Ethics of Eros sheds light on contemporary feminist discourse by questioning the basic distinctions and categories in feminist theory. Tina Chanter uses the work of Luce Irigaray as the focus for a critique of French and Anglo-American feminism as it is articulated in the debate over essentialism. While these two branches of feminism represent opposing views, Chanter advocates a productive exchange between the two.
In this groundbreaking book, Tina Chanter challenges the philosophical and psychoanalytic reception of Sophocles' Antigone, which has largely ignored the issue of slavery. Drawing on textual and contextual evidence, including historical sources, she argues that slavery is a structuring theme of the Oedipal cycle, but one that has been written out of the record. Chanter focuses in particular on two appropriations of Antigone: The Island, set in apartheid South Africa, and Tègònni, set in nineteenth-century Nigeria. Both plays are inspired by the figure of Antigone, and yet they rework her significance in important ways that require us to return to Sophocles' "original" play and attend to some of the motifs that have been marginalized. Chanter explores the complex set of relations that define citizens as opposed to noncitizens, free men versus slaves, men versus women, and Greeks versus barbarians. Whose Antigone? moves beyond the narrow confines critics have inherited from German idealism to reinvigorate debates over the meaning and significance of Antigone, situating it within a wider argument that establishes the salience of slavery as a structuring theme.
“A timely and important project that changes our understanding of the role of abjection both in cultural politics and in the structure of film.” —Ewa Ziarek, State University of New York at Buffalo Tina Chanter resolves a fundamental problem in film theory by negotiating a middle path between “gaze theory” approaches to film and spectator studies or cultural theory approaches that emphasize the position of the viewer and thereby take account of race, class, gender, and sexuality. Chanter argues that abjection is the unthought ground of fetishistic theories. If the feminine has been the privileged excluded other of psychoanalytic theory, fueled by the myth of castration and the logic of disavowal, when fetishism is taken up by race theory, or cultural theory, the multiple and fluid registers of abjection are obscured. By mobilizing a theory of abjection, the book shows how the appeal to phallic, fetishistic theories continues to reify the hegemonic categories of race, class, sexuality, and gender, as if they stood as self-evident categories. “An intriguing read, especially for those who favor psychological models of criticism in film theory . . . Recommended.” —Choice
Examining Levinass critique of the Heideggerian conception of temporality, this book shows how the notion of the feminine both enables and prohibits the most fertile territory of Levinass thought. According to Heidegger, the traditional notion of time, which stretches from Aristotle to Bergson, is incoherent because it rests on an inability to think together two assumptions: that the present is the most real aspect of time, and that the scientific model of time is infinite, continuous, and constituted by a series of more or less identical now-points. For Heidegger, this contradiction, which privileges the present and thinks of time as ongoing, derives from a confusion about Being. He suggests that it is not the present but the future that is the primordial ecstasis of temporality. For Heidegger, death provides an orientation for our authentic temporal understanding. Levinas agrees with Heidegger that mortality is much more significant than previous philosophers of time have acknowledged, but for Levinas, it is not my death, but the death of the other that determines our understanding of time. He is critical of Heideggers tendency to collapse the ecstases (past, present, and future) of temporality into one another, and seeks to move away from what he sees as a totalizing view of time. Levinas wants to rehabilitate the unique character of the instant, or present, without sacrificing its internal dynamic to the onward progression of the future, and without neglecting the burdens of the past that history visits upon us. The author suggests that though Levinass conception of subjectivity corrects some of the problems Heideggers philosophy introduces, such as his failure to deal adequately with ethics, Levinas creates new stumbling blocks, notably the confining role he accords to the feminine. For Levinas, the feminine functions as that which facilitates but is excluded from the ethical relation that he sees as the pinnacle of philosophy. Showing that the feminine is a strategic part of Levinass philosophy, but one that was not thought through by him, the author suggests that his failure to solidly place the feminine in his thinking is structurally consonant with his conceptual separation of politics from ethics.
Even those who take themselves to be breaking from tradition-from the metaphysical tradition of philosophy, from grand narratives, neoliberalism or Eurocentrism-can remain blindly attached to them. Art, Politics and Rancière: Broken Perspectives provides an account of how works of art can, but do not necessarily, interrupt dominant narratives. Inspired by Jacques Rancière, Tina Chanter assumes his work as a starting point. She presents a rigorous and appreciative critique of Rancière's story of aesthetics, paying close attention to gender and race. Along with the relationship between the unconscious and the political, perception is a key theme throughout, used to address questions such as 'How do some things become visible, while other things remain invisible?' 'What does it take for something to be seen, and why do other things elude visibility?' Alongside illuminating discussions of Rancière, Heidegger and Levinas are informed accounts of artists Ingrid Mwangi, Phillip Noyce, Ingrid Pollard, and Gillian Wearing. Outlining the basis of a new political aesthetic, Art, Politics and Rancière develops an original philosophical consideration that is sensitive to race and gender, yet not reducible to these concerns.
