Thought as Revolt in The Old Man and the Wolves

This article explores how Julia Kristeva's construction of a fictional narrative space enables her to examine the conditions that can produce a culture of revolt. Focusing on one of her novels, The Old Man and the Wolves, the article brings together Hannah Arendt's political philosophy (which provides a framework for Kristeva's depiction of totalitarianism) with Duns Scotus's principle of individuation and Giorgio Agamben's notion of quodlibet (“whatever singularity”) to argue that the future of a culture of revolt is closely connected to the role of women. By aligning feminine thought to political revolt, I demonstrate that Kristeva's revalorization of feminine experiences in the novel constitutes the basis of an ethics that includes the recognition of “whatever” forms of life that have been historically neglected.     

Reply to Reynolds

Abstract

How should we read Foucault's claims, in his late work, for the relevance of ‘aesthetic criteria’ to politics? What is Foucault's implicit understanding of the nature of aesthetics and the autonomy of the aesthetic sphere? Would an ethics which gave a place to the aesthetic legitimize a politics of manipulation, brutality and aggression ‐ in short, a ‘fascist’ politics ‐ as some of Foucault's critics argue? In this paper, I examine key accounts of the fascist ‘aestheticization of politics’ ‐ from Walter Benjamin's classic essay, ‘The Work of Art in the Age of Mechanical Reproduction’ (1936), to Philippe Lacoue‐Labarthe's work on the relation between Heidegger's philosophy and the fascist theme of politics as the plastic art of the state. Through a discussion of Foucault's late work, the paper demonstrates the connection between Foucault's turn to ancient Greek ethical practices and his call for a contemporary renewal of the idea of ethics as an art of living. The aim of the paper is to show in what ways the ethico‐political position which is presented in Foucault's late work, far from contributing to a fascist politics, in fact provides ways of thinking about the relationship between the aesthetic and the political which avoid both mindless radicalism and totalitarian narcissism. In doing so, the key question is, ‘What's aesthetic about Foucault's “aesthetics of existence"?’     

L’écriture limite: Kristeva's Postmodern Feminist Ethics

In this essay, I trace the development of Julia Kristeva's theory and practice of “the subject in procession trial” from her semiotic works of the 1960s to her psychoanalytic writings of the 1970s and 1980s. I read Kristeva's exploration of this “subject in procession trial” as contributing to a postmodern feminist ethics.     

Disability as Abject: Kristeva,Disability, and Resistance

In this essay, I develop an account of disability exclusion that, though inspired by Julia Kristeva, diverges from her account in several important ways. I first offer a brief interpretation of Kristeva's essays “Liberty, Equality, Fraternity and … Vulnerability” and “A Tragedy and a Dream: Disability Revisited” and, using this interpretation, I assess certain criticisms of Kristeva's position made by Jan Grue in his “Rhetorics of Difference: Julia Kristeva and Disability.” I then argue that Kristeva's concept of abjection, especially as developed by Sara Ahmed and Tina Chanter, offers important insights into disability oppression; Ahmed's and Chanter's contributions improve upon Kristeva's account. Understanding disability as abject helps to explain both resistances to interacting with disabled others and ways to resist disability oppression. Finally, I argue that understanding disability as abject is preferable to recent deployments of Lacanian theory in disability studies and that this account is compatible with social models of disability.     

What Does It Mean to Be a Postcolonial Feminist? The Artwork of Mithu Sen

This article examines what the work of New Delhi‐based artist Mithu Sen brings to thinking about being a postcolonial feminist. Using images from Sen's solo exhibit in New Delhi and New York titled Half Full (2007), I theorize on the complexities that proliferate when thinking about postcolonial feminism. Sen's images play with “an” identity to showcase the hybrid and mobile configuration of postcolonial subjectivity. Sen's provocative aesthetic urges us to rethink defining a set of conditions or tenets for postcolonial feminism. Rather, her aesthetic politics propels through humor and provides a prism to constantly reimagine postcolonial feminist subjectivity by urging a consideration of maps that intersect and overlap.     

Beyond the politics of reception: Jacques Rancière and the politics of art

Jacques Rancière’s work has become a major reference point for discussions of art and politics. However, while Rancière’s negative theses (about what “political art” is not) are becoming widespread and well understood, his positive thesis is still poorly understood, owing partly to Rancière’s own formulation of the issue. I first clarify Rancière’s account of the links between politics and art. I then explore a gap in this account; Rancière has stuck too closely to a politics of art’s reception. I argue for a politics of art production, which would expand the possible engagement between politics and art.     

Julia Kristeva's Feminist Revolutions

Julia Kristeva is known as rejecting feminism, nonetheless her work is useful for feminist theory. I reconsider Kristeva's rejection of feminism and her theories of difference, identity, and maternity, elaborating on Kristeva's contributions to debates over the necessity of identity politics, indicating how Kristeva's theory suggests the cause of and possible solutions to women's oppression in Western culture, and, using Kristeva's theory, setting up a framework for a feminist rethinking of politics and ethics.     

