DOCSLIB.ORG

Luce Irigaray's "This Sex Which Is Not One"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Luce Irigaray's Luce Irigaray THIS SEX WHICH IS NO ONE Translated by CATHERINE PORTER with CAROLYN BURKE CORNELL UNIVERSITY PRESS New York Contents Originally published in French under the title Ce Sexe qui n'en est pas un, © 1. The Looking from Other Side 9 1977 by Editions de Minuit. Copyright © 1985 by Cornell University 2. This Sex Which Is Not One 23 All reserved. Except for brief quotations in a review, this book, or must not be reproduced in any form without permission in 3. Psychoanalytic Theory: Another Look 34 from the publisher. For information, address Cornell Press, 124 Roberts Place, Ithaca, New York 14850. 4. The Power of Discourse and the Subordination of First pUOllsneo 985 Cornell Press. the Feminine 68 International Standard Book Number 0-8014-1546-2 International Standard Book Number 0--8014-9331-5 Library of Congress Catalog Card Number 84-23013 5. COSt Fan Tutti 86 Printed in the United States of America Librarians: Library of Congress 6. The "Mechanics" of Fluids 106 appears on the last page of the book. The paper in this book is acid-Jree and meets the guidelines for 7. Questions 119 permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. 8. Women on the Market 170 9. Commodities among Themselves 10. "Frenchwomen," Stop Trying 198 11. When Our Lips Speak Together 205 Publisher's Note and Notes on Selected Terms 219 5 1 The Looking Glass, from the Other Side THIS SEX WHICH IS NOT ONE ... she suddenly began again. "Then it really has happened, after all! And now, who am I? I will remember, ifI can! I'm determined to do it!" But being determined didn't help her much, and all she could say, after a great deal ofpuzzling, was: "L, I know it begins with L." Through the Looking-Glass Alice's eyes are blue. And red. She opened them while going through the mirror. Except for that, she still seems to be exempt foom violence. She lives alone, in her house. She prefers it that way, her mother says. She only goes out to play her role as mistress. School­ mistress, naturally. Where unalterable facts are written down whatever the weather. In white and black, or black and white, depending on whether they're put on the blackboard or in the notebook. Without color changes, in any case. Those are saved for the times when Alice is alone. Behind the screen ofrepresentation. In the house or garden. But just when it's time for the story to begin, begin again, "it's autumn. JJ That moment when things are still not completely con­ gealed, dead. It ought to be seized so that something can happen. But everything is forgotten: the ((measuring instruments, JJ the "coat, JJ the "case," and especially the Uglasses. JJ "How can anyone live without This text was originally published as "Le miroir, de l'autre cote," in Cri­ tique, no. 309 (February 1973). 9 Sex Which Is Not One The Looking Glass, ftom Other Side all that? JJ Up to now, that's what has controlled the limits ofproper­ woman ana a man closer together, today at jour o'clock. Since the ties, distinguished outside ftom inside, differentiated what was looked relationship between Lucien and Alice lies in the zone oj the on with approval ftom what wasn't. Made it possible to appreciate, to yet." Or "never." Past and foture both seem subject to quite a recognize the value of everything. To fit in with it, as needed. "That's what love is, maybe?" And his intervention cuts back There they are, all lost, without their familiar reference points. across some other in-betweens: mother-Alice, Lucien-Gladys, Alice­ What's the difference between a ftiend and no ftiend? A virgin and a her ftiend ("She already has aftiend, one's enough"), tall-short (sur­ whore? Your wift and the woman you love? The one you desire and veyors). To mention only what we've already seen. the one you make love with? One woman and another woman? The Does his intervention succeed? Or does he begin to harbor a one who owns the house and the one who uses it for her pleasure, suspicion that she is not simply herself? He looks for a light. To hide one you meet there for pleasure? In which house and with which confosion, fill in the ambiguity. Distract her by smoking. She woman does-did-williove happen? And when is it time for love, doesn't see the lighter, even though it's right in ftont ofher; instead she anyway? Time for work? How can the stakes in love and work be calls him into the first bedroom where there must be a light. His sorted out? Does "surveying" have anything to do with desire, or not? familiarity with the house dispels the anxiety. He goes upstairs. She Can pleasure be measured, bounded, triangulated, or not? Besides, invites