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This collection of Felix Guattari's essays, lectures, and interviews traces the militant anti-psychiatrist and theorist's thought and activity throughout the 1980s ("the winter years"). Concepts such as "micropolitics," "schizoanalysis," and "becoming-woman" open up new horizons for political and creative resistance in the "postmedia era." Guattari's energetic analyses of art, cinema, youth culture, economics, and power formations introduce a radically inventive thought process engaged in liberating subjectivity from the standardizing and homogenizing processes of global capitalism.
In pointing to the way in which women have been historically represented (or left out altogether) and the reality of women's lives, feminist performance makes the histories, lives and desires of women visible, as this volume of plays from the 1990s aims to illustrate.
This study of medieval women as postcolonial writers defines the literary strategies of subversion by which they authorized their alterity within the dominant tradition. To dismantle a colonizing culture, they made public the private feminine space allocated by gender difference: they constructed 'unhomely' spaces. They inverted gender roles of characters to valorize the female; they created alternate idealized feminist societies and cultures, or utopias, through fantasy; and they legitimized female triviality the homely female space to provide autonomy. While these methodologies often overlapped in practice, they illustrate how cultures impinge on languages to create what Deleuze and Guattari have identified as a minor literature, specifically for women as dis-placed. Women writers discussed include Hrotsvit of Gandersheim, Hildegard of Bingen, Marie de France, Marguerite Porete, Catherine of Siena, Margery Kempe, Julian of Norwich, and Christine de Pizan.
In the course of the nineteenth century France built up a colonial empire second only to Britain's. The literary tradition in which it dealt with its colonial 'Other' is frequently understood in terms of Edward Said's description of Orientalism as both a Western projection and a 'will to govern' over the Orient. There is, however, a body of works that eludes such a simple categorisation, offering glimpses of colonial resistance, of a critique of imperialist hegemony, or of a blurring of the boundaries between the Self and the Other. Some of the ways in which the imperialist enterprise is subverted in the metropolitan literature of this period are examined in this volume through detailed case studies of key works by Chateaubriand, Hugo, Flaubert and Segalen.
"Anndee Hochman helps us to imagine the new possibilities for relationships, rituals and language ... and to understand that when we throw away that rule book we are not alone."--Ms.¶"A wonderful trove of experimentation and possibility."--The Women's Review of Books¶"This book is a homecoming!"--Philadelphia Daily News
The book brings together original, state-of-the-art historical research from several continents and examines how mainly local peasant societies responded to colonial pressures to produce a range of different commodities. It offers new directions in the study of African, Asian, Caribbean, and Latin American societies.
Women across early modern Europe suffered repressive and restrictive patriarchal measures that denied them education and a voice. Nowhere was this more apparent than in Counter-Reformation Iberia. Yet there is increasing awareness of a wealth of cultural activity by women, produced in spite of long-cherished masculine notions of biological determinism, masculine control, and feminine shame. Women proved that given the opportunity and the education they were equal in reason and intelligence to their male counterparts. Subtle Subversions is the first full-length, contextual, and analytical study of the sonnets of five seventeenth-century women in Spain and Portugal: Luisa de Carvajal y Mendoza, Catalina Clara Ramírez de Guzmán, Sor María de Santa Isabel, Leonor de la Cueva y Silva, and Sor Violante del Cielo. Using the sonnets as a basis for inquiry, Gwyn Fox adds significantly to scholarship on women's interpersonal relationships through nuanced and revealing analyses of family and friendship as seen through the sonnets. She deciphers issues of subjectivity, interpersonal relationships, and power structures and engages with patronage as a major issue in women's writing. As a difficult form of poetry requiring wit, artistry and education, sonnets provided the ideal framework to display intellectual skills and education, but they also allowed the women to create a subtext of criticism of contemporary systems of control. Although their criticisms had to be subtle, since these systems still offered them much in terms of social advancement and privilege, these women and their works revise our understanding of women's lives in Baroque Spain and Portugal. English translations accompany the Spanish quotations throughout the book. Gwyn Fox is honorary research fellow at the University of Auckland, New Zealand, where she teaches Spanish language and literature. Fox is currently translating Los baños de Argel, a previously untranslated play by Miguel de Cervantes. "Fox demonstrates that the fixed form of the sonnet simultaneously allowed women to showcase their intellectual talents and critique predominant masculine norms in an understated fashion. . . . Recommended." -- P.W. Manning, Choice "In this beautifully written study of five early modern Iberian poets, Gwyn Fox offers a revisionary history of women's poetics as well as a challenge to conventional Renaissance hermeneutics. . . . Fox delves deeply into each theme, not only contextualizing, but also historicizing her analysis by comparing these women's writings with a broad range of examples. Indeed a bonus of this book is that it does not limit itself to the five women specified above or solely to their sonnets. Fox speaks knowledgeably about other women writers, such as Maria de Zayas and Sor Juana Ines de la Cruz, to name the most well known, and mentions lesser-known figures such as Inarda de Arteaga. . . . [Fox's] close readings of individual poems are themselves subtle and nuanced. . . . She offers original insights into the poems' social purpose. . . . It is a welcome and much-needed addition to early modern Spanish scholarship." -- Anne J. Cruz, Renaissance Quarterly "Fox's contribution adds to prior rediscoveries and assessments of the poetry of five Iberian women of the Baroque about whose lives, in some cases, very little is known. . . . The critical analysis offered in Subtle Subversions present new insights into the interpersonal relationships of women as well as their engagement with structures of social power, affirming that their sonnets were meant to display these authors' intellect, wit, and education. . . . With her skillful readings of their sonnets, Fox offers a fuller picture of these women's poetic production and contributes to an overall understanding of upperclass women's lives in Spain and Portugal." -- Dana Bultman, Caliope
Sexual Subversions introduces the works of three well known, if not well-read, French feminists: Julia Kristeva, Luce Irigaray and Micele Le Doeuff. It provides a map of an area where there are few detailed discussion of the achievements of these difficult, yet immensely rewarding, writers. In doing so, this overview raises issues of general relevance to feminist research: it participates in debates around the nature of feminist theory, the relations feminist intellectuals have to male dominated knowledges, and the strategies appropriate for developing non patriarchal, autonomous or woman-centred knowledges. No book in French feminists would be complete without including the contributions of Kristeva and Irigaray. The inclusion of Le Deouff's work, which brings a different perspective to bear on the question of sexual difference, provides a counterbalance to literary appropriations of French feminism by Anglo-American readerships. Kristeva, Irigaray and Le Deouff are the focal points of this study, precisely because each highlights the differences of the others, revealing the frameworks to which the others are committed. Nevertheless, while these writers do not present a common political or theoretical position or form a school, each addresses the question of women's autonomy from male definition, affirms the sexual specificity of women, seeks out a femininity women can use to question the patriarchal norms and ideals of femininity and rejects the preordained positions patriarchy allots to women.