Aesthetic freedom and democratic ethical life: A Hegelian account of the relationship between aesthetics and democratic politics

This paper presents a novel Hegelian view of the relationship between aesthetics and democratic politics. My account avoids the drawbacks associated with approaches, such as Rancière's, that reconceive all of the political in aesthetic terms or, like Rockhill's, reduce the aesthetic to art. Instead, I maintain that the aesthetic is best understood as a distinct recognition relationship of individual freedom. My argument proceeds by highlighting shortcomings of Honneth's account of democratic Sittlichkeit and then addressing these impasses by integrating aesthetic freedom into the picture. The first two steps of my argument concern the fact that the form of life outlined by Honneth aspires to be a form of free life, yet his account of democratic Sittlichkeit gives rise to two dimensions of unfreedom. The first problem of unfreedom pertains to the scope of freedom. The relationships of freedom incorporated into Honneth's account fail to turn given social roles into the subject matter of a sufficiently unrestricted practice of freedom. The second problem of freedom concerns conformism. In a final step, I complete my argument that Honneth's account is unsatisfactory and incomplete by showing that aesthetic freedom is socially valid and thus ought to form part of our accounts of democratic ethical life.     

Public Art and Dewey's Democratic Experience: The Case of John Adams's On the Transmigration of Souls

The aesthetic and political sides of public art have recently been examined from different theoretical vantage points. Pragmatist accounts, however, have been largely absent from the discussion. This article develops a theory of public art on some central ideas of John Dewey's aesthetics and social philosophy. From a pragmatist perspective, the best cases of public art turn out to have high social significance, for they are means of promoting the sense of community, which Dewey saw as foundational for well‐functioning democracies. The Deweyan account of public art developed in this article is set against theories that explain its social value by public artworks’ ability to disrupt people's everyday routines and beliefs, as well as by the political alertness they often raise. Diana Boros's recent treatment of what she calls “visionary public art” serves as the main specimen of this approach. The Deweyan understanding of public art is illuminated and defended with the help of a reading of John Adams's On the Transmigration of Souls—a piece composed in memory of the victims of 9/11—that highlights its capacity to generate such communal experiences that have a fundamental role in Dewey's theory of democracy.     

“The Lost Foundation”: Kristeva's Semiotic Chora and Its Ambiguous Legacy

The aim of this essay is to reclaim Kristeva's concept of the semiotic chora by re‐inscribing it as an intervention in the context of two important postmodern debates. The first debate relates to the philosophical problem of “the beginning before the Beginning.” The second concerns the necessity and possibility of mediation between incommensurable entities: the “demonic” and the social, desire and the Law, material production and representation. I contend: (1) that the introduction of the chora in RPL is part of Kristeva's effort to restore the legacy of a materialist economy of the beginning, as this is glimpsed in Plato's Timaeus from which Kristeva borrows her controversial term; and (2) that the chora constitutes an attempt on Kristeva's part to explore a third space of ambiguous relationality in the context of which our transcendence to the “demonic” lies less “beyond us” than “in‐between.”     

The Emotional Gains of Aesthetic Shock

Samvega is the Pali word denoting the shock or wonder felt when a work of art becomes a serious perceptual experience. It implies a change from a “state of distress” involving awareness of the “eight emotional themes” (birth, old age, sickness, death, and four kinds of suffering) to a state of enlightened gladness, involving awareness of the Buddha, Eternal Law, and Communion or community. The idea of aesthetic shock seems useful for an understanding of aesthetic experience and the experience of insight that occurs within the context of clinical psychoanalysis.     

GLOBAL JUSTICE AFTER THE FALL Christian Realism and the "Law of Peoples"

In The Law of Peoples John Rawls casts his proposals as an argument against what he calls “political realism.” Here, I contend that a certain version of “Christian political realism” survives Rawls's polemic against political realism sans phrase and that Rawls overstates his case against political realism writ large. Specifically, I argue that Rawls's dismissal of “empirical political realism” is underdetermined by the evidence he marshals in support of the dismissal and that his rejection of “normative political realism” is in tension with his own normative concessions to political reality as expressed in The Law of Peoples. That is, I contend that Rawls, himself, needs some form of political realism to render persuasive the full range of normative claims constituting the argument of that work.     

‘Mystic Atheism’: Julia Kristeva's Negative Theology

Abstract

This article examines Julia Kristeva's paradoxical concept of a ‘mystic atheism’. It falls into three parts. First, it briefly surveys Kristeva's psychoanalytic account of Christian theology in Au commencement était l'amour (1985). Secondly, it assesses Kristeva's analysis of the Christian mystical tradition from Teresa of Avila to Angela of Foligno in such works as Le féminin et le sacré (1999) and the three volumes on Le génie féminin (1999-2002). For Kristeva, Christian mysticism represents a key moment in the transition from theology to psychoanalysis: what she locates within the work of the female mystics is a so-called ‘mystic atheism’, that is to say, an affirmation of an other within the subject as opposed to the divine other that supposedly lies outside it. Finally, the article offers some critical comments upon Kristeva's own ‘mystic atheism’: I argue that—like much negative theology—Kristeva's psychoanalysis remains ontotheological in form and that this dimension expresses itself in a problematic tendency to anthropomorphize the other within. In conclusion, I will suggest that Kristeva's ‘mystic atheism’ ultimately remains within the theological tradition it seeks to call into question.     

Catharine Macaulay on the Paradox of Paternal Authority in Hobbesian Politics

Catharine Macaulay's first political pamphlet, “Loose remarks on certain positions to be found in Mr. Hobbes's philosophical rudiments of government and society with a short sketch for a democratical form of government in a letter to Signor Paoli,” published in London in 1769, has received no significant scholarly attention in over two hundred years. It is of primary interest because of the light it sheds on Macaulay's critique of patriarchal politics, which helps to establish a new line of thinking about the historian as an early feminist writer. It appears she was working from an unauthorized edition of the Thomas Hobbes's De Cive (1647) entitled Philosophicall Rudiments of Government and Society, printed by a royalist bookseller in London 1651. Some errors in this translation may explain Macaulay's skewed understanding of Hobbess argument in support of the premises of monarchy. Her intriguing analysis of paternal authority in “Loose Remarks” anticipates recent feminist explorations of Hobbesian political thought.     

Hannah Arendt,Feminism, and the Politics of Alterity: “What Will We Lose If We Win?”

Hannah Arendt's early biography of Rahel Varnhagen, an eighteenth-century German-Jew, provides a revolutionary feminist component to her political theory. In it, Arendt grapples with the theoretical constitution of a female subject and relates Jewish alterity, identity, and history to feminist politics. Because she understood the “female condition” of difference as belonging to the political subject rather than an autonomous self, her theory entails a “politics of alterity” with applications for feminist practice.     

The Speaking Abject in Kristeva's Powers of Horror

This essay analyzes the implications of the performative aspects of Julia Kristeva's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva's notion of practice and as such are fundamental to her critique of Hegel and Freud.     

HANNAH'S CHILD: A LIFE GIVEN AND THEREFORE LIVED

In response to Hannah's Child, this essay begins from the reality of “unlikely friendships” and the idea of the “conservative radical”. The essay then moves into a discussion of three particular themes raised in Hauerwas's memoir and in his work generally: Christocentrism as sequela Christi; Christian politics as eschatology; and witness as the heart of Christian life. What draws the various themes of the essay together is the proposal that givenness is the unique and Christocentric key to the Christian unity of thought and practice.     

Simone de Beauvoir and the Ambiguous Ethics of Political Violence

In this essay, Hutchings contends that Simone de Beauvoir's argument in The Ethics of Ambiguity provides a valuable resource for feminists currently addressing the question of the legitimacy of political violence, whether of the state or otherwise. The reason is not that Beauvoir provides a definitive answer to this question, but rather because of the ways in which she deconstructs it. In enabling her reader to appreciate ate what is presupposed by a resistant politics that adopts violence as its instrument, Beauvoir illuminates the problems encountered by the kinds of “realistic and positive” and “idealistic and moral” arguments through which the use of violence in politics is routinely justified. At the same time, Beauvoir demonstrates that to deconstruct the question of the legitimacy of violence is neither to banish nor resolve it. She does not offer a recipe for determining the legitimacy or otherwise of the use of violence in politics in general; instead, she illuminates the irremediable difficulty and inescapability of such judgments in a violent and intransigent world.     

The Question of a Jungian Community

The author describes her relationship with the reality of Parkinson's disease—how she twists and turns and pivots and falls with this rapacious intrusion, and how a new, hitherto unknown space opens between Parkinson's and herself. This new space claims its own dynamic, objective reality. In attempts to consciously access the reality of this third space, the author faces paradox, “plays” with metaphor, and tries to recognize the right “reality.” She considers Freud's reality and pleasure principles, Winnicott's iconoclastic declaration of “health being the ability to play with psychosis,” and Jung's transcendent function. She also calls on Hermes with his wings to fly through otherwise impenetrable borders. As an incantation, an evocation or a pathway, she implores Hermes to breathe in flight. In the midst of this inner work, the dragonfly literally appears, emanating transformation.     

Prozac and the Post-human Politics of Cyborgs

Working through the lens of Donna Haraway's cyborg theory and directed at the example of Prozac, I address the dramatic rise of new technoscience in medicine and psychiatry. Haraway's cyborg theory insists on a conceptualization and a politics of technoscience that does not rely on universal “Truths” or universal “Goods” and does not attempt to return to the “pure” or the “natural.” Instead, Haraway helps us mix politics, ethics, and aesthetics with science and scientific recommendations, and she helps us understand that (without recourse to universal truth or universal good) questions of legitimacy in science come down to local questions of effect and inclusion. What, in the case of my example, are the effects of Prozac? And for whom? Who is included and empowered to create legitimate psychiatric knowledge? Who is excluded and why? And, what political strategies will increase the democratic health of psychiatric science and practice?