Female specificity in narrative films is a topic as illusive and controversial as it is incredibly rich with potential for analysis and research. Particularly illusive is scholarly research on the female gaze in mainstream filmmaking. Male specificity in the movies is far less illusive and controversial. So pervasive is the male presence in mainstream film form that the term the male gaze1 has become institutionalized in theory and practice. The female gaze, perhaps unavoidably so, eludes institutionalization.2 My paper presents a (...) glimpse into the traces of the female gaze in Jane Campion's historical film, The Piano. Campion's filmic text creates a space in mainstream movies where cinematic enunciation intersects with the linguistic and psychoanalytical innovations of the last half-century. I have chosen The Piano because it presents an overwhelmingly clear demonstration of the female gaze and does so within the limitations of mainstream film conventions. (shrink)

Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of The Power of the Dog to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. Drawing upon (...) thought that stems from actual plants (Deleuze and Guattari’s arboreal-rhizomatic thinking) and vegetal philosophy (Marder, Coccia), as well as parallel botany’s attention to the artificial (Lionni), I follow the fate of one paper flower as it intersects with the gendered history of artificial flower making and floral sexual symbolism. Thinking with this paper flower, I engage with theories that variously question binary power relations (Cixous, Barthes, Steinbock), reading these alongside scholarship on sex, gender, and masculinity in the Western (Neale, Mulvey, Bruzzi), and broaching the hierarchies of settler colonialism. The film’s floral aesthetic, I argue, challenges the either/or logic of male or female, masculine or feminine, and even though it cannot fully break away from the binaries it critiques, it is indebted to registering the importance of the nuance (Barthes) in the unthreading of power. (shrink)

Taking as its point of departure the place of the vegetal realm within Jane Campion’s filmmaking, this article attends to both living and artificial plants, homing in on the exquisitely crafted paper flowers of _The Power of the Dog_ to explore their entanglement with human power relations. Manmade flowers are clearly distinct from the flowers of the garden or the prairie, but in this Western, they form part of a broader floral aesthetic with their living kin. Drawing upon (...) thought that stems from actual plants (Deleuze and Guattari’s arboreal-rhizomatic thinking) and vegetal philosophy (Marder, Coccia), as well as parallel botany’s attention to the artificial (Lionni), I follow the fate of one paper flower as it intersects with the gendered history of artificial flower making and floral sexual symbolism. Thinking with this paper flower, I engage with theories that variously question binary power relations (Cixous, Barthes, Steinbock), reading these alongside scholarship on sex, gender, and masculinity in the Western (Neale, Mulvey, Bruzzi), and broaching the hierarchies of settler colonialism. The film’s floral aesthetic, I argue, challenges the either/or logic of male or female, masculine or feminine, and even though it cannot fully break away from the binaries it critiques, it is indebted to registering the importance of the nuance (Barthes) in the unthreading of power. (shrink)

This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests – siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard (...) of hearing, short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires. It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure. (shrink)

Jane Campion’s work regularly revolves around women’s often complex relationship with socio-cultural discourses and their articulation in language, whether in familial and institutional structures or in cultural and creative practice. In this sense, Campion’s filmmaking continues a feminist tradition of exploration regarding female subjectivity, identity and desire as it is represented in language (cinematic or otherwise). In the Cut (2003), adapted from Susanna Moore’s novel of the same name, again places language and the (dis)articulation of the female (...) voice at its heart: the renewal of which is positioned within the film as crucial to women’s survival. In taking its cue from Hélène Cixous’s ‘The Laugh of the Medusa’ (1976) and later writings such as ‘Castration or Decapitation?' (1981) and ‘Coming to Writing' (1991), this article frames its discussion of Campion’s interrogation of ‘Woman’s’ attempts at the articulation of the self as an exemplar (in both theme and form) of Cixousian strategies. The article will argue that techniques such as a cinematic écriture feminine, and the appropriation and adaptation of the language of Hollywood genre film, form part of Campion’s feminist inquiry into the discourses and legacies of a phallogocentric patriarchal culture which traditionally delimit Woman as a ‘speaking’ subject. In this way, In the Cut exposes the tensions between what Cixous calls the ‘Absolute Woman’ of culture (the aphonic hysteric) and attempts towards agency, thus challenging phallogocentric representations of women. In using these strategies, Campion’s adaptation creates a polyphonic artefact which not only revises Moore’s novel but also re-visits (in order to reclaim) female articulation; re-writing phallogocentric claims to agency and subjectivity, imagining women's ‘survival’ through language. In this sense, then, adaptation itself can be thought of as a feminist act of subversion. (shrink)

