Beloved, demonstrating Hardy's peculiarly modern appreciation of how individuals negotiate the forces which shape their sense of self. Tracing his interest in the evolutionary debate and the woman question this book reveals a new politically engaged rather than a (...) grimly pessimistic Hardy. (shrink)

This collection is a study of African literature framed by the central, and multi-faceted, idea of 'mother' - motherland, mothertongue, motherwit, motherhood, mothering - looking at the paradoxical location of (m)other as both central and marginal. Whilst the volume stands as a sustained feminist analysis, it engages feminist theory itself by showing how issues in feminism are, in African literature, recast in different and complex ways.

Although there has been significant academic interest in the complex relationship between gender and migration, the relevant literature often focuses on women as victims of trafficking, sexism and racism in the host and sending societies. This article discusses instead the question of gender and migration as an open field of contestation within which transitory and incomplete identities are performed. Based on a series of focus group discussions with Albanian women working in the domestic sector in Athens, the article documents (...) the emergence of a discourse of `becoming masculine' while performing typically `feminine tasks'. Drawing from Judith Butler's theoretical challenge to subject formation, the analysis traces the development of gender relations within discourse. While Albanian women are doubly disadvantaged in the mind—body relationship, they gradually come to perform roles that redefine the space of domesticity where the limits between men/women, private/public and migrants/nationals lie. (shrink)

Research on grammatical gender processing has generally assumed that grammatical gender can be treated as a uniform construct, resulting in a body of literature in which different gender classes are collapsed into single analyses. The present work reviews linguistic, psycholinguistic, and neurolinguistic research on grammatical gender from different methodologies and across different profiles of Spanish speakers. Specifically, we examine distributional asymmetries between masculine and feminine grammatical gender, the resulting biases in gender assignment, and the consequences of these assignment strategies (...) on gender expectancy and processing. We discuss the implications of the findings for the design of future gender processing studies and, more broadly, for our understanding of the potential differences in the processing reflexes of grammatical gender classes within and across languages. (shrink)

The establishment of women's literature as the main content of the female sex, should be specifically refers to the implied author of female subjectivity, rather than the main female characters in the works or the narrator's subjectivity; and, in addition to this main gender hegemony, which in fact is an inter-subjectivity. Women's literature should be in the works of women writers and implied male characters, female characters between the intersubjective dialogue between them. In the teleological level, women's (...) class='Hi'>literature should be able to guard the true men and women there, asked the dimensions may be life, so it can go beyond the context of a modern reflection of resentment complex. The subjectivity of the feminine literature, as the key factor for the feminine literature, should be the female author's subjectivity rather than the female character's subjectivity in the books, which is a kind of inter-subjectivity without hegemony characteristics. There is a dialogic relationship between the implied female authors and both the female and the male characters in the feminine literature. From the perspective of teleology, the feminine literature should watch the authentic male and female beings, and seek all possible dimensions of life so as to surpass the resentment. (shrink)

Utilising literature as a serious source of challenges to questions in philosophy and law, this book provides a fresh perspective not only upon the inculcation of the legal subject, but also upon the relationship between modernism, postmodernism and how such concepts might evolve in the construction of community ethics. The creation and role of the legal subject is just one aspect of jurisprudential enquiry now attracting much attention. How do moral values act upon the subject? How do moral 'systems' (...) impinge upon the subject - jurist and judged - throughout the 20th century, when religious values are called into question, when 'existential' doubt prevails? To what extent do issues of gender and identity inform these questions? Many sources can provide insights into these issues: this book intends to concentrate upon fiction as just such a resource. However it is not just another law and literature compilation. Spanning the last century, each chapter will attempt to fulfil four objectives: to identify key texts in relation to a given period; to look for linked legal and philosophical developments from that period; to establish fresh links from these sources regarding concrete doctrinal, or practical legal questions, and finally draw a more general inference about the legal subject and the frequently less evident feminine citizen-subject. Central to this approach will be the consideration of contemporary case law and legal materials as social documents of the relationship between law and the wider community. (shrink)

Negrete brings together women writers and artists known for their formal experimentation to show that "the aesthetic experiences afforded by their work are underwritten by a tenacious and uniquely feminine ethics of desire."-- taken from back cover.