him to enjoy her, as he likes. They separate in the garden. One autumn, JJ the colors are changing. Turning red. Though not for of them has Jorgotten "her" glasses by the telephone, the other "his" long. on the bed. The "[if!ht JJ has changed places. No doubt this is the moment Alice ought to seize. Now is the time He goes back to the place where he works. She disappears into for her to come on stage herself With her violet, violated eyes. Blue nature. Is it Saturday or Sunday? Is it time Jar surveying or and red. Eyes that recognize the right side, the wrong side, and the He's confosed. There's only one thing to do: pick ajight with a "cop." side: the blur of deformation; the black or white of a loss oj desire is compelling enough to make him leave at once. identity. Eyes always expecting appearances to alter, expecting that one will turn into the other, is already the other. But Alice is at school. No more about cops, at least for the time being. He finds himself She'll come back for tea, which she always takes by herself At least (they find each other) near the garden. A man in love and a man in that's what her mother claims. And she's the only one who seems to love with a woman who lives in the house. The first asks the second, or who Alice is. rather the second asks the jirst, ifhe can go (back) and see the woman he He is beginning to be ftightened, and begs to be allowed . So at four o'clock sharp, the surveyor goes into her house. And since Afterward. a surveyor needs a pretext to go into someone's house, especially a Good (common or proper) sense-any sense of propriety or lady'S, he's carrying a basket ojvegetables. From Lucien. Penetrating property-escapes Lucien. He gives things out, sets them in motion, into "her" place under cover ofsomebody else's name, clothes, love. without counting. Cap, vegetables, consent. Are they his? Do they For the time being, that doesn't seem to bother him. He opens the to the others? To his wift? To somebody else's? As for what is door, she's making a phone call. To her fiand:. Once again he slips in his, it comes back to him in the dance. Which does not prevent him between them. the two them. Into the breach that's bringing a from allowing others to take it. Elsewhere. 11 ---~.---... --- .. ---.­ This Sex Which Is Not One The Looking Glass, from the Other Side Lucien knows how to wait, even for quite a long time. His patience So he comes (back) itl. It's teatime. She . .. She? She who? Who's out ind~finitely, at the edge of the vegetable garden. Installed she? She (is) an other . .. looking for a light. Where's a light? outside the property, he peels. Prejerably beet stalks, which make Upstairs, in the bedroom, the surveyor, the tall one, points out cheer- little girls grow up. And lead them imperceptibly to marriage. From a Pleased at last to come across a specific, unquestionable, verifia­ long way off, very carefully, he's preparing a foture. Improbable. ble fact. Pleased that he can prove it (himself) using a + b, or 1 + 1, That's not the only thing he's peeling. Perhaps that accounts for his that is, an element that repeats itself, one that stays the same and yet arrival. Empty-handed. He doesn't even take the path, like everyone produces a displacement in the sum; pleased that it's a matter oja series, else. He comes across the grass. Always a little unseeml oJa sequence. In short, ofa story. Might as well say it's true. That he Alice smiles. Lucien smiles. They smile at each other, compliei­ had already been there. That he ... ? That she? Was? Wasn't? She. tously. They are playing. She makes him a gijt oJthe cap. "What For the vegetables no longer prove anything. {'I must have eaten will Gladys say?" That he has accepted a gift from Alice? That she them." "1" who? Only the "light" is left. But it isn't there to shore up has offered him that cap? A "dragon.fly" whose Jurtive flight volatizes the argument. And even iJ it were, no trace oj what has happened <giver's identity in the present moment. Who deserves more grati­ would remain. As for attesting that the light has moved from here to tude, the woman who duplicates the possibility ofsexual pleasure or there, or stating that its current whereabouts are known, or naming the woman who offers it a first time? And ifone goes back and forth Alice's room as the only place it can be found, these are all just claims between them, how can one keep on telling them apart? How can one that depend on "magic." know where one is, where one stands? The confusion suits Lucien.
Load more

Recommended publications
  • Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT .................................................................................................................
