L’article présente un sceau prismatique du Minoen Moyen mis au jour dans le bâtiment néopalatial Pi à Malia en 2007. Les motifs qu’il porte sur ses trois faces sont particulièrement intéressants en raison de leur rareté dans la glyptique protopalatiale et des comparaisons établies. La figure féminine sur la face (a) semble ainsi représenter une créature hybride, dont le visage apparaît souvent isolément, ou surmontant un corps humain ou animal sur des sceaux du MM, et qui trouve certains parallèles dans (...) des représentations de la divinité égyptienne Bès et de la Gorgone grecque. Le quadrupède de la face (b) est gravé dans une position rarement observée, suggérant un animal enroulé sur lui-même. Les « serpents » flanquant le vase sur la face (c) peuvent être comparés aux éléments similaires associés à un chat sur un prisme protopalatial, ou à la «déesse aux serpents », sur la tête de laquelle est également assis un chat. Ces considérations invitent à conclure que ces représentations sur les prismes véhiculaient une valeur symbolique. (shrink)

Dans quelle mesure peut-on reconnaître certaines influences du naturalisme français, mouvement éminemment représenté par Émile Zola, dans les œuvres romanesques de naturalistes américains tels que Dreiser et Norris? Stephen Crane, l’un de ces derniers, nie l’influence des œuvres romanesques zoliennes sur son chef d’œuvre, Maggie : A Girl of the Streets (1893). Pourtant, en lisant cette nouvelle de l’écrivain américain, on peut bel et bien retrouver des motifs zoliens, ce qui contredirait son affirmation. Il existe, en effet, des rapports d’intertextualité (...) avec certains romans de Zola. En prenant cette idée comme point de départ, nous nous proposons de réfléchir à la représentation de l’espace urbain, notamment à Paris dans L’Assommoir, ainsi qu’aux personnages féminins de ce roman, pour mettre en évidence l’importance de l’idéalisation de la vie rurale. En ce sens, nous voulons prendre ces aspects comme points de comparaison entre Zola et Crane. Comment, chez ce dernier, sont représentées la ville de New-York et les personnages féminins? In fine, cela permettra d’aboutir à une réflexion plus globale, tout en étant précise, sur les particularités de la littérature naturaliste des deux côtés de l’Atlantique. (shrink)

Traditionally neglected, Locke's First Treatise of Government has taken on new significance with feminist interpretations that recognize the importance of its sustained engagement with patriarchal power. Yet feminist interpreters, both critics and admirers alike, read Locke as a champion of the "man of reason," a figure seemingly immune to the influences of passions, imagination, and rhetoric. These interpreters wrongly overlook Locke's extended engagement with the power of rhetoric in the First Treatise, an engagement that troubles the clear opposition of masculine (...) reason and its feminine exclusions. Taking Locke's rhetoric seriously, I argue, makes the First Treatise newly important for what it shows us about Locke's practice of political critique. In following the varied and novel effects of Locke's feminine figures, we find a practice of political critique that depends on a mutually constitutive relation between rhetoric and reason. (shrink)

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

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.

Given that Nick Land is one of the central influences on certain strands of accelerationism, xenofeminism, and inhumanism, it is important to understand how he himself first developed and deployed the concepts of acceleration, the feminine, and the inhuman, which others would go on to appropriate for their own purposes. This article will trace the four feminine figures throughout Land's philosophical trajectory, which he sees as agents for accelerating the transcendental critique of both anthropocentrism and phallocentrism: the slave turned (...) lesbian; the sister; the sexborg; and the Sphinx. Having elucidated the importance of these figures for Land's thought, this article will conclude by drawing upon the younger Land's feminist resources to immanently critique the disappearance of women from his more recent neoreactionary philosophy in favor of concessions to patriarchal traditionalists. (shrink)

Ce livre est la synthèse de plus de vingt ans de travail de terrain sur les femmes et le féminin dans la société maure mené par l'ethnologue Aline Tauzin. Sa recherche est née d'un étonnement qui fut aussi celui de nombreux visiteurs de l'ethnie maure depuis le Moyen Âge. Alors que cette société « affirme son appartenance à la civilisation arabo-musulmane, qu'elle s'exprime dans un dialecte arabe, elle traite la question du féminin sur un mode radicalement différent de ce qui (...) peut s'ob... (shrink)

Dans une société où le vêtement doit rendre visibles toutes les hiérarchies sociales, le port par les femmes de tout ou partie du costume masculin, a longtemps été considéré comme une atteinte grave aux commandements divins, avant d’être condamné par la loi civile et la morale dominante. Pour celles qui osèrent s’habiller en hommes, le transvestisme fut d’abord un moyen de survie : déguisement des persécutées et des amoureuses, habillement commode des pauvresses et des patriotes. Il leur permit aussi de (...) rendre visibles des revendications de liberté physique, d’égalité économique et de dépassement du cadre binaire des relations de sexe. Images de subversion politique et/ou d’affirmation d’une identité sexuelle non conforme. (shrink)

Dans une société où le vêtement doit rendre visibles toutes les hiérarchies sociales, le port par les femmes de tout ou partie du costume masculin, a longtemps été considéré comme une atteinte grave aux commandements divins, avant d’être condamné par la loi civile et la morale dominante. Pour celles qui osèrent s’habiller en hommes, le transvestisme fut d’abord un moyen de survie : déguisement des persécutées et des amoureuses, habillement commode des pauvresses et des patriotes. Il leur permit aussi de (...) rendre visibles des revendications de liberté physique, d’égalité économique et de dépassement du cadre binaire des relations de sexe. Images de subversion politique et/ou d’affirmation d’une identité sexuelle non conforme. (shrink)

Pouvant être lu à différents niveaux, le conte a une valeur universelle, atemporelle et, paradoxalement, il est un vecteur de transmission sociale ancré dans son temps. À travers l’étude du conte Hansel et Gretel, les auteures de cet article y font part de leurs réflexions sur les fonctions et rôles du conte, dans ses différentes dimensions intra, inter et transpsychiques. Les figures féminines négatives qui y sont présentées et le processus d’identification en contre de Gretel rendent compte de (...) sa construction identitaire, mais également des représentations sociale et historique du féminin transmises à travers le temps. (shrink)

Dans le judaïsme, la préséance masculine instaurée par le Code de l’Alliance fondatrice contractée entre Dieu et le peuple élu se maintient dans le rapport que chaque juif entretient avec la Lettre, et se renouvelle tout au long de sa vie au travers des rites et des objets qui le mettent en rapport avec le « sacré ». La Torah en est l’incarnation majeure aux côtés de la Shekhinah, manifestation féminine de la présence de Dieu qui, animant des figures (...) bibliques comme Rachel, Léah ou Esther, s’attache aussi à chaque femme. Cela suffit-il à combler l’écart, à résoudre la question que les femmes d’aujourd’hui posent : celle d’un recouvrement effectif dans le judaïsme entre la place réelle qui leur est accordée en tant que personnes sociales et la reconnaissance du « féminin » comme composante du sacré voire du divin? Cet article qui retrace le parcours de recherche de l’anthropologue Claudine Vassas donne profondeur tant aux revendications portées par les femmes d’aujourd’hui qu’aux résistances des hommes à céder sur ces points et vis-à-vis des lieux et objets d’où justement les femmes ont été si durablement écartées. (shrink)

Les activités textiles auxquelles Pénélope est associée dans l’Odyssée semblent être, jusqu’à maintenant, relativement peu figurées sur les vases antérieurs aux époques archaïque et classique. Pourtant, les sources textuelles comme les données archéologiques montrent que ces activités étaient essentielles dans les sociétés anciennes. Cet article réexamine certaines scènes, celles dites aux rattles, dont l’apparition, sur une série de pichets remonte au Géométrique récent. Traditionnellement, ces scènes sont interprétées de différentes manières : cérémonie sacrée, scène de banquet, performance musicale ou encore (...) jeux de plateau. L’objectif est de réévaluer ces interprétations et d’en proposer une lecture complémentaire. (shrink)

Notorious for advancing a strict dichotomy between the masculine “demiurgic father” and the feminine “nurse/receptacle of becoming” as the “natural” origin of the cosmos, Plato's Timaeus has become a site for feminist interrogation. Most critics easily deem the text a masculine fantasy that projects feminine impotence and obligatory heterosexuality, reinforcing patriarchal power structures that are blindly reproduced in their historical reception. Consequently, this article analyzes the Neoplatonic replication of this framework, but with special attention given to Proclus's challenges to this (...) gendered and sexual context. In this late, sometimes forgotten figure, we find, rather surprisingly, a Platonist who neither sequesters the feminine to the domain of the passive receptacle nor charges her simply with being a bastard image of the masculine. Rather, for Proclus, the feminine becomes the site of lived, erotic power that produces and sustains the value of authentic otherness. Furthermore, Proclus offers a challenge to the naturalness of the sex binary, suggesting a radical queerness as the basis of all identity. Overall, we shall see how classical patriarchal thinkers may, despite themselves, offer subversive models that might present readers with possibilities for troubling the sexual prejudices of ancient metaphysical schemas. (shrink)

This paper argues that the metaphors of breath and voice as employed in the recent works of Luce Irigaray and Adriana Cavarero yield a reconceptualization of subjectivity as unique, embodied and relational. When interpreted in light of Cavarero's reorientation of the question of subjectivity from a what to a who, this newly configured notion of subjectivity can serve as the basis for a non-essentialist politics of sexual difference.

Incorporation mystique et subjectivité féminine d’après le Livre d’Angèle de Foligno. Comment qualifier, dans le cadre d’une histoire de la subjectivité, la piété compassionnelle dont témoigne Angèle de Foligno († 1309) dans le Mémorial et les Instructions? En choisissant trois motifs qui déclinent la figure de l’incorporation mystique (dévotions à l’eucharistie, aux plaies du Christ et aux instruments de la Passion), cette étude met au jour les origines monastiques d’une piété fusionnelle et affective, d’abord élaborée dans un environnement spécifiquement masculin (...) aux XIe-XIIe siècles, puis investie par la dévotion des mulieres religiosae (moniales, béguines, recluses ou tertiaires) à partir du XIIIe siècle. Placée dans une perspective de longue durée, la piété d’identification au Christ et à ses souffrances d’Angèle révèle ainsi une sensibilité religieuse aux référents mixtes, masculins et féminins, mais qui a été infléchie par la position sociale des femmes et leurs aspirations propres dans le champ de la piété. (shrink)

In a time when worlds, communities and subjects are increasingly presented as ‘vulnerable’, much remains to be said about the distinctly feminine shapes of ‘vulnerability’; weakness, softness, permeability, a sense of being affected, imprinted upon, or entered and shattered. While this presumed vulnerability of the feminine body has often been the basis of feminist sexual politics, feminist goals of autonomy often presume an internal and external undoing of vulnerability as such. Drawing on ethnographic research with queer femmes and building on (...) Sara Ahmed’s (2004a) idea that vulnerability is a ‘particular kind of bodily relation to the world’, this experimental article challenges the popularised idea that to queer femininity requires action, intention, agency and strength. Extending the work of femme authors Dorothy Allison and Ann Cvetkovich, the article considers the cracks in such femme politics, and focuses on how femme feelings of vulnerability take shape and figure in movements, and become what sticks between femme bodies of flesh and knowledge. Attending to the sensuous canvas of skin, to high-heeled movement and desire for both sex and sisterhood, these are notes on the work of affect in what is here called femmebodiment towards a somatechnical understanding of femininity. (shrink)

This text explores the notion of the feminine through the schemas of epic and tragedy in Ricœur’s work, symbolized by the figures of Penelope and Antigone. Later, we will propose Medea as a better example for Gender Studies, interpreted in relation to the developments of The Rule of Metaphor on resemblance and substitution, and to the process of mimesis of Time and Narrative.

Association où prédomine l’Apollinisme, le Pythagorisme se marginalise en pays grec par le refus (sélectif) du sacrifice sanglant et de la consommation de la viande, par une règle de vie très impérative et par des révélations religieuses et intellectuelles qui relèvent d’une initiation. Considérant que la philosophie - « l’effort vers la sagesse » - est une ascèse qui permet de purifier les âmes et corrélativement les corps, il accorde à l’acquisition des savoirs scientifiques - les mathématiques, l’astronomie, la musique, (...) la médecine - une place essentielle dans la relation qu’il établit avec le divin. Parce qu’il s’est voulu dès l’origine association ouverte aux deux sexes, le Pythagorisme a permis à quelques femmes d’accéder aux savoirs scientifiques, à la parole et à l’écriture. Immergées dans un monde qui considérait que l’accès à la philosophie représentait pour les femmes une trangression des limites propres à leur sexe et donc des risques de débordement sexuel et de perversion, les Pythagoriciennes ont tenu à démontrer dans leurs écrits que les femmes savantes étaient, plus que les autres, de bonnes épouses, de bonnes mères et de bonnes maîtresses de maison. C’est à ces propos, récupérés par la morale chrétienne et amputés bien sûr du contexte qui leur donnait sens, qu’elles doivent de figurer dans les Traités sur les femmes illustres. (shrink)

