Nietzsche's remarks about women and femininity have generated a great deal of debate among philosophers, some seeing them as ineradicably misogynist, others interpreting them more favorably as ironic and potentially useful for modern feminism. In this study, Kay Picart uses a genealogical approach to track the way Nietzsche's initial use of "feminine" mythological figures as symbols for modernity's regenerative powers gradually gives way to an increasingly misogynistic politics, resulting in the silencing and emasculation of his earlier configurations of the "feminine." (...) While other scholars have focused on classifying the degree of offensiveness of Nietzsche's ambivalent and developing misogyny, Picart examines what this misogyny means for his political philosophy as a whole. Picart successfully shows how Nietzsche's increasingly derogatory treatment of the "feminine" in his post-Zarathustran works is closely tied to his growing resentment over his inability to revive a decadent modernity. (shrink)

This paper aims to trace the evolution of Bachelard's thought as he gropes toward a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream, occupies the central position in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)

Inside Notes From the Outside wrestles with issues that have loomed over anyone who has had to come to terms with concrete, pragmatic questions regarding identity within the interacting spheres of race, gender, class, and power. Based on the premise that discourse regarding these issues tend to be cast into a relationship of powerful vs. powerless, the author contends that power is not a fixed thing, but a subtle, complex matrix that shifts over time. A thoughtful approach toward issues of (...) cultural difference, Inside Notes From the Outside provides a sincere and uniquely interior perspective on identity formation. (shrink)

Inside Notes From the Outside wrestles with issues that have loomed over anyone who has had to come to terms with concrete, pragmatic questions regarding identity within the interacting spheres of race, gender, class, and power. Based on the premise that discourse regarding these issues tend to be cast into a relationship of powerful vs. powerless, the author contends that power is not a fixed thing, but a subtle, complex matrix that shifts over time. A thoughtful approach toward issues of (...) cultural difference, Inside Notes From the Outside provides a sincere and uniquely interior perspective on identity formation. (shrink)

Reviewing one of Derrida's books necessarily entails steering a path that avoids two sirens--the Scylla of oversimplifying or reducing, when confronted with a movement of thought which evolves deliberately in order to subvert categories, or the Charybdis of being merely mimetic and repetitive, fossilizing the strategies and gestures that have become identified with a signature that has achieved a peculiar singularity and currency. Such a path perhaps begins with the acknowledgement that Derrida is a philosopher who poses philosophical questions to (...) texts, wherever they come from, and to textuality as such. (shrink)

Derrick Bell’s work challenges the dichotomy that separates legitimate legal reasoning from “mere” fiction through hybrids that play across science fiction, Platonic dialogue, and autobiography. Despite its merits, I argue that Bell’s position reifies and strengthens, rather than deconstructs, structures of tyranny; it maintains the problematic rhetorical construction of United States race relations in terms of the black–white divide, either alienating, or leaving little or no room for other racial groups constructively to revise power and identity. In contrast, bell hooks’, (...) Mari Matsuda’s and Robert Chang’s work, though tentatively sketched, construes current race and gender relations in terms of a chiaroscuro of power, rather than a simple dichotomy. (shrink)

Reviewing one of Derrida's books necessarily entails steering a path that avoids two sirens--the Scylla of oversimplifying or reducing, when confronted with a movement of thought which evolves deliberately in order to subvert categories, or the Charybdis of being merely mimetic and repetitive, fossilizing the strategies and gestures that have become identified with a signature that has achieved a peculiar singularity and currency. Such a path perhaps begins with the acknowledgement that Derrida is a philosopher who poses philosophical questions to (...) texts, wherever they come from, and to textuality as such. (shrink)