    [Show full text]
  • The Other Woman. Towards a Diffractive Rereading of the Oeuvres of Simone De Beauvoir and Luce Irigaray
    Faculty of Humanities Research Institute for History and Culture (OGC) RMA Gender and Ethnicity, 2011-2012 The Other Woman. Towards a diffractive rereading of the oeuvres of Simone de Beauvoir and Luce Irigaray. Research master thesis, Gender and Ethnicity Written by Evelien Geerts, 3615170 Supervisor: dr. Iris van der Tuin (Utrecht University) Second reader: dr. Annemie Halsema (VU-University) Utrecht, 20/07/2012. Abstract. This thesis project –a project that has to be located in the domains of Continental philosophy, feminist theory, and gender studies– wishes to overcome the Oedipalized reception history, or the Oedipal feminist narratives that have been created and told about the oeuvres of feminist philosophers Simone de Beauvoir and Luce Irigaray. I claim that this Oedipalized reception history –which will be thoroughly reviewed in this thesis– put the works of Beauvoir and Irigaray against one another in an oppositional and hierarchic manner, by first of all examining the wide-spread assumption that Irigaray should be seen as Beauvoir’s rebellious daughter, and by critically looking at the idea that Irigaray’s sexual (now relabeled as sexuate) difference philosophy then must be a flat-out refusal of Beauvoir’s humanist, existentialist feminism. My project hopes to shed light on this paralyzing constructed opposition, and wishes to move towards a different kind of feminist rereading and story-telling: namely, a diffractive and explicitly an-Oedipal way of telling of stories that would look for the lines of continuity between these two philosophies, without reducing them to another; without, to put it differently, falling back into the phallogocentric, reflective logic of sameness.
    [Show full text]
  • Conjured Light Renee Christopher Iowa State University
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2019 Conjured light Renee Christopher Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Creative Writing Commons Recommended Citation Christopher, Renee, "Conjured light" (2019). Graduate Theses and Dissertations. 17166. https://lib.dr.iastate.edu/etd/17166 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Conjured light by Renee Christopher A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS Major: Creative Writing and Environment Program of Study Committee: David Zimmerman, Major Professor Charissa Menefee Jeremy Withers Christine Gish-Hill The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this thesis. The Graduate College will ensure this thesis is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2019 Copyright © Renee Christopher, 2019. All rights reserved. ii TABLE OF CONTENTS ACKNOWLEDGMENTS..................................................................................................iii
    [Show full text]
  • Reclaiming Luce Irigaray: Language and Space of the "Other"
    Linguistics and Literature Studies 6(5): 250-258, 2018 http://www.hrpub.org DOI: 10.13189/lls.2018.060508 Reclaiming Luce Irigaray: Language and Space of the "Other" Zhang Pinggong The Faculty of English Language and Culture, Guangdong University of Foreign Studies, Guangzhou, China Copyright©2018 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract French feminist Luce Irigaray takes up some and women’s meaning-making in language. She argues essential conceptions of post-structuralist thinkers as a that this difference is shaped by the female body and rests start-point, and advances arguments on the logical in women’s capacity for decentred, multiple sexuality and oppositions based on male and female dichotomy. women’s language. She contends that women’s identity According to Irigaray, this dichotomy is explicitly related can be autonomous and explorable only within a radically to language. In order to subvert discursive hegemony of separatist women’s movement. Some essential concepts of patriarchy, it is imperative for women to invent and utilize feminist theory advanced by Lucy Irigaray will shed light a language strikingly different from that of the male. This on the understanding and criticism of own feminist theory innovative language, also known as “parler femme” or and, more generally, of the French school of thought on space of the “other”, can be employed to construct gender politics. Focusing on Irigaray’s tenets about women’s subjectivity. Irigaray prioritizes language over sexuality and language, the author of this essay attempts to social conscious and ideologies, considering physical and discuss the essential themes of this “French side of the spiritual difference between women and men as divide”, indicating that although the theories of the French instrumental for women’s sovereignty and identity.
    [Show full text]
  • Case 4:20-Cv-01158-JM Document 1 Filed 09/30/20 Page 1 of 95
    Case 4:20-cv-01158-JM Document 1 Filed 09/30/20 Page 1 of 95 u. Elki~cRRT EASTERN DISTRICT ARKANSAS IN THE UNITED ST ATES DISTRICT COURT SEP 3 0 2020 EASTERN DISTRICT OF ARKANSAS CENTRAL DIVISION KEITH HUMPHREY Plaintiff, V. Case No. J.l: Z.b-c:'J., )I 58' - J M, ALICE FULK, individually, CRISTINA PLUMMER, individually, HAYWARD FINKS, individually, ***JURY TRIAL DEMANDED DUANE FINKS, individually, REGINALD PARKS, individually, LITTLE ROCK FRATERNAL ORDER OF POLICE, LODGE #17, a non-profit corporation, RONNIE MORGAN, individually, ERIK TEMPLE, individually, KEVIN SIMPSON, individually, KENNETH HAMBY, individually, STEVE DODGE, individually, MICHAEL MCVAY, individually, CHRIS RINGGOLD, individually, KYLE HENSON, individually, TRAVIS CUMMING, individually, This case assigned to District Jud.ge Mo ocl'f MARK ISON, individually, and to Magistrate Judge ---'H~A~f..._C.....,,s____ _ JOHN GILCHRIST, individually, KEVIN SEXSON, individually, CHARLES STARKS, individually, SHELLA ATLAS-EVANS, individually, MA TT MURSKI, MOTOROLA SOLUTIONS d/b/a WA TCHGUARD, and RUSS RACOP, Defendants. COMPLAINT NOW COMES Plaintiff, KEITH HUMPRHEY (hereafter "PLAINTIFF"), by and through his attorneys, LAUX LAW GROUP, and for his cause of action against Defendants, ALICE FULK, individually, CRISTINA PLUMMER, individually, HAYWARD FINKS, Case 4:20-cv-01158-JM Document 1 Filed 09/30/20 Page 2 of 95 individually, DUANE FINKS, individually, REGINALD PARKS, individually, LITTLE ROCK FRATERNAL ORDER OF POLICE, LODGE #17, a non-profit corporation, RONNIE MORGAN, individually,
    [Show full text]
  • Make Small Talk
    communication goals 1 Make small talk. UNIT 2 Describe a busy schedule. 3 Develop your cultural awareness. 1 Make Small Talk 4 Discuss how culture changes over time. preview Reply Reply All Forward Delete From: ROWAN PAPER INTERNATIONAL Sent: January 2 22:20:56 PM GMT To: All Affiliates Subject: Annual Meeting: Bangkok, Thailand, March 24–27 Meeting Etiquette Since we all come together from different traditions and cultures, here are some guidelines to make this meeting run smoothly: • Please arrive promptly for meetings. • Dress is business casual: no ties or jackets required. However, no denim or shorts, please. Women should feel free to wear slacks. • Please refrain from making or taking calls, or texting during meetings. Put all phones on vibrate mode. If you have an urgent call, please step outside into the corridor. • Note: Please treat everyone on a first-name basis. FYI: Food is international style. All meals will provide non-meat options. If you have a special dietary requirement, please speak with Ms. Parnthep at the front desk. See attached meeting agenda for advance planning.anning. ROWAN INTERNATIONAL PAPER Agenda–March 24 8:30 Breakfast buffet 9:15 Welcome and opening remarks Philippe Martin, President and CEO Ballroom Bangkok agenda 9:45 Fourth quarter results and discussion Salon Bangkok Angela de Groot, CFO 10:30 Coffee break 11:00 International outlook and integrated marketing plans Ballroom Sergio Montenegro 12:00 Luncheon 2:00 Regional marketing plans • U.S. and Canada Group Salon A Ballroom • Mexico and Central America Group Salon B Gallery • Caribbean Group A Read and summarize the etiquette guidelines • South America (Southern Cone for an international business meeting.
    [Show full text]
  • A Research Agenda for an Ecofeminist-Informed Ecological Economics
    sustainability Article Transcending the Learned Ignorance of Predatory Ontologies: A Research Agenda for an Ecofeminist-Informed Ecological Economics Sarah-Louise Ruder † and Sophia Rose Sanniti *,† School of Environment, Resources and Sustainability University of Waterloo, Waterloo, ON N2L 3G1, Canada; [email protected] * Correspondence: [email protected] † All authors contributed equally to this work. Received: 6 January 2019; Accepted: 6 March 2019; Published: 11 March 2019 Abstract: As a necessarily political act, the theorizing, debating and enacting of ecological economies offer pathways to radical socio-economic transformations that emphasize the ecological and prioritize justice. In response to a research agenda call for ecological economics, we propose and employ an ecofeminist frame to demonstrate how the logics of extractivist capitalism, which justify gender biased and anti-ecological power structures inherent in the growth paradigm, also directly inform the theoretical basis of ecological economics and its subsequent post-growth proposals. We offer pathways to reconcile these epistemological limitations through a synthesis of ecofeminist ethics and distributive justice imperatives, proposing leading questions to further the field. Keywords: ecological economics; ecofeminism; gender; capitalist-patriarchy; intersectionality; post-growth; transformational change; systems thinking; complexity As white-settlers in the Region of Waterloo, we acknowledge that we live and work on the traditional territory of the Attawandaron (Neutral), Anishnawbe, and Haudenosaunee peoples. The University of Waterloo is also situated on the Haldimand Tract: land promised to the Six Nations that includes ten kilometres on each side of the Grand River. We make this statement to act against the erasure of ongoing colonial legacies across Turtle Island and to acknowledge that we contribute to and benefit from the expulsion, assimilation, and genocide of Indigenous Peoples.
    [Show full text]
  • Virginia Woolf, the Problem of Language, and Feminist Aesthetics
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1993 A Voice of One's Own: Virginia Woolf, the Problem of Language, and Feminist Aesthetics Lisa Karin Levine College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons, and the Women's Studies Commons Recommended Citation Levine, Lisa Karin, "A Voice of One's Own: Virginia Woolf, the Problem of Language, and Feminist Aesthetics" (1993). Dissertations, Theses, and Masters Projects. Paper 1539625831. https://dx.doi.org/doi:10.21220/s2-fz2e-0q20 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. A Voice of One's Own: Virginia Woolf, the Problem of Language, and Feminist Aesthetics A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Lisa Karin Levine 1993 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Lisa Karin Levine Approved, May 1993 Esther Lanigan, Chair Elsa Nettels Deborah Morse DEDICATION The author wishes to dedicate this text to Drs. Arlene and Joel Levine, without whose love and support none of this would be possible. ii ACKNOWLEDGEMENTS The author wishes to express her appreciation to Professor Esther Lanigan for her many hours of reading and invaluable criticism of this text, and also to Professors Deborah Morse and Elsa Nettels for their time and instruction.
    [Show full text]
  • Magazine Issue No.2 Print
    reading with BRENDA NOVAK ISSUE NO. 2 Containing the first printing of Pieces of Perfect reading with BRENDA NOVAK Welcome to the second issue of my new magazine. When I started Read- ing with Brenda Novak, I promised to bring you insights into publishing, bonus content to my books, interesting articles and delicious recipes from me and other bestselling authors. I also promised to publish this magazine each time I have a book release, so this is only the first of three magazines that will be coming out in 2021. The next issue will be published at the end of June with When I Found You, a novel that brings my Whiskey Creek series and my Silver Springs series together, and the third issue will come out at the end of Septem- ber with Keep Me Warm at Christmas--also part of the Silver Springs series. This magazine focuses on The Bookstore on the Beach, but like the first issue, it contains an exclusive novella, Pieces of Perfect, which is connected to last year’s big beach read, One Perfect Summer. It also includes a behind-the-scenes peek at what happens to a manuscript after it’s purchased by a major publishing house, a tour of Nantucket by none other than New York Times bestselling author Nancy Thayer, who has lived on the island for thirty-six years, and a gar- dening article by Dana Kelly, a good friend and a member of my online book group of nearly 19,000 avid readers--just to name some of the highlights.
    [Show full text]
  • The Seminar of Jacques Lacan Book X Anxiety 1962
    THE SEMINAR OF JACQUES LACAN BOOK X ANXIETY 1962 - 1963 Translated by Cormac Gallagher from unedited French typescripts FOR PRIVATE USE ONLY 14.11.62 I 2 Seminar 1: Wednesday 14 November 1962 I am going to speak to you this year about anxiety. Someone who is not at all distant from me in our circle, nevertheless let me see the other day his surprise at the fact that I chose this subject which did not seem to him to be something that had all that much to offer. I must say that I will have no trouble in proving the contrary to him. In the mass of questions that are proposed to us on this subject, I will have to make very severe choices. That is why I will try from today to throw you into the work. But already this question seemed to me to preserve the trace of some naivety or other which has never been checked because it seemed to indicate a belief that it is by choice that each year I pick on a subject, like that, which appears interesting to me to continue on some sort of idle chatter. No. As you will see, I think, anxiety is very precisely the meeting point where you will find waiting everything that was involved in my previous discourse and where, together, there await a certain number of terms which may appear not to have been sufficiently connected up for you up to the present. You will see on this terrain of anxiety how, by being more closely knotted together, each one will take its place still better.
    [Show full text]
  • Tucker, Ericka. “Feminist Political Theory,” in Michael Gibbons (Ed.) the Encyclopedia of Political Thought
    Tucker, Ericka. “Feminist Political Theory,” in Michael Gibbons (ed.) The Encyclopedia of Political Thought. New York: Wiley Blackwell, 2011: 1033- 1036 Feminist Political Theory Ericka Tucker Cal Poly Pomona University [email protected] 7269 Feminist Political Theory Born out of the struggles of the feminist movements of the 20th century, feminist political theory is characterized by its commitment to expanding the boundaries of the political. Feminism, as a political movement, works to fight inequality and the social, cultural, economic, and political subordination of women. The goal of feminist politics is to end the domination of women through critiquing and transforming institutions and theories that support women’s subordination. Feminist political theory is a field within both feminist theory and within political theory that takes a feminist approach to traditional questions within political philosophy, contemporary and historical. In this entry, I will explore the nature of feminist political theory by asking two questions: what is feminist about feminist political theory, and what is specifically political about feminist political theory. What is ‘feminist’ about feminist political theory? What surprises many who are unfamiliar with feminist political theory is that it’s not just about women or gender. There are no strict necessary and sufficient conditions for being ‘feminist’, due both to the nature of categories and to the myriad developments, orientations and approaches within feminism. Certainly, understanding and analyzing the political effects of gendered contexts is an important field of feminist political theory; however, feminist theory, and hence feminist political theory, is about more than gender. Feminist political theorists are found throughout the academy Tucker, Ericka.
    [Show full text]
  • John-Bowlby-Separation-Anxiety-And-Anger-Attachment-And-Loss-Vol-2-1976
    Attachment and Loss VOLUME II SEPARATION ANXIETY AND ANGER John Bowlby With Additional Notes by the Author BASIC BOOKS A Member of the Perseus Books Group -i- 1 To THREE FRIENDS Evan Durbin Eric Trist Robert Hinde Copyright © 1973 by The Tavistock Institute of Human Relations Library of Congress Catalog Card Number: 70-78464 ISBN: 0-465-07691-2 Cloth ISBN: 0-465-09716-2 Paper Printed in the United States of America 99 RRD-H 30 29 28 27 26 25 24 -ii- 2 Contents Foreword page vii Preface xi Acknowledgements xvii PART I: SECURITY, ANXIETY, AND DISTRESS 1 Prototypes of Human Sorrow 3 Responses of young children to separation from mother 3 Conditions leading to intense responses 6 Conditions mitigating the intensity of responses 16 Presence or absence of mother figurer: a key variable 22 2 The Place of Separation and Loss in Psychopathology 25 Problem and perspective 25 Separation anxiety and other forms of anxiety 30 A challenge for theory 30 3 Behaviour with and without Mother: Humans 33 Naturalistic observations 33 Experimental Studies 39 Ontogeny of responses to separation 52 4 Behaviour with and without Mother: Non-human Primates 57 Naturalistic observations 57 Early experimental studies 60 Further studies by Hinde and Spencer-Booth 69 PART II: AN ETHOLOGICAL APPROACH TO HUMAN FEAR 5 Basic Postulates in Theories of Anxiety and Fear 77 Anxiety allied to fear 77 Models of motivation and their effects on theory 79 Puzzling phobia or natural fear 83 6 Forms of Behaviour Indicative of Fear 87 An empirical approach 87 Withdrawal behaviour and
    [Show full text]