Association où prédomine l’Apollinisme, le Pythagorisme se marginalise en pays grec par le refus (sélectif) du sacrifice sanglant et de la consommation de la viande, par une règle de vie très impérative et par des révélations religieuses et intellectuelles qui relèvent d’une initiation. Considérant que la philosophie - « l’effort vers la sagesse » - est une ascèse qui permet de purifier les âmes et corrélativement les corps, il accorde à l’acquisition des savoirs scientifiques - les mathématiques, l’astronomie, la musique, (...) la médecine - une place essentielle dans la relation qu’il établit avec le divin. Parce qu’il s’est voulu dès l’origine association ouverte aux deux sexes, le Pythagorisme a permis à quelques femmes d’accéder aux savoirs scientifiques, à la parole et à l’écriture. Immergées dans un monde qui considérait que l’accès à la philosophie représentait pour les femmes une trangression des limites propres à leur sexe et donc des risques de débordement sexuel et de perversion, les Pythagoriciennes ont tenu à démontrer dans leurs écrits que les femmes savantes étaient, plus que les autres, de bonnes épouses, de bonnes mères et de bonnes maîtresses de maison. C’est à ces propos, récupérés par la morale chrétienne et amputés bien sûr du contexte qui leur donnait sens, qu’elles doivent de figurer dans les Traités sur les femmes illustres. (shrink)

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)

Les sources de la pratique judiciaire du xve siècle dans les Pays-Bas bourguignons font apparaître, classiquement, le faible nombre des femmes présentes en justice. Elles y sont pourtant bien présentes et capables. On note l’aspect ordinaire des crimes et délits pour lesquels elles sont condamnées. Loin d’être marginales, les coupables sont assez « ordinaires » d’un point de vue « social ». Pour autant on voit les stéréotypes à propos des femmes agir sur la conception que s’en font les juges. (...) Au final, au xve siècle, on ne rencontre pas de figure archétypale d’une femme criminelle. (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)

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)

The earliest Christians – all of whom were Jews – spoke of the Holy Spirit as a feminine figure. The present article discusses the main proof texts, ranging from the ‘Gospel according to the Hebrews’ to a number of testimonies from the second century. The ancient tradition was, in particular, kept alive in East and West Syria, up to and including the fourth century Makarios and/or Symeon, who even influenced ‘modern’ Protestants such as John Wesley and the Moravian leader Count (...) von Zinzendorf. It is concluded that, in the image of the Holy Spirit as woman and mother, one may attain a better appreciation of the fullness of the Divine. (shrink)

As one of the most influential feminist theorists in Western academic circles, Hélène Cixous is often associated with écriture feminine, a term she coined in 1977, and with a fluid, poetic style both in her essays and in her fiction. This article investigates how Hélène Cixous uses the concept of the ‘feminine’ in her plays as a container for heterogeneity, liminality and difference, mobilizing it to animate feminist strategies that interrupt male, white and/or hegemonic forms of subjectivity. If for Cixous (...) the practice of feminine writing is fundamentally characterized by the desire to create a mode of expression in which difference and otherness would retain their alterity, in dramatic writing she found an especially conducive medium for the realization of that desire. This article examines Cixous’s anti-realist postdramatic works, from her first produced play Portrait of Dora to her works for Ariane Mnouchkine’s Théâtre du Soleil, in the context of a feminist aesthetics of estrangement, and considers how her plays enact feminist theory’s own movement away from the psychoanalytical discourses of the 1970s and 1980s to postcolonial and materialist critiques. The article employs a range of intersectional critical methodologies for situating Cixous’s dramatic writing within a broader feminist praxis, using the work of feminist performance scholars like Elin Diamond, Rebecca Schneider and Jill Dolan to consider the liminal Other as a precarious feminine figure that Cixous re-inscribes into discourse. Feminine writing, the progressive movement away from realism towards postdramatic theatre, and Cixous’s artistic collaboration with Mnouchkine are each considered as feminist strategies towards a rendition of the subject that can reiterate its otherness on stage. The central argument is that it is the enactment of these strategies in live performance that makes Hélène Cixous’s concept of femininity as liminal difference so relevant for feminist politics today. (shrink)