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 161-164 [Access article in PDF] Dakini's Warm Breath: The Feminine Principle in Tibetan Buddhism. By Judith Simmer-Brown. Boston: Shambhala, 2001. xxv + 404 pp. For more than a century, the dakini of Hindu and Buddhist tantric literature and practice lore has intrigued, fascinated, beguiled, and confounded Western scholars. First described by Austine Waddell in 1895 as "demonical furies" and "she-devils," S.C.Das's ATibetan-English Dictionary, published (...) just shortly afterward, defined mkha' 'gro ma (the Tibetan equivalent of the Sanskrit term dakini ) as "a class, mainly of female sprites, akin to our witches, but not necessarily ugly or deformed." More recently the dakini has been investigated by scholars as diverse as David Snellgrove, Rene Nebesky-Wojkowitz, Nathan Katz, Janet Gyatso, Miranda Shaw, and myself. Snellgrove suggested in his Buddhist Himalaya (1957) that "their [i.e., the dakinis' ] activities are generally so gruesome and obscene as to earn them quite properly the name witch," but he conceded that they entered Tibetan mythology "in a rather more gentle aspect." Even so, this ubiquitous, powerful, and yet ever-elusive figure —or symbol, image, motif, or principle—has remained, it seems, just beyond our reach. In a certain respect, this is exactly as it should be; for the dakini— at least within the systems of the Buddhist tantras—is the symbol of transcendent wisdom itself, direct and unmediated, hovering just outside the reach of all discursive language and reasoning.Today one scholar, Judith Simmer-Brown, has given us a thoughtful, well-informed, and well-researched treatment of the history and functioning of the dakini (which she prefers to refer to as a "symbol" or "principle") that seeks to present a balanced discussion and overview of this feminine principle and steers clear of the essentializing and reductionist pitfalls of either Jungian interpretations or contemporary feminist ones. It is timely that we take a careful look at Simmer-Brown's work, not only because it represents the most complete exploration to date of the dakini in a single volume, but also because this valuable study has just been reprinted in paperback.Though in the preface of her work Simmer-Brown characterizes her methodology as being "perhaps wildly messy," there is clearly both system and method in her [End Page 161] presentation. Her study begins with a careful delineation of what may be called the two extremes or poles of contemporary interpretations of the dakini: the one, influenced by Jungian psychology in which the dakini is seen as Jung's famed "shadow," and the other, influenced by feminist goddess theology, which has served either to see the dakini as a feminine savior or as the source of a critique of Tibetan Buddhism in which this feminine ideal reflects an objectified product of patriarchal fantasy. For Simmer-Brown, both poles of interpretation are inadequate; and in her first chapter, "Gender, Subjectivity, and the Feminine Principle," she argues powerfully and convincingly about why this is the case. Indeed, in many respects, this carefully argued opening chapter is the true centerpiece of the work.With respect to Jungian analysis, while Simmer-Brown sees "some real benefits in employing Jungian ideas in interpreting the dakini, " she notes the skewing and distorting complications introduced by Jung's emphasis on contrasexuality. Ultimately, Simmer-Brown declares, "the pervasiveness of the Jungian paradigm in examination of the dakini emphasizes contrasexuality, the ultimacy of gender imagery, and psychological interpretation. These emphases have precipitated a blizzard of feminist objections, and no wonder. However, that critique may be directed more toward Jungian tenets than toward Tibetan Buddhism, which has not been properly represented in Western interpretation" (17).Simmer-Brown's case is especially well made with regard to the second pole of interpretation. Here she notes that recent studies of the dakini that employ feminist considerations have generally taken two directions. Namely, "one identifies the dakini as a construct of patriarchy drawn by a primarily monastic Buddhism in Tibet into the service of the religious goals of male practitioners only. The second perspective identifies the dakini as a goddess figure in... (shrink)

For some years now, amongst contemporary Western societies (where capitalism and globalization have a great influence), the presence and developmentof a well-defined and peculiar emotional culture has become clear. The appropriate use and management of emotions, support a system of relations and codes that draw new limits between public and private life and between people and their actions. Arlie Russell Hochschild has studied the dynamics of emotions, aiming to define their distinctive languages. Interactions between the public and the individual realm (...) and the social sphere gives shape a code which imposes certain meanings and uses that are beyond the intention and perception of emotional subjects. Studies on the recent transformations of feminine roles and the social readjustments, which go along with those changes, are specifically motivated by the insertion of women in the business world, taking a central place in Hochschild’s investigations. This paper shows how new emotional codes, as Hochschild defines them, have great influence on modern lifestyles and how the role of women (and here lies the central friction between the family and career consolidation) is at the center of the characteristically modern lifestyle revolution. (shrink)

Attempts to understand recent changes in the canon of American literature through the aid of psychoanalytic theory.

