I DANCE TO YOU: REFLECTIONS ON IRIGARAY'S I LOVE TO YOU IN PILATES AND VIRTUOSITY

This essay engages Luce Irigaray's view of love as carnal and relational labor, and her ethics of that love, as they emerge in her book I Love to You: Sketch of a Possible Felicity in History. Of particular interest is the 'to' in her formulation 'I love to you'. This 'to', the author argues, is deployed by, or reverberates between, dancing, observing and writing bodies. It is a technology of corporeal intimacy, a protocol for reading and re-imagining the love story of dance criticism. Two sites offer illustrations of opposing views of Irigaray's 'to'. The first, the Pilates studio, links 'to' to the metaphoric, sometimes proprietary intimacy of working with a practitioner body to body. The second, a decidedly 'anti-Irigaraian' love story, explores virtuosity as a romance between dancer and critic, one in which the latter is seduced by, and envelopes the former as 'you who will never be, yet must be mine'.     

Prostitution as a Male Object of Epistemological Pain

It is not, in the first place, prostitutes’ physical and psychological pain that is examined in this article, but the pain encountered in trying to come to terms with the studying of prostitution. Prostitution upsets consciousness’ efforts and confuses its epistemes of representation. It reveals issues of (male) avoidance and over‐rationalization that apply just as well to how business and organization are (not) studied, as to prostitution. Following Artaud, we examine how, because prostitution is both consciousness (idea, theory, representation) and body (sex, body, the physiology of the brain), it poses the problem of doubling. How can one apprehend both: (i) that one is the physical hyle (materiality) of thought and also (ii) remain aware of the contents of consciousness? Artaud claimed that only in ‘cruelty’ and the ‘scream’ could the mind and body be grasped at once. By contrast, Derrida proposes via the subjectile to glide over the space between consciousness and body, trying to acknowledge but not be stymied by the double. Finally, we turn to Irigaray who has accepted doubling and has made it epistemologically productive.     

LOVING HISTORY'S FATE,PERVERTING THE BEAUTIFUL SOUL: SCENES OF FELICITY'S POTENTIAL

This essay is addressed to several facets of the relationship between human eroticism and law. Tracing Luce Irigaray's notion of love (to) through the sense of recognition that appears in Hegel's discussion of confession, it argues that the middle voice of love expresses and performs an interest in both intersubjective understanding and open-ended play. Against the law, the felicity of love (to) marks the potential to make history and constitute desire with an Other. It may appear when human identity is set into relation with the productive negativity of its perversion.     

De/Composing Gran's Photo Album

This is the story of my maternal grandmother's photo album as it is seen through the feminist psychoanalytic eyes of her granddaughter. The photos take on particular meanings as my mother and I ponder over them. The photo album, set against the backdrop of the early twentieth century, tells tales of frivolity and young romance, friendship and daughterhood, extended families and holidays. What is most significant, however, is the way in which the photos are framed within the patriarchal Catholic discourse, which enveloped my grandmother's life. Yet, it is argued that there were, and continue to be, momentary fissures and ruptures in this patriarchal discourse as feminist psychoanalytic frames come into view.     

LOVE'S EXCLUDED SUBJECTS: STAGING IRIGARAY'S HETERONORMATIVE ESSENTIALISM

This essay responds to Luce Irigaray's essentialist call for men and women to assume their proper places in love's division of labour. In it, I propose a queer reading of her call, resituating it as a confining aesthetic for solo performance.     

LUCE IRIGARAY AND LOVE

This article responds to recent criticisms of Luce Irigaray' I Love to You by inviting the reader to attend to the resources for theorizing being-two in love offered in this book as well as in Irigaray' larger corpus. Irigaray' focus on male/female relationships is a strategic choice that does not endorse compulsory heterosexuality. Her thought on the negative, on silence and on listening contributes to a theory of relational identity that can lead to the building of a new social order.     

CYBORGS OR GODDESSES? Becoming divine in a cyberfeminist age

New digital and biogenetic technologies-in the shape of media such as virtual reality, artificial intelligence, genetic modification and technological prosthetics- signal a 'posthuman' future in which the boundaries between humanity, technology and nature have become ever more malleable. We are more aware than ever that what we call 'nature' is open to manipulation by varieties of biotechnology such as gene therapy. Computer-assisted technologies transform perceptions of body, time and space. Dreams of merging humans and machines into new intelligent cybernetic organisms leave the realm of science fiction and enter everyday reality. As the taken-for-grantedness of what it means to be human shifts and blurs, we might consider how myth, literature and popular culture have furnished the Western imagination with a gallery of fantