Empfehlungen basierend auf "The Foucault Reader"

In the wake of Sassy and as an alternative to the more staid reporting of Ms., Bitch was launched in the mid-nineties as a Xerox-and-staple zine covering the landscape of popular culture from a feminist perspective. Both unabashed in its love for the guilty pleasures of consumer culture and deeply thoughtful about the way the pop landscape reflects and impacts women's lives, Bitch grew to be a popular, full-scale magazine with a readership that stretched worldwide. Today it stands as a touchstone of hip, young feminist thought, looking with both wit and irreverence at the way pop culture informs feminism―and vice versa―and encouraging readers to think critically about the messages lurking behind our favorite television shows, movies, music, books, blogs, and the like. BITCHFest offers an assortment of the most provocative essays, reporting, rants, and raves from the magazine's first ten years, along with new pieces written especially for the collection. Smart, nuanced, cranky, outrageous, and clear-eyed, the anthology covers everything from a 1996 celebration of pre-scandal Martha Stewart to a more recent critical look at the "gayby boom"; from a time line of black women on sitcoms to an analysis of fat suits as the new blackface; from an attempt to fashion a feminist vulgarity to a reclamation of female virginity. It's a recent history of feminist pop-culture critique and an arrow toward feminism's future.

As in the bestselling The Alphabet Versus the Goddess, Leonard Shlain’s provocative new book promises to change the way readers view themselves and where they came from.Sex, Time, and Power offers a tantalizing answer to an age-old question: Why did big-brained Homo sapiens suddenly emerge some 150,000 years ago? The key, according to Shlain, is female sexuality. Drawing on an awesome breadth of research, he shows how, long ago, the narrowness of the newly bipedal human female’s pelvis and the increasing size of infants’ heads precipitated a crisis for the species. Natural selection allowed for the adaptation of the human female to this environmental stress by reconfiguring her hormonal cycles, entraining them with the periodicity of the moon. The results, however, did much more than ensure our existence; they imbued women with the concept of time, and gave them control over sex—a power that males sought to reclaim. And the possibility of achieving immortality through heirs drove men to construct patriarchal cultures that went on to dominate so much of human history.From the nature of courtship to the evolution of language, Shlain’s brilliant and wide-ranging exploration stimulates new thinking about very old matters.

A dynamic and strikingly relevant look at a feminist canon as expansive rather than definitiveA Penguin ClassicFor Roxane Gay, a feminist canon is subjective and always evolving. A feminist canon represents a long history of feminist scholarship, embraces skepticism, and invites robust discussion and debate. Selected writings by ancient, historic, and more recent feminist voices include Henricus Cornelius Agrippa, Anna Julia Cooper, Kimberlé Crenshaw, Dorothy Allison, Leslie Feinberg, Eileen Myles, Mona Eltahawy, bell hooks, Sarah Ahmed, Cherrie Moraga, Audre Lorde, The Guerrilla Girls, and many more. With an introduction, headnotes, and an inspired list of multimedia recommendations, Roxane Gay presents multicultural perspectives, ecofeminism, feminism and disability, feminist labor, gender perspectives, and Black feminism. Through the Portable Feminist Reader, readers explore the state of American feminism, its successes and failures, and what feminism looks like in practice, as a complex, contradictory, personal and political, and ever-growing legacy of feminist thought.

Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

Part philosophical meditation, part cultural critique, The Body in Pain is a profoundly original study that has already stirred excitement in a wide range of intellectual circles. The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it.Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre.Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism.In the 2010s, the term "autotheory" began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.

Part philosophical meditation, part cultural critique, The Body in Pain is a profoundly original study that has already stirred excitement in a wide range of intellectual circles. The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