This article takes off from Freud's literary use of the term ‘fixation’ to explore how female sexuality both establishes the universal foundations of Freud's metapsychology and is excluded from it via a reading of one Freud's strangest and most provocative case presentations. Like a primal word, fixation operates in contradictory fashion: it is associated both with regression and futurity, petrified immobility and contingency. Fixation is Freud's name both for the primal origin of sexuality and the very word for what shuts (...) sexuality down. In ‘A Case of Paranoia Running Counter to the Disease’, the first case history devoted to a woman after Dora, Freud recounts his brief encounter with a woman who is brought to Freud because she is suffering from a paranoid delusion that her would-be lover has arranged to have her photographed during their sexual engagements. On the basis of his fictionalized account of this fictive case, Freud establishes a curiously suggestive link between fixation, femininity and photography, and introduces, for the first time, the notion of ‘primal phantasies’. By looking how femininity, fixation and photography come together, this article explores how and why Freud attributes quasi-photographic powers to female sexuality as a means of trying to produce a figure for unseen and un-seeable images that come from a primal and unrecoverable past. (shrink)

Christophe Gripon Nous proposons une interprétation de la Sagesse biblique personnifiée comme figure d’anima, la part inconsciente féminine d’un homme, en nous appuyant sur le modèle de la psyché de Carl Gustav Jung tout en discutant de façon critique la sophiologie qu’il présente dans Réponse à Job. Cette approche psychologique de Sophia peut contribuer au débat sur son caractère insaisissable et sur l’articulation entre la Sagesse transcendante et la sagesse immanente.

We offer an interpretation of Biblical Wisdom personified as an anima figure, the unconscious feminine part of a man, drawing on the model of Carl Gustav Jung’s psyche, while critically discussing the sophiology he presents in Answer to Job. This Sophia’s psychological approach can contribute to the debate about her elusiveness and the articulation between transcendent Wisdom and immanent wisdom.

Cet article explore la question du rapport entre la valorisation symbolique et religieuse de l’élément féminin et les idées émancipatrices véhiculées par les mouvements messianiques sabbatéen et frankiste (xviie et xviiie s.). Sans nier l’influence des cultures environnantes et le rôle des bouleversements sociaux qui affectent les communautés juives de l’Empire ottoman, il apporte des éléments en faveur de la thèse selon laquelle ces idées inhabituelles, certaines même révolutionnaires pour l’époque, ont leur fondement dans la tradition mystique juive, notamment dans (...) l’aspiration à une libération de l’élément féminin divin, dans une sotériologie de l’égalité entre les principes masculins et féminins, ainsi que dans la féminisation de la figure messianique. (shrink)

Dans Shameless, Cristiana Franco étudie les représentations du chien dans la Grèce ancienne et son rapport avec le féminin. Au cœur de cette enquête, deux questions principales : pourquoi les textes tracent-ils un portrait ambivalent du chien, entre fidélité et trahison? Pourquoi des traits canins sont-ils souvent associés à des figures féminines négatives? Le livre en anglais est une réédition de l’essai en italien Senza ritegno (Bologna, 2003), dans la traduction de Matthew Fox, complétée...

The current epoch is often described by cultural theorists as facing an ontological turn with regard to the question of nature. In the Anthropocene, ‘Mother Nature’ makes space for ‘Gaia’, a nature that is inseparably related to culture. In turn, Gaia has vehemently been criticized as a harmonious figure of whole-ism. Utilizing a psychoanalytic framework, this paper traces the shift from Nature to Gaia through Jacques Lacan's ‘formulas of sexuation’. From a Lacanian standpoint, sexual difference paves the way towards two (...) different ways of relating nature and culture. Addressing the case of ruination, the author engages with the two underlying ontologies taking place in debates on nature: the narrative of Mother Nature based on a ‘masculine’ ontology, and the notion of Gaia as following a ‘feminine’ ontology. The paper concludes by outlining a feminine reading of the Anthropocene that captures nature and culture as ruined and immanently out of joint. (shrink)

