Technologies of Gender: Essays on Theory, Film, and Fiction (Theories of Representation and Difference)
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"Technologies of Gender builds a bridge between the fashionable orthodoxies of academic theory (Lacan, Foucault, Derrida, et al.) and the frequently-marginalized contributions of feminist theory.... In sum, de Lauretis has written a book that should be required reading for every feminist in need of theoretical ammunition―and for every theorist in need of feminist enlightenment." ―B. Ruby Rich
"... sets philosophical ideas humming.... she has much to say." ―Cineaste
"I can think of no other work that pushes the debate on the female subject forward with such passion and intellectual rigor." ―SubStance
This book addresses the question of gender in poststructuralist theoretical discourse, postmodern fiction, and women’s cinema. It examines the construction of gender both as representation and as self-representation in relation to several kinds of texts and argues that feminism is producing a radical rewriting, as well as a rereading, of the dominant forms of Western culture.
Foucauldian view of power as productive, and hence as positive. While it would be difficult to disprove that power is productive of knowledges, meanings, and values, it seems obvious enough that we have to make distinctions between the positive effects and the oppressive effects of such production. And that is not an issue for political practice alone, but, as Wittig forcefully reminds us, it is especially a question to be asked of theory. I will then rewrite my third proposition: The
constantly resists, suspicious of their drift. Which is why the critique of all discourses concerning gender, including those produced or promoted as feminist, continues to be as vital a part of feminism as is the ongoing effort to create new spaces of discourse, to rewrite cultural narratives, and to define the terms of another perspective—a view from “elsewhere.” For, if that view is nowhere to be seen, not given in a single text, not recognizable as a representation, it is not that
London: Johns Hopkins University Press. ——. (1976b). Éperons: Les styles de Nietzsche. Venice: Corbo e Fiore. [This is a four-language edition; the English translation is by Barbara Harlow.] Doane, Mary Ann, Patricia Mellencamp, and Linda Williams, eds., (1984). Re-vision: Essays in Feminist Film Criticism. Frederick, Md.: University Publications of America and the American Film Institute. Eco, Umberto (1979). The Role of the Reader: Explorations in the Semiotics of Texts. Bloomington and
devotion, and by never allowing her own needs to surface (but they are there, between the lines of the letters), Tatiana gradually acquired a wife’s right to husbandly gratitude, a wifely possessiveness, and the subtle power gained by female self-denial. Of the three stories, unrecorded by history, Giulia’s is the most lonely. She is still alive, as far as we know, in some psychiatric hospital, where she has spent most of her life, imprisoned in her “mental illness” as Antonio was in his cell.
forces: the women’s movement, independent filmmaking, and academic film studies. “It is only a slight exaggeration to say that most feminist film theory … of the last decade has been a response, implicit or explicit, to the issues raised in Laura Mulvey’s article: the centrality of the look, cinema as spectacle and narrative, psycho-analysis as a critical tool.”17 The year 1966, besides the Communications issue on the structural analysis of narrative, had also seen the publication of Jacques