The first authorized pictorial autobiography for the trade by the legendary Tina Turner, containing iconic as well as never-before-seen candid photos, letters, and other personal items of The Queen of Rock 'n' Roll, from her early career to today. Tina Turner has always been a glorious force to be reckoned with; for more than sixty years, Tina has captivated audiences all over the world. For the first time, Tina has assembled an exceptional collection of images and ephemera to mark her eightieth birthday. Lavishly illustrated, Tina Turner: That's My Life features the work of world-renowned photographers including Peter Lindbergh, Annie Leibovitz, Bruce Weber, Anton Corbijn, Herb Ritts, Andy Warhol, Lord Snowdon, and Paul Cox among others. Also showcased are illustrations by fashion designers who were inspired by Tina, including Christian Louboutin, Antonio, and Bob Mackie. Additionally, Tina delved into her personal archive, and That's My Life showcases some of Tina's most famous dresses, wigs, and shoes. Comments handwritten by Tina Turner herself are included, and as well as handwritten letters from such friends as Beyoncé, Giorgio Armani, Bryan Adams, Oprah Winfrey, and Mick Jagger and others. Tina Turner: That's My Life is a comprehensive window into the world of Tina Turner, and is the perfect celebration of this storied performer that is sure to wow longtime and new fans alike.
The updated edition of the national bestseller, celebrating Tina Arena's extraordinary 40 years in the music business. Honest and intimate, funny and frank, Now I Can Dance is the long-awaited memoir from the very special, much-loved singer, songwriter and pop diva, Tina Arena. Over the course of her extensive career, starting as an eight-year-old star of Young Talent Time, Tina has amassed a cache of amazing stories. the artist who gave us 'Chains', 'Sorrento Moon' and 'Symphony of Life' has sold eight million albums, won a swag of awards, encountered extraordinary people, fallen in and out of love, and experienced incredible highs and lows. through it all, Tina has sung her heart out, and her songs have provided the soundtrack to our lives. Almost four decades in music has seen Tina on a journey - a journey of self-discovery and self-fulfilment. Hers is a truly joyful and inspiring story of a woman achieving success on her on terms, in her own way. And now she is sharing her life, for the very first time, with us. Now I Can Dance is an uplifting story of love, family, laughter, determination and - of course - song. Now, the national bestseller is fully updated, covering her recent move back to Melbourne, being inducted into the ARIA's Hall of Fame, new music, and much, much more ...
In this New York Times bestseller, Tina Turner—the long-reigning queen of rock & roll—reveals personal stories she’s never told before in print or film, about her complicated relationship with her mother, the tragic death of her son, and finally finding true love with Erwin, setting the record straight about her illustrious career in this eye-opening and compelling memoir. From her early years in Nutbush, Tennessee to her rise to fame alongside Ike Turner to her phenomenal success in the 1980s and beyond, Tina candidly examines her personal history, from her darkest hours to her happiest moments and everything in between. My Love Story is an explosive and inspiring story of a woman who dared to break any barriers put in her way. Emphatically showcasing Tina’s signature blend of strength, energy, heart, and soul, this is a gorgeously wrought memoir as enthralling and moving as any of her greatest hits.
Die Lebensgeschichte von Tina Turner – so packend und bewegend wie ihre größten Hits »Private Dancer«, »The Best«, »What's love got to do with it« – jeder einzelne von Tina Turners Songs sprüht vor Energie, Lebenswillen und nie versiegendem Mut. All diese Eigenschaften repräsentiert die legendäre Königin des Rock 'n' Roll, die mit ihrer einzigartigen Stimme und fantastischen Show die Bühnen der Welt eroberte. Unter dem Eindruck einer lebensbedrohlichen Erkrankung, die sie jedoch überwinden konnte, schildert sie in in diesem Buch erstmals ihre ganze Geschichte. Und sie erzählt, wie sie mit ihrem Ehemann Erwin Bach schließlich das langersehnte Glück gefunden hat. »My Love Story« ist eine Liebeserklärung an das Leben und die zutiefst bewegende und inspirierende Überlebensgeschichte einer Frau, die alle Hindernisse, die ihr in den Weg gelegt wurden, hinter sich ließ. Mit zahlreichen Fotos aus Tina Turners Privatbesitz
Ethics of Eros sheds light on contemporary feminist discourse by questioning the basic distinctions and categories in feminist theory. Tina Chanter uses the work of Luce Irigaray as the focus for a critique of French and Anglo-American feminism as it is articulated in the debate over essentialism. While these two branches of feminism represent opposing views, Chanter advocates a productive exchange between the two.
Examining Levinass critique of the Heideggerian conception of temporality, this book shows how the notion of the feminine both enables and prohibits the most fertile territory of Levinass thought. According to Heidegger, the traditional notion of time, which stretches from Aristotle to Bergson, is incoherent because it rests on an inability to think together two assumptions: that the present is the most real aspect of time, and that the scientific model of time is infinite, continuous, and constituted by a series of more or less identical now-points. For Heidegger, this contradiction, which privileges the present and thinks of time as ongoing, derives from a confusion about Being. He suggests that it is not the present but the future that is the primordial ecstasis of temporality. For Heidegger, death provides an orientation for our authentic temporal understanding. Levinas agrees with Heidegger that mortality is much more significant than previous philosophers of time have acknowledged, but for Levinas, it is not my death, but the death of the other that determines our understanding of time. He is critical of Heideggers tendency to collapse the ecstases (past, present, and future) of temporality into one another, and seeks to move away from what he sees as a totalizing view of time. Levinas wants to rehabilitate the unique character of the instant, or present, without sacrificing its internal dynamic to the onward progression of the future, and without neglecting the burdens of the past that history visits upon us. The author suggests that though Levinass conception of subjectivity corrects some of the problems Heideggers philosophy introduces, such as his failure to deal adequately with ethics, Levinas creates new stumbling blocks, notably the confining role he accords to the feminine. For Levinas, the feminine functions as that which facilitates but is excluded from the ethical relation that he sees as the pinnacle of philosophy. Showing that the feminine is a strategic part of Levinass philosophy, but one that was not thought through by him, the author suggests that his failure to solidly place the feminine in his thinking is structurally consonant with his conceptual separation of politics from ethics.
In The Picture of Abjection, Tina Chanter addresses a fundamental problem in film theory by negotiating a middle path between "gaze theory" approaches to film and spectator studies or cultural theory approaches that emphasize the position of the viewer. Chanter argues that abjection is the unthought ground of fetishistic theories. By mobilizing a theory of abjection, the book shows how the appeal to phallic, fetishistic theories continues to deify the hegemonic categories of race, class, sexuality, and gender, as if they stood as self-evident." -- Publisher.
Tina Beattie has written a stunning book on the theology of woman. Her stated objective is to discern the place of the female body in the Christian story of salvation and she has done so from the very heart of Christian stylisations of the female--the figures of Mary and Eve.Beattie has pursued her subject with the aid of French psychoanalytic feminism--these writers are preoccupied, as is Catholic theology, with questions of language and symbolism. But she deliberately puts herself at odds with neo-orthodoxy and feminist liberal theology; she believes that theologians like von Balthasar depart from the best Patristic tradition of Marian theology with disastrous effect. Nor does she offer any solace to the Marina Warners of this world in a book which is strong in defence of classical Marian theology.She defends with passion and theological insight not only the Virgin Birth, the Immaculate Conception and the Assumption but also the perpetual virginity of Mary.Virginal desire, according to Beattie, need not be seen negatively but as an affirmation of the integrity of women's desire before God, in a way not dependent on the phallus nor reducible to geniality.
A classic resource on feminist theory, Feminist Thought offers a clear, comprehensive, and incisive introduction to the major traditions of feminist theory, from liberal feminism, radical feminism, and Marxist and socialist feminism to care-focused feminism, psychoanalytic feminism, and ecofeminism. The fifth edition has been thoroughly revised, and now includes a new chapter on Third Wave and Third Space Feminism. Also added to this edition are significantly expanded discussions on women of color feminisms, psychoanalytic and care feminisms, as well as new examinations of queer theory, LGBTQ and trans feminism. Learning tools like end-of-chapter discussion questions and the bibliography make Feminist Thought an essential resource for students and thinkers who want to understand the theoretical origins and complexities of contemporary feminist debates.
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