For Tamsin Lorraine, the works of Luce Irigaray and Gilles Deleuze open up new ways of thinking about subjectivity. Focusing on the affinities between the theorists' views—while addressing weaknesses of each—she offers both a cogent analysis of their often challenging writings on this topic and an accessible introduction to their philosophical projects. Through her readings she articulates an approach to subjectivity as an embodied, dynamic process, one that speaks to beliefs about personal identity as well as to the practical problems people face in their relations with one another.Lorraine begins by distinguishing between "conceptual" and "corporeal" considerations of subjectivity and by reviewing recent interdisciplinary efforts to theorize the body. She then turns to Irigaray and Deleuze, finding in the former's notion of the "feminine other" and in the latter's, unique conceptions of nomadic thinking inspiration for a model designed to overcome mind/body dualisms. Her analysis of Irigaray and Deleuze suggests a conception of humanity which amounts to a visceral philosophy—a way of thinking that is receptive to the fluxes of dynamic life forces.
In Deleuze and Guattari's Immanent Ethics, Tamsin Lorraine focuses on the pragmatic implications of Deleuze and Guattari's work for human beings struggling to live ethical lives. Her bold alignment of Deleuze and Guattari's project with the feminist and phenomenological projects of grounding human action in lived experience provides an accessible introduction to their work. Lorraine characterizes Deleuze and Guattari's nonfoundational approach to ethics in terms of a notion of power that comes into skillful confluence with the multiple forces of life and an immanent principle of flourishing, while their conception of philosophical thought is portrayed as an intervention in the ongoing movement of life that she enacts in her own exploration of their ideas. She contends that Deleuze and Guattari advocate unfolding the potential of our becoming in ways that enhance our participation in the creative evolution of life, and she characterizes forms of subjectivity and cultural practice that could support such evolution. By means of her lucid reading taken through the lens of feminist philosophy, Lorraine is not only able to present clearly Deleuze and Guattari's project but also an intriguing elaboration of some of the project's practical implications for novel approaches to contemporary problems in philosophy, feminism, cultural theory, and human living.
This book explains an open-ended theory of self that delineates 'masculine' and 'feminine' self-strategies on the basis of the Hegelian tradition of theorizing self/other relations and contemporary feminist theory. It proposes the possibility of combining the gender differentiated self strategies.
Neither women's studies nor lesbian and gay studies offers an adequate theoretical or political base for lesbian scholarship. Lesbian Studies: Setting and Agenda aim to promote lesbian studies as an academic and political approach to both gender and the erotic, and to clarify the damaging influence of heterosexism across a range of disciplines. Drawing on feminism and queer theory, Tamsin Wilton argues that `lesbian' is a theoretical position which must be widely available in order to challenge the dominance of the heterosexual perspective. Engaging with theoretical and political debates, the book moves beyond its role of setting an agenda for lesbian studies into a wider role as resource and catalysts for anyone interested in gender and the erotic.
For Tamsin Lorraine, the works of Luce Irigaray and Gilles Deleuze open up new ways of thinking about subjectivity. Focusing on the affinities between the theorists' views—while addressing weaknesses of each—she offers both a cogent analysis of their often challenging writings on this topic and an accessible introduction to their philosophical projects. Through her readings she articulates an approach to subjectivity as an embodied, dynamic process, one that speaks to beliefs about personal identity as well as to the practical problems people face in their relations with one another.Lorraine begins by distinguishing between "conceptual" and "corporeal" considerations of subjectivity and by reviewing recent interdisciplinary efforts to theorize the body. She then turns to Irigaray and Deleuze, finding in the former's notion of the "feminine other" and in the latter's, unique conceptions of nomadic thinking inspiration for a model designed to overcome mind/body dualisms. Her analysis of Irigaray and Deleuze suggests a conception of humanity which amounts to a visceral philosophy—a way of thinking that is receptive to the fluxes of dynamic life forces.
In Deleuze and Guattari's Immanent Ethics, Tamsin Lorraine focuses on the pragmatic implications of Deleuze and Guattari's work for human beings struggling to live ethical lives. Her bold alignment of Deleuze and Guattari's project with the feminist and phenomenological projects of grounding human action in lived experience provides an accessible introduction to their work. Lorraine characterizes Deleuze and Guattari's nonfoundational approach to ethics in terms of a notion of power that comes into skillful confluence with the multiple forces of life and an immanent principle of flourishing, while their conception of philosophical thought is portrayed as an intervention in the ongoing movement of life that she enacts in her own exploration of their ideas. She contends that Deleuze and Guattari advocate unfolding the potential of our becoming in ways that enhance our participation in the creative evolution of life, and she characterizes forms of subjectivity and cultural practice that could support such evolution. By means of her lucid reading taken through the lens of feminist philosophy, Lorraine is not only able to present clearly Deleuze and Guattari's project but also an intriguing elaboration of some of the project's practical implications for novel approaches to contemporary problems in philosophy, feminism, cultural theory, and human living.
Sophie and Max are a thoroughly modern British couple, cosmopolitan, open-minded. They've even constructed their own eco loo (well, it does save thirty litres of water a day). Then there's Hana and Ali next door. Neighbours, but in every other sense, a world apart. Max is a lawyer, albeit a lawyer who grows his own dope. Okay, what a man does on his own patch is his business – but when war starts raging next door, whose business is that? If ever there was a time for liberal intervention, this is surely it. Tamsin Oglesby's black comedy takes a humorous and subversive look at the world we live in today – one of multi-culturalism and blurred boundaries. And one in which violence is right on our own doorstep – no matter where we come from. The War Next Door opened at the Tricycle Theatre in February 2007.
An Actor’s Research: Investigating Choices for Practice and Performance presents an accessible and highly practical guide to the research approaches required of the actor. It aims to establish the precision and rigour of the actor’s craft that is intrinsic to a compelling acting performance, explore a range of research activities surrounding and emerging from practical work in the studio, and enable the actor to evolve a multifaceted skillset in researching for performance. The chapters focus on different research areas such as the self, character, relationships, circumstance, and context, providing accessible and practical guidance to developing a personal research practice. Each aspect is explained and engaged with as practice, rather than study – offering helpful hints and advising against common pitfalls – ultimately enabling the actor to locate the necessary knowledge to shape and inform their performance in both text-based and devised scenarios. Additionally, as the actor’s self is a personal instrument that is drawn on in terms of expression, impulses, and imagination; the self also becomes a source for creative appraisal and research. This book therefore offers comprehensive advice and strategies for self-evaluation and reflection, connecting research investigation with self-exploration in making expressive performance choices, making it a practice highly applicable to the actor’s needs. An Actor’s Research closely follows the training actor’s needs in terms of performance-based research; however, its practical research activities for text and character creation and strategies for the development of critical thinking and self-reflective skills support the ongoing development of the actor and their craft in both training and professional circumstances.
Immortal, Invisible: Lesbians and the Moving Image is the first collection to bring together leading film-makers, academics and activists to discuss films by, for and about lesbians and queer women. The contributors debate the practice of lesbian and queer film-making, from the queer cinema of Monika Treut to the work of lesbian film-makers Andrea Weiss and Greta Schiller. They explore the pleasures and problems of lesbian spectatorship, both in mainstream Hollywood films including Aliens and Red Sonja, and in independent cinema from She Must be Seeing Things to Salmonberries and Desert Hearts. The authors tackle tricky questions: can a film such as Strictly Ballroom be both pleasurably camp and heterosexist? Is it ok to drool over dyke icons like Sigourney Weaver and kd lang? What makes a film lesbian, or queer, or even post-queer? What about showing sex on screen? And why do lesbian screen romances hardly ever have happy endings? Immortal, Invisible is splendidly illustrated with a selection of images from film and television texts.
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