Foreword: François Ewald and Alessandro Fontana Introduction: Arnold I. Davidson One: 7 January 1976 What is a lecture? -- Subjugated knowledges. -- Historical knowledge of struggles, genealogies, and scientific discourse. -- Power, or what is at stake in genealogies. -- Juridical and economic conceptions of power. -- Power as repression and power as war. -- Clausewitz's aphorism inverted. Two: 14 January 1976 War and power. -- Philosophy and the limits of power. -- Law and royal power. -- Law, domination, and subjugation. -- Analytics of power: questions of method. -- Theory of sovereignty. -- Disciplinary power. -- Rule and norm. Three: 21 January 1976 Theory of sovereignty and operators of domination. -- War as analyzer of power relations. -- The binary structure of society. -- Historico-political discourse, the discourse of perpetual war. -- The dialectic and its codifications. -- The discourse of race struggle and its transcriptions. Four: 28 January 1976 Historical discourse and its supporters. -- The counterhistory of race struggle. -- Roman history and biblical history. -- Revolutionary discourse. -- Birth and transformation of racism. -- Race purity and State racism: the Nazi transformation and the Soviet transformation. Five: 4 February 1976 Answer to a question on anti-Semitism. -- Hobbes on war and sovereignty. -- The discourse on the Conquest in England: royalists, parliamentarians, and Levellers. -- The binary schema and political historicism. -- What Hobbes wanted to eliminate. Six: 11 February 1976 Stories about origins. -- The Trojan myth. -- France's heredity. -- "Franco-Gallia."--Invasion, history, and public right. -- National dualism. -- The knowledge of the prince. -- Boulainvillier's "Etat de la France."--The clerk, the intendant, and the knowledge of the aristocracy. -- A new subject of history. -- History and constitution. Seven: 18 February 1976 Nation and nations. -- The Roman conquest. -- Grandeur and decadence of the Romans. -- Boulainvilliers on the freedom of the Germans. -- The Soissons vase. -- Origins of feudalism. -- Church, right, and the language of State. -- Boulainvilliers: three generalizations about war: law of history and law of nature, the institutions of war, the calculation of forces. -- Remarks on war. Eight: 25 February 1976: Boulainvilliers and the constitution of a historico-political continuum. -- Historicism. -- Tragedy and public right. -- The central administration of history. -- The problematic of the Enlightenment and the genealogy of knowledges. -- The four operations of disciplinary knowledge and their effects. -- Philosophy and science. -- Disciplining knowledges. Nine: 3 March 1976 Tactical generalization of historical knowledge. -- Constitution, Revolution, and cyclical history. -- The savage and the barbarian. -- Three ways of filtering barbarism: tactics of historical discourse. -- Questions of method: the epistemological field and the antihistoricism of the bourgeoisie. -- Reactivation of historical discourse during the Revolution. -- Feudalism and the gothic novel. Ten: 10 March 1976 The political reworking of the idea of the nation during the Revolution: Sieyes. -- Theoretical implications and effects on historical discourse. -- The new history's grids of intelligibility: domination and totalization. -- Montlosier and Augustin Thierry. -- Birth of the dialectic. Eleven: 17 March 1976 From the power of sovereignty to power over life. -- Make live and let die. -- From man as body to man as species: the birth of biopower. -- Biopower's fields of application. -- Population. -- Of death, and of the death of Franco in particular. -- Articulations of discipline and regulation: workers' housing, sexuality, and the norm. -- Biopower and racism. -- Racism: functions and domains. -- Nazism. -- Socialism. Course Summary Situating the Lectures: Alessandro Fontana and Mauro Bertani Index.

In many fields, the body is the topic generating exciting new research and interdisciplinary inquiry. Feminist theorists, in particular, have focused on the female body as the site where representations of difference and identity are inscribed. Drawn from a broad range of disciplines, Writing on the Body explores the tensions between women's lived bodily experiences and the cultural meanings inscribed on the female body. The volume includes classic and contemporary essays on rape, pornography, eroticism, anorexia, body building, menstruation, and maternity, and challenges racial, class and sexual categories. Complemented by the editors' introduction, Writing on the Body is a comprehensive sourcebook on the major theoretical positions and critical trends surrounding the female body.

Knowing Victims explores the theme of victimhood in contemporary feminism and politics. It focuses on popular and scholarly constructions of feminism as 'victim feminism' - an ideology of passive victimhood that denies women's agency - and provides the first comprehensive analysis of the debate about this ideology which has unfolded among feminists since the 1980s. The book critically examines a movement away from the language of victimhood across a wide array of discourses, and the neoliberal replacement of the concept of structural oppression with the concept of personal responsibility. In derogating the notion of 'victim,' neoliberalism promotes a conception of victimization as subjective rather than social, a state of mind, rather than a worldly situation. Drawing upon Nietzsche, Lyotard, rape crisis feminism and feminist philosophy, Stringer situates feminist politicizations of rape, interpersonal violence, economic inequality and welfare reform as key sites of resistance to the victim-blaming logic of neoliberalism. She suggests that although recent feminist critiques of 'victim feminism' have critically diagnosed the anti-victim movement, they have not positively defended victim politics. Stringer argues that a conception of the victim as an agentic bearer of knowledge, and an understanding of resentment as a generative force for social change, provides a potent counter to the negative construction of victimhood characteristic of the neoliberal era. This accessible and insightful analysis of feminism, neoliberalism and the social construction of victimhood will be of great interest to researchers and students in the disciplines of gender and women's studies, psychology, sociology, politics and philosophy.