Cross-dressing, as a cultural practice, suggests gender ambiguity and allows freedom of self expression. Yet, it may also serve to reaffirm ideological stereotypes and the binary distinctions between male and female, masculine and feminine, homosexual and heterosexual. To explore the nature and function of cross-dressing in Chinese and Western cultures, this paper analyzes the portrayals of cross-dressing heroines in two Chinese stories: The Ballad of Mulan, and The Butterfly Lovers. Distorted representations in the English translated texts are also explored..

Authors have empirically evidenced that cultural stereotypes influence gender-typed behavior. With the present work, we have added to this literature by demonstrating that gender roles can explain sex differences in risk-taking, a stereotypically masculine domain. Our aim was to replicate previous findings and to analyze what variables affect women making risky decisions in the social domain. A sample composed of 417 Spanish participants, between 17 and 30 years old, answered a set of self-report measures referring to femininity, fear (...) of negative evaluation, and social risk-taking. According to the main results, sex indirectly linked to risk-taking in the social domain, through femininity and fear of negative evaluation. Specifically, women self-reported higher feminine traits, which were associated with increased fear of negative evaluation, which in turn was associated with less risky decisions in the social domain. Thus, we have showed the relationship between gender roles and women’s behaviors in a stereotypically masculine domain. Our findings highlight the necessity of considering a gender-based perspective in the field of risk-taking, showing that not all women make more risky decisions in the social domain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Buddhist Goddesses of India, and: Goddesses and the Divine Feminine: A Western Religious HistoryRita M. GrossBuddhist Goddesses of India. By Miranda Shaw. Princeton, NJ: Princeton University Press, 2006. 571 pp.Goddesses and the Divine Feminine: A Western Religious History. By Rosemary Radford Ruether. Berkeley: University of California Press, 2005. 381 pp.These two very large books should be of obvious interest to those concerned with Buddhist-Christian interactions and comparative studies. (...) They are also especially timely and important, given how much goddesses and the divine feminine have been [End Page 175] overlooked and ignored by those involved in Buddhist-Christian interchange and comparative studies as well as by serious scholars of both traditions.These books will function mainly as goldmines of information about goddesses in Buddhist and Western religions rather than as theoretical and theological analyses about what is at stake in the presence or absence of goddesses and imagery of the divine feminine in either tradition. As is well known, imagery of the divine feminine is longstanding and of considerable importance in Buddhist traditions, even though it was not part of the earliest layers of Buddhist traditions, whereas the divine feminine is largely absent in more recent Western traditions, even though it was common in the ancient Near East. Thus, these two traditions are mirror images of each other’s historical development concerning the divine feminine. It would be fascinating to explore this difference between the traditions. Because neither book is comparative in any way, such questions are not entertained in these books, but at least both books provide a great deal of information that others may use in future explorations of such similarities and differences between the traditions.Most of Miranda Shaw’s analytical comments are found in her brief, thirteen-page introduction. The rest of the book is mainly descriptive. Most of this discussion concerns her choice of the term “goddess” to refer to the many nonhuman, divine females found in Buddhist art and literature. She notes that, while mention of Goddesses is widespread and long-term in works on Buddhist art and history, Buddhist studies in general has not paid much attention to goddesses, and the same basic information has been repeated over and over, with few advances in interpreting and understanding these figures. I would agree with this assessment. She also notes, correctly, that Buddhist goddesses have received scant attention in the recent spate of Western scholarly investigations of goddesses and the divine feminine. Nevertheless, as Shaw points out, various kinds of divine females occupy every niche of the divine hierarchy in Indian and Buddhist cosmology. Indeed, it would be impossible to look at any book about Indian Buddhist art without noticing many voluptuous, highly attractive female figures as well as some more fearsome figures.Shaw justifies her use of the term “goddess” by noting that this is the literal translation of the term routinely used for female divine figures in Indian Buddhist sources. This justification is pointed at several other scholars who have written about Buddhist “goddesses” from a Buddhist point of view but who have avoided the term “goddess” for various reasons, but mainly because of the complexity and explosiveness of that term in Western contexts. The term has also been avoided by Western Buddhist scholars because of possible misunderstandings or confusion that could be caused by the use of such a theistic term in the context of non-theistic Buddhism. Nevertheless, Shaw is correct that the common translation of the terms used in Buddhist texts would be “goddess.” In her discussion of the term “goddess,” Shaw also justifies this English terminology by arguing that the “deities,” especially of Vajrayana Buddhism, are not merely symbols created by human beings or projections of human experiences but have another, transhuman reality. The metaphysics of “deities” or “goddesses” in Buddhism is, however, an extremely complex and subtle matter that cannot be adequately discussed in the few pages Shaw devotes to this issue. [End Page 176]In the rest of her introduction, Shaw details her main emphases in her book, “the origins, iconography, and religious roles of each goddess and discussion of her place in Buddhist history and practice” (p. 4). She tells... (shrink)