RESUMEN El artículo explora la articulación entre lo femenino y lo plebeyo desde una ver sión contemporánea de la tragedia de Antígona. Se muestra primero cómo Hegel y Kierkegaard configuraron una lectura filosófica que presta atención tanto a su dimen sión ético-política, como a su dimensión trágica. Se estudian, luego, las reescrituras que hacen Zambrano y Zizek de la tragedia de Sófocles, y cómo nos permiten pensar lo femenino y lo plebeyo en la filosofía ético-política contemporánea. Finalmente se expone la (...) necesidad de un puente entre ambas figuras. ABSTRACT The article explores the articulation between the feminine and the plebeian on the basis of a contemporary version of Antigone. It first discusses the philosophical readings of the tragedy by Hegel and Kierkegaard, which address both its ethical-political and tragic dimensions. It then studies Zambrano's and Zizek's rewritings of Sophocles' tragedy and the manner in which they allow us to think the feminine and the plebeian in contemporary ethical-political philosophy. Finally, it argues in favor of a necessary bridge between the two figures. (shrink)

At the end of 2015‘s The Witch, isolated and beaten protagonist, Thomasin, ultimately rejects her puritanical upbringing to become a witch, accepting the invitation of the Devil (in the guise of the family’s goat Black Philip). This essay will discuss Thomasin’s sexual deliverance in terms of her turning away from the authoritarian ‘Law of the Father’ towards female liberation that comes in the form of the Witch. Thomasin transitions from girl to woman, but does not want to do so in (...) the restrictive Puritan fashion where patriarchy and oppression rules. She becomes a woman by embracing her sexuality in the figure of the witch and Black Philip as the figure of lust helping her become free. Western folklore posits the goat as a symbol of fertility, independence, and lust; Black Philip is a figure who represents a connection to wild desires. Therefore, Black Philip becomes not only a physical representation of the devil, but also a symbolic representation of Thomasin’s sexual desire. Drawing on theories of the monstrous-feminine (Creed, Kristeva, Arnold), the symbolism of folklore and Freud’s Electra complex, this work argues that, despite its message of feminine empowerment, The Witch cannot fully reject or escape patriarchal discourse. (shrink)

Christophe Gripon | : La figure biblique érotisée de la Sagesse Éternelle et son lien avec Christ a amené certains hommes à percevoir Christ dans son reflet féminin et à vivre une relation érotique avec Lui/Elle. La dualité entre deux pôles antinomiques de Christ, l’un pleinement masculin et l’autre pleinement féminin, pourrait être abordée dans une approche apophatique de la tension entre deux pôles opposés, aux antipodes d’une asexualisation de Christ. Reconnaître ainsi le reflet féminin de Christ pourrait contribuer à (...) Le/La rendre plus « aimable » pour les hommes et participer au débat concernant une théologie spirituelle qui tienne compte de l’importance du désir érotique dans la relation à Christ. | : The eroticized biblical figure of Eternal Wisdom and its link with Christ has led some men to perceive Christ in his female reflection and to live an erotic relation with He/She. The duality between two paradoxical poles of Christ, one fully male and the other fully female, could be addressed in an apophatic approach of the tension between two opposite poles, the antipodes of an asexualisation of Christ. Thus recognizing the female reflection of Christ could contribute to make Him/Her more “attractive” for men and to take part in the debate about a spiritual theology which takes into account the importance of sensual attraction in the relationship with Christ. (shrink)

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)

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)

Les parlers ruraux abondent en métaphores associées à la parole, notamment à la façon dont elle est fabriquée et produite dans cet ouvroir miniature qu’est la bouche. Deux séries de représentations semblent en réalité s’opposer : un modèle technique qui assimile la parole aux activités textiles d’une part (filer, coudre), aux gestes des petits artisans d’autre part (raboter, étamer, limer) ; un modèle organique qui associe la parole à la sécrétion salivaire (baver) et à l’excrétion (« chier sur, faire des (...) crottes »). Ces deux ensembles de représentations servent à opposer une parole féminine et une parole masculine tout en définissant la norme de chacune d’elles. L’étude met en évidence la portée symbolique de la parole féminine qui, nouant le lien entre la passé et le présent, filant le temps cyclique de la communauté, s’identifie avec la dynamique calendaire ; elle montre aussi la complémentarité que cette parole entretient sur le plan symbolique avec la parole des hommes qui, associée à l’excrétion, à la croissance et à la maturation des végétaux et aux gestes qui tranchent et ouvrent, semble figurer la succession des cycles qui doivent à un moment s’ouvrir les uns sur les autres et l’inévitable transformation de toute chose vivante. (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)