Ethics of Eros: Irigaray's Re-writing of the Philosophers by Tina Chanter

By Tina Chanter

Ethics of Eros sheds mild on modern feminist discourse by means of bringing into query a number of the uncomplicated differences and different types that orchestrate it. The paintings of Luce Irigaray serves as a spotlight for interrogating the competition among "French" and "Anglo-American" feminism as articulated within the debate over essentialism. Tina Chanter defends Irigaray opposed to fees of essentialism through exhibiting that such criticisms fail to think about the theoretical history of her paintings. Chanter demonstrates that Irigaray inherited and tried to maneuver past the philosophical framework of Hegel, Nietzsche, Heidegger, Derrida, and Levinas. In tackling the controversy over essentialism, Chanter additionally reconsiders the sex/gender contrast that has been primary to feminist conception. Ethics of Eros seeks to recast the variations among "French" and "Anglo-American" feminism so they now not symbolize opposing perspectives yet turn into in a position to efficient exchanges. It explains the situations within which the controversy over essentialism arose and divulges how essentialist misreadings of Irigaray received forex in feminist idea. The e-book illuminates Irigaray's writings and demonstrates the insights they carry for present feminist idea and philosophy.

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Any teacher of literature can speak to the gleeful phenomenon of students reading and learning, and paradoxically, being dispossessed of former, limited selves, however subtle this shift. And yet, whatt is gained or lost is perhaps not as interesting as how, how imperceptibility emerges or becomes, and when. Despite the seeming omnipresence of what Deleuze and Guattari call the “plane of organization” that is “always trying to plug the lines of flight, stop or interrupt the movements of deterritorialization, weigh them down, restratify them, reconstitute forms and subjects in a dimension of depth” (Thousand d 270), an oppositional pressure is exerted in the form(lessness) of the “plane of consistency” or, more relevant to the present study, “composition” (266).

That of penis and phallus; and its most central signifier . . , the family” (quoted, 178), she is acceding to psychoanalytic categories that cannot be taken as givens. The “dominant fiction” may indeed function partly as a manipulation of impulses based on desire originating in primary acts of identification with the other. 16 Another issue arises with regard to the viability of the “loving” gaze. Even if the viewer does attain to a “new subjectivity,” and even if this subjectivity resists being incorporated into normative standards of idealization, the question remains as to the degree to which the “new look” is transformative of the self/other opposition as well as the immediate condition of the identification.

7 While fear may be the emotional result of the suspected condition, what compels the subject to compensate for the threat is desire. Like Aristophanes’s bisected humans wandering about in search of their other halves, the Freudian/Lacanian subject desires what she or he presumes to be (potentially) sundered from his or her person. In other words, the subject desires to be whole and will go to curious extremes to acquire what is believed to be his or her natural birthright in the face of all deleterious impulses to the contrary.

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