This chapter contains sections titled: The Relationship Between Philosophy and Literature Intersecting Themes.

Breaking new ground in Sarraute studies, John Phillips reads the novels and plays of Nathalie Sarraute in a hitherto largely neglected critical perspective. Through a detailed analysis of textual metaphors, he demonstrates that Sarraute's writing is informed and inspired by an intensely personal set of desires. Unlike previous criticism, which has stressed the formal aspects of the writing to the exclusion of the psychological, this study exploits contemporary psychoanalytic and feminist theory to expose an unconscious feminine dimension which the author (...) herself has never recognized. (shrink)

This book explores feminine archetypes and mythological figures in African and European traditions with an underlying goal of describing the foundations of social status for women. The author provides a rich corpus of mythology and tales to illustrate aspects of female and mother-daughter relationships. Diop analyzes the symbolic aspects of maternity and femininity, describing the social meaning of the matrix, breasts, and breastfeeding. A retrospective of female characters in African literature brings an interesting approach to explore the figures (...) of femininity and maternity in society. After an extensive analysis of African mythology and tales, the author proposes a way to integrate them in the clinical psychotherapy as a projective material. The analysis of clinical cases offers an example of how this material can be used in therapy with women from African descent. (shrink)

La femme s'entête répond à La Femme sans tête (dite aussi Femme 100 têtes) de Max Ernst : loin de répéter les mêmes palinodies sur la créativité féminine (bridée, ou exaltée par le surréalisme), elle s'entête, passionnée tout en refusant la polémique à comprendre et à décrire. Voici donc, abondamment illustrés, un riche outil de travail et une série de portraits, souvent totalement inédits, d'artistes et d'écrivains.

Les textes de ce dossier sont la re-élaboration d'interventions au colloque de l'AFI sur « Francophonie au Pluriel » à l'occasion du dixième anniversaire de L'Année francophone internationale . Nous remercions les auteurs et les organisateurs pour nous avoir permis d'utiliser ces textes.This essay focuses on the literature written in French by women from various continents: Africa, the Middle-East, Quebec, among others. The authors deal with the complex relationships between language, gender and thought and also address the complexity of (...) “francophone writing” within the broader context of multiculturalism and globalization. (shrink)

The emancipation of women has become a strong critical discourse in Bengali literature since the 19th century. Only since the second half of the 20th century, however, have female writers markedly stepped out of the shadow of their male colleagues, and the writings on women become more and more often articulated by women themselves. In this article, I focus on particular concepts of femininity in selected texts of two outstanding writers of different generations, a prose writer, and a (...) woman poet: Mahasweta Debi (b. 1926) and Mallika Sengupta (1960–2011). Analyzing Mahasweta’s female characters, I focus on the issue of the double marginalization of dalit tribal women; we can find here impacts of intersectional discrimination of class, gender and caste. Debi is very radical in her social criticism but is quite reluctant to accept the label of feminism. Mallika, on the other hand, represents a movement among the female writers of her generation that openly declares her support for feminist ideologies, which can be demonstrated on some of the examples referred to here. Another important strand of Mallika’s constructions of femininity are archetypal images — mythological metaphors of femininity (in the Hindu context) which may in some cases be interpreted in accordance with difference feminism, in others as a critique of the essentialized and dichotomous concepts of masculinity and femininity. While Mahasweta’s emancipation drive is more deeply grounded in her field research and journalistic activism in the tribal areas she writes about, Mallika’s has been more strongly linked with the academia and has joined the theoretical feminist discourse. Through a close reading the women’s emancipation discourse of these two protagonists in Bengali literature, we can speak of a shift from a practical, concrete criticism, to a theoretically founded radicalism. (shrink)

_How does the image of the succubus relate to psychoanalytic thought?_ _Masculine Shame: From Succubus to the Eternal Feminine_ explores the idea that the image of the succubus, a demonic female creature said to emasculate men and murder mothers and infants, has been created out of the masculine projection of shame and looks at how the transformation of this image can be traced through Western history, mythology, and Judeo-Christian literature. Divided into three parts areas of discussion include: the birth (...) of civilization and the evolution of the succubus the image of the succubus in the writings of Freud and Jung the succubus as child killing mother to the restoration of the eternal feminine. Through a process of detailed cultural and social analysis, the author places the image of the succubus at the very heart of psychoanalytic thought, highlighting its presence in both Freud’s Medusa and Jung’s visions of Salome. As such, this book will be of great interest to all those in the fields of analytical psychotherapy and psychoanalysis. (shrink)

An emerging body of research comparing body image disturbance and eating problems among African American and white women suggests that there are major ethnic differences in these areas. African American women appear to be more satisfied with their weight and appearance than are white women, and they are less likely to engage in unhealthy weight control practices, yet they are more likely to have high rates of obesity. Drawing on both Black and white feminist literature on eating problems, this (...) article advances three arguments that may account for these differences: Black women may develop a strong positive self-valuation and an alternative beauty aesthetic to resist societal stigmatization, Black women may be less likely to acquire eating disorders due to differences in the cultural construction of femininity in Black communities, and positive body image among Black women may sometimes reflect a defensive need to deny health problems such as compulsive overeating and obesity. (shrink)

This book is a brilliant and timely analysis of the complex issues raised by the relation between women and philosophy. It offers a critical account of a wide range of contemporary philosophical and feminist texts and it develops this account into an original project of critical feminist thought. Braidotti examines contemporary French philosophy as practised by men such as Foucault and Derrida, showing that they rely on a notion of 'the feminine' in order to undermine classical thought, which bears no (...) direct relevance to the historical experience of women. Braidotti then looks at the attempts of contemporary feminist thinkers in Europe and the United States to show the gendered nature of discursive power games. She discusses the contributions of Luce Irigaray and many other feminist theorists to the understanding of sexual difference and of its implications for philosophy and politics. This book will be of interest to students and researchers in women's studies, feminist theory, social theory, cultural studies, philosophy and literature, and anyone interested in contemporary feminism and the relation between feminist theory, post-structuralism and psychoanalysis. (shrink)

To date the wealth of literature on abortion has been dedicated to resolving the question of its legal and moral permissibility in relation to the fetus and pregnant woman as subjects of moral standing. This has created a dichotomised way of talking about abortion chiefly in terms of conflicting rights; as a „wrongful‟ versus „legitimate‟ form of killing. The tension between this individualistic rights-based discourse and the „ethic of care‟ to which women are often expected to conform in their (...) moral deliberations gives rise to a stigmatising picture of a woman who aborts as „callous‟ or „selfish.‟ Males who share in abortion decisions are rarely subject to the same type of criticism. In this paper I aim to conceptualise the impact of normative femininity and social judgement on women‟s capacity for moral self-determination in abortion contexts within the framework of an injustice. I will do so by examining women‟s discursive participation with respect to abortion, and by analysing the impact that abortion stigma has on women‟s moral agency and lived experience. This will enable me to demonstrate how women may be uniquely subject to a hermeneutical injustice, which in abortion contexts gives way to a phenomenological injustice. (shrink)

Cette étude s’intéresse à la période 1760-1800. Elle porte sur les rapports entre d’une part les représentations médicales et littéraires de la sexualité féminine post-pubertaire, et d’autre part le sentiment de « dégradation culturelle » nourri par de nombreux lettrés de l’époque – un sentiment qui recoupe à la fois l’idée d’une dégénérescence de la race et celle d’une décadence des mœurs entraînées par les raffinements excessifs de la société contemporaine. Mary McAlpin défend la thèse selo...

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 397-404 [Access article in PDF] The Sexist Sublime in Sade and Lyotard Caroline Weber In this case the masculine returns to haunt the place of the feminine like a ghost...., bloody and inhuman, in order to manifest and to root unforgettably in us the idea of a perpetual conflict and a spasm in which life is constantly being cut short. Antonin Artaud, The (...) Theater and Its Double"VIOLENCE," JEAN-FRANÇOIS LYOTARD ASSERTS in a recent article on Kantian aesthetics, "is necessary to the sublime." 1 More precisely, the sublime, held to transport an individual beyond his or her "ordinary" register of aesthetic responses, may do violence to a person's faculty of imagination, by shattering the accepted limits of sensory experience. Lyotard explains: In the sublime, the imagination must be subjected to violence, because it is by way of its suffering, the mediation of its violation, that the joy of seeing—or almost seeing—the law can be obtained.... This "joy" [here Lyotard cites The Critique of Judgment] "is only possible by the mediation of pain." 2Indeed, students of Kant's work have long been familiar with the exclusion of sentiment, pathos, and personal interest that he posits as a requirement for exalted status in the aesthetic and the moral sphere. For Kant, the law is precisely about the painful suppression of pleasure-seeking impulses for the sake of a disinterested, higher good. To achieve the transcendental perfection of the law, typically understood to be the domain of God alone, one must, godlike, overcome the [End Page 397] limitations of human nature and human feeling. And this effort—of which the Passion is just one vivid example—can be extraordinarily painful. In this context, Lyotard's formulation of the problem may not strike us as particularly startling. In contending that the Kantian experience of the sublime requires the mediation of pain, the French poststructuralist appears simply to be reminding us that the law, whether aesthetic or moral in nature, always demands some sort of discomfort, some kind of sacrifice.We might be more inclined to accept this last statement if Lyotard's own work hadn't already taught us to think otherwise. For as he demonstrates admirably in The Differend, his 1983 meditation on testimony and the Holocaust, there is always a winner and a loser under the law; its attendant pains are always selectively applied. From a discursive point of view, this asymmetrical relationship manifests itself in a differend, a situation where two parties find themselves in dispute, and "the 'regulation' of the conflict that opposes them is done in the idiom of one of the parties, while the wrong suffered by the other is not signified in that idiom." 3 According to Lyotard, the suffering of the Jews at the hands of the Nazis exemplifies this pattern. In a strict juridical sense, any attempted protests by concentration camp prisoners had no meaning, and no right to mean anything, in Third Reich Germany: In the differend, something "asks" to be put into phrases, and suffers from the wrong (tort) of not being able to be put into phrases right away. This is when the human beings who thought they could use language as an instrument of communication learn through the feeling of pain... to recognize that what remains to be phrased exceeds what they can presently phrase.... 4Here Lyotard reveals that an encounter with the law, mediated by pain, inevitably creates injustices and wronged parties. In this paper, I will draw on this insight from The Differend to point up the ethical deficiencies or torts inherent in his own ruminations on the Kantian sublime—and in those of another philosopher whose thinking closely resembles Lyotard's on the subject, the notorious Marquis de Sade. To limit the scope of my inquiry, I shall focus in this brief essay on the differend to which each thinker's writings subject the figure of the mother.For Lyotard and Sade alike, the mother represents first and foremost the capacity to reproduce. With this capacity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:François H. Lapointe PHILOSOPHY AND LITERATURE: A BIBLIOGRAPHIC SURVEY ThL· survey is limited to articles written in English that have appeared in journals published between 1 January 1974 and 31 December 