Jane Campion and Gerard Lee's miniseries Top of the Lake (2013) marked New Zealand-born but Australian resident Campion's return to New Zealand for the first time since The Piano (1993). The show's central subject of child sexual abuse by state officials echoes the different yet resonating political situations in twenty-first century Australia and New Zealand, a state of emergency that allows for the emergence of what Rebecca Solnit (2009) calls a ‘disaster community’. Implicitly addressing critiques of her (...) colonialist gaze in the earlier film, the miniseries both decolonises the idea of the Utopian no-place and offers an alternate, emplaced vision of relational, anti-colonial provisional Utopia through the main, mirroring female characters, Detective Robin Griffin and her half-sister Tui Mitcham. In contrast to contemporaneous police procedurals focussed on lone female officers, Top of the Lake rejects the authority of the police state and offers a resolution aslant that critiques generic expectations of individual heroism and resolution within a legal framework. Looking specifically at how the show knows its place—Lake Wakatipu on South Island, New Zealand—the article offers a close reading of Top of the Lake's formal critique of the male colonial gaze and its adoption of a feminist soundscape in relation to Campion's oeuvre; and considers its politics through indigenous media theory, to argue that it marks an initial step towards a decolonisation of viewing practices in relation to feminist conceptions of Utopia. (shrink)

Skirting the Ethical offers highly original readings of six works, each noted for its politico-ethical stance. The first four (Sophocles' Antigone , Plato's Symposium and Republic and Hamann's "Aesthetica in nuce") have a recognized and honored place in the canon. The last two, Sebald's The Emigrants and Jane Campion's film The Piano , are exemplary for our contemporary scene. Nevertheless, the straightforward assumptions about justice, divine and state power, the good, and identity politics that every reader or viewer (...) inevitably comes upon are disrupted when one takes into account the role of language: both the way in which language is talked about and the way in which it performs. What emerges is a non-prescriptive ethics of another order that offers a resistance to power and simplistic conceptualizations of truth, an emancipation from the "must-be" that implies an ever-to-be-renewed renegotiation—a responsability that has much to do with the act of critique or interpretation. (shrink)

Slavoj Zizek is regarded as one of the pre-eminent European cultural theorists of the last decade. His growing body of work has generated considerable controversy and transformed the way we think about issues of popular culture and politics. This volume provides a critical reflection on Zizek's ideas and his intellectual itinerary. As well as bringing a Zizekian analysis to a discussion of the cultural and social aspects of nationhood in New Zealand and the Southern hemisphere, it will provide readers with (...) new material and fresh perspectives on Zizek's thinking on psychoanalysis, multiculturalism, television and the new media, ethics and politics. It is proposed that Zizek's arresting, and at times scandalous, re-elaboration of psychoanalytical theory and his critique of ideology will open the way for a new understanding of social conflict. FROM Z TO A contains approaches that are challenging and fascinating: What really happened when Paul Holmes interviewed Dennis Connor? Why do we watch reality TV? Is the Treaty of Waitangi a fraud? Why has Peter Ellis come to represent par excellence the figure of sexual threat to children? Why does Ada in Jane Campion's 'The Piano' send a love letter to Baines who cannot read? What psychic mechanisms of nationalism are displayed in British football hooliganism? How did Western orientalism shape Japanese national identity? Why is the discourse of nationhood in the United States always structured around a central void or impossibility? The range of topics demonstrates both the power of Zizek's formulations and the light they can shed on our world. (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, (...) Cindy Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)

Recent philosophy of mind has had a mistaken conception of the nature of psychological concepts. It has assumed too much similarity between psychological judgments and those of natural science and has thus overlooked the fact that other people are not just objects whose thoughts we may try to predict and control but fellow creatures with whom we talk and co-operate. In this collection of essays, Jane Heal argues that central to our ability to arrive at views about others' thoughts (...) is not knowledge of some theory of the mind but rather an ability to imagine alternative worlds and how things appear from another person's point of view. She then applies this view to questions of how we represent others' thoughts, the shape of psychological concepts, the nature of rationality and the possibility of first person authority. This book should appeal to students and professionals in philosophy of mind and language. (shrink)

Effective corporate social responsibility policies are a requirement for today's companies. Policies have not only to be formulated, they also have to be delivered by corporate employees. This paper uses existing research findings to identify two types of factors that may impact on employee motivation and commitment to CSR ‘buy-in’. The first of these is contextual: employee attitudes and behaviours will be affected by organizational culture and climate, by whether CSR policies are couched in terms of compliance or in terms (...) of values, and by whether such policies are integrated into business processes or simply an ‘add-on’ that serves as window-dressing. The second set of factors is perceptual. Motivation and commitment will be affected by the extent to which they can align personal identity and image with that of the organization, by their perceptions of justice and fairness both in general and in terms of how CSR performance is rewarded, and by their impressions concerning the attitude of top management to CSR issues and performance. (shrink)

Effective corporate social responsibility policies are a requirement for today's companies. Policies have not only to be formulated, they also have to be delivered by corporate employees. This paper uses existing research findings to identify two types of factors that may impact on employee motivation and commitment to CSR ‘buy‐in’. The first of these is contextual: employee attitudes and behaviours will be affected by organizational culture and climate, by whether CSR policies are couched in terms of compliance or in terms (...) of values, and by whether such policies are integrated into business processes or simply an ‘add‐on’ that serves as window‐dressing. The second set of factors is perceptual. Motivation and commitment will be affected by the extent to which they can align personal identity and image with that of the organization, by their perceptions of justice and fairness both in general and in terms of how CSR performance is rewarded, and by their impressions concerning the attitude of top management to CSR issues and performance. (shrink)

Calls for the “translation” of research from bench to bedside are increasingly demanding. What is translation, and why does it matter? We sketch the recent history of outcome-oriented translational research in the United States, with a particular focus on the Roadmap Initiative of the National Institutes of Health (Bethesda, MD). Our main example of contemporary translational research is stem cell research, which has superseded genomics as the translational object of choice. We explore the nature of and obstacles to translational research (...) and assess the ethical and biomedical challenges of embracing a translational ethos. (shrink)

Is it possible for postmodernism to offer viable, coherent accounts of ethics? Or are our social and intellectual worlds too fragmented for any broad consensus about the moral life? These issues have emerged as some of the most contentious in literary and philosophical studies. In Renegotiating Ethics in Literature, Philosophy, and Theory a distinguished international gathering of philosophers and literary scholars address the reconceptualisations involved in this 'turn towards ethics'. An important feature of this has been a renewed interest in (...) the literary text as a focus for the exploration of ethical issues. Exponents of this trend include Charles Taylor, Bernard Williams, Iris Murdoch, Cora Diamond, Richard Rorty and Martha Nussbaum, the latter a contributor and a key figure in this volume. This book assesses the significance of this development for ethical and literary theory and attempts to articulate an alternative postmodern account of ethics which does not rely on earlier appeals to universal truths. (shrink)

Diagrams make it possible to present scientific facts in more abstract and generalized form. While some detail is lost, simplified and accessible knowledge is gained. E. B. Wilson's work in cytology provides a case study of changing uses of diagrams and accompanying abstraction. In his early work, Wilson presented his data in photographs, which he saw as coming closest to “fact.” As he gained confidence in his interpretations, and as he sought to provide a generalized textbook account of cell development, (...) he relied on increasingly abstract diagrams. In addition, he came to see that highly abstract and even schematic drawings could provide more than pictures directly from life. (shrink)

Summary This paper notes and explores the attraction of Dugald Stewart's moral philosophy for women readers and a few women writers. Student lecture notes reveal the chronological development of his ideas, as he drew upon the works of Thomas Reid, Adam Smith, and Adam Ferguson, and responded to political events. Particular attention is paid to Stewart's comments relating to women and gender, through discussions of education, the institution of marriage, and population questions. After 1800, he shifted away from a speculative (...) conjectural history towards a philosophy of moral progress rooted in common sense philosophy and a belief in perfectibility. He taught a system of practical morality relevant to the education of children and strongly emphasised the importance of the association of ideas in childhood. For women readers, the message was contradictory in that he united an apparently conservative reinforcement of the relations of the sexes with a belief in the improvement of the condition of women through education in a modern, progressive, and commercial society. (shrink)

Most anthropological and sociological studies of Buddhism have concentrated on village and rural Buddhism. This is a systematic anthropological study of monastic organization and monk-layman interaction in a purely urban context in the countries where Theravada Buddhism is practised, namely, Burma, Cambodia, Ceylon, Laos and Thailand. The material presented is based on fieldwork carried out in Ayutthaya, Central Thailand. Dr Bunnag describes and analyses the socio-economic and ritual relations existing between the monk and the lay community, and she demonstrates the (...) way in which the role of the monk is used by some men, wittingly or otherwise, as a social stepping-stone, in that for the son of a farmer a period in the monkhood can provide the education and contacts necessary to facilitate his assimilation into the urban lay community at a social and economic level which would otherwise have been impossible. Finally, Dr Bunnag places the material presented in a broader theoretical context by reviewing it in relation to anthropological discussions concerning the nature of Thai society as a whole. (shrink)

For understanding early Chinese "theories of language" and views about the relation of speech to a nonalphabetic script, a thorough analysis of early Chinese metalinguistic terminology is necessary. This article analyzes the function of ming & (name) in early Chinese texts as a first step in that direction. It argues against the regular treatment of this term in early Chinese texts as the equivalent of "word." It examines ming in light of early Chinese ideas about sense perception, the mythology about (...) the origin or music and writing, and changes occurring in the writing system in the third century B.C.E. This lays the groundwork for a more informed response to Derrida's speculation about Chinese logocentrism. It is explained that, in early Chinese texts, certain concepts associated with logocentrism (e.g., reality/appearance, presence/absence) function in a way that is neither the same as, nor exactly the reverse of, the Western philosophical episteme. Thus, attempts to reconstruct attitudes toward "language" in early China should note the importance of sound in interpreting ming. Moreover, interpretations of apparent denigrations of writing in early Chinese texts should, before diagnosing logocentrism, consider the context of the reliability of the visual. (shrink)

In one volume, this book brings together a new English translation of Plato's _Meno_, a selection of illuminating articles on themes in the dialogue published between 1965 and 1985 and an introduction setting the _Meno_ in its historical context and opening up the key philosophical issues which the various articles discuss. A glossary is provided which briefly introduces some of the key terms and indicates how they are translated. The _Meno_ is an excellent introduction to Plato and philosophy.

The following is a defense of Jurgen Habermas' argumentational consensual procedure against Keith Lehrer and Carl Wagner's weighted averaging consensual procedure (and, I tentatively claim, against any weighted averaging consensual procedure). The argument is twofold: if Lehrer and Wagner intend, implicity, to replace what is for Habermas the metatheoretical stage of a discussion with the aggregation of judgments of respect, then their procedure fails to make use of all available information and the participants are not committed to the weighted average (...) position on these grounds; if, on the other hand, they do not intend to replace metatheoretical discussion by aggregation, then the conditions under which the discussion could conceivably have come to a halt are such as to provide no support for the claim that it is rational to aggregate, rather than to consider the discussion unresolved until more information is available. (shrink)

First person authority, argues Moran, is not to be understood as a matter of having some especially good observational access to certain facts about oneself. We can imagine a person who can report accurately on her own psychological states, for example because she can perform, without conscious thought, extremely reliable psychoanalytic-style diagnoses of herself. But the ‘authority’ with which she produces her judgements resembles that which she could have about another person in that it can exist even when she does (...) not endorse or identify with the states she reports on. In imagining such a person we see that her speech about herself is very different from our more usual sort of psychological self-attributions and that something central to their authority, something we want to explain, has gone missing. Also the observational view does not illuminate why it is only psychological states to which one can have such privileged access, and only one’s own; nor does it explain why loss of such access is a serious matter. (shrink)