1976. Abbott, Don. "Marxist Influences on the Rhetorical Theory of Kenneth Burke." Philosophy and Rhetoric 7 (1974): 217-33. Abel, Lionel. "Jacques Derrida: His 'Difference' With Metaphysics." Salmagundi no. 25 (1974): 3-21. Adamowski, T. H. "Character and Consciousness: (...) D. H. Lawrence, Wilhelm Reich, and Jean-Paul Sartre." University of Toronto Quarterly 43 (1974): 31 1-34. Adams, D. J. "Style and Social Ideas in Jacques le fataliste." Studies in Voltaire & the Eighteenth Century 124 (1974): 231-48. Adams, Hazard. "Contemporary Ideas of Literature: Terrible Beauty or Rough Beast?" Contemporary Literature 17 (1976): 349-77. Adorno, Theodor W. "Lyric Poetry and Society." Telos no. 20 (1974): 56-71. Ages, Arnold. "Bonald and the Jews." Revue de l'Université d'Ottawa 44 (1974): 32-43. Allen, Diogenes. "The Experience of Existence: Jean-Paul Sartre and Iris Murdoch." International Philosophical Quarterly 14 (1974): 181-87. Allen, Marcus. "Character Development in the Oreste of Voltaire and Les Mouches of Jean-Paul Sartre." CLA Journal 18 (1974): 1-21. Alter, Jean. "A (Terrorist) System of the Novel." Diacritics 6 (1976): 10-15. Altieri, Charles. "Wittgenstein on Consciousness and Language: A Challenge to Derridean Literary Theory." MLN 91 (1976): 1397-1423. Altieri,Charles. "Wordsworth's 'Preface' as Literary Theory." Criticism 18 (1976): 122-146. [On Wordworth and Wittgenstein.] Ames, Van Meter. "Art for Art's Sake Again?" Journal of Aesthetics and Art Criticism 33 (1975): 303-307. Appleman, Philip. "The Dread Factor: Eliot, Tennyson, and the Shaping of Science." Columbia Forum, N. S. 3 (1974): 32-38. Armstrong, Paul B. " E. M. Forster's Howard's End: The Existential Crisis of the Liberal Imagination." Mosaic 8 (1974): 183-99. Arnold, A. James. "La Condition humaine as Nietzschean Tragedy." Mélanges Malraux Miscellany 6 (1974): 15-24. 366 François H. Lapointe367 Aronson, Ronald. "L'Idiot de la famille: The Ultimate Sartre?" Telos no. 20 (1974): 90-107. Arthos, John. "Du Bartas, Petrarch and the Poetry of Deism." Rice University Studies 60 (1974): 1-17. Artz, Johannes. "Newman as Philosopher." International Philosophical Quarterly 16 (1976): 263-88. Ausmus, Harry J. "Schopenhauer's Philosophy of Language." The Midwest Quarterly 18 (1977): 169-86. Ayala, Francisco. "Ortega y Gasset, Literary Critic." Critical Inquiry 1 (1974): 395-414. Bakalar, H. Nicholas. "The Cartesian Legacy to the Eighteenth-century Grammarians." MLN 91 (1976): 698-721. Barnes, Hazel. "Apotheosis and Deification in Plato, Nietzsche and Huxley." Philosophy and Literature 1 (1976): 3-24. Baron, Dennis E. "Role Structure and the Language of Literature." Journal of Literary Semantics 4 (1975): 43-52. Barooskian, Vahan D. "The Aesthetics of the Russian Revolutionary Theatre 1917-1921." British Journal of Aesthetics 15 (1975): 99-117. Bart, B. F. "Hypercreativity in Stendhal and Balzac." Nineteenth Century French Studies 3 (1974-75): 18-39. Barthes, Roland. "An Introduction to the Structural Analysis of Narrative." New Literary History 6 (1975): 237-72. Bashford, Bruce. "The Rhetorical Method in Literary Criticism." Philosophy and Rhetoric 9 (1976): 133-46. Bass, Alan. "Time and the Witch: Femininity, Metapsychology and the Temporality of the Unconscious." MLN 91 (1976): 871-912. Bassett, Sharon. "Towards a Critique of Romanticism: Wordsworth, Pater and the 'Anima Mundi'." Criticism 17 (1975): 262-75. Batchelor, R. "Literature, Society and the Concept of Revolt." European Studies Review 5 (1975): 395-427. Battin, M. Pabst. "Aristotle's Definition of Tragedy in the Poetics, Part 1." Journal of Aesthetics and Art Criticism 33 (1974): 155-70, and Part II in Ibid. 33 (1975): 293-302. Bauer, George. "Sartre and the 'Sugars' of History." L'Esprit Créateur 15 (1975): 377-86. Baumgarten, Murray. "The Historical Novel: Some Postulates." Clio 4 (1975): 173-82. Beauchamp, Gorman. "Gulliver's Return to the Cave: Plato's Republic and Book IV of Gulliver's Travels." The Michigan Academician 7 (1974): 201-10. Bennett, Jonathan. "The Conscience of Huckleberry Finn." Philosophy 48 (1974): 123-34. Benzon, William. "Cognitive Networks and Literary Semantics." MLN 91 (1976): 952-82. Bergonzi, Bernard. "A Grid of Codes: Views of Structuralism." Encounter 45 (1975): 52-58. Berry, Wanda Warren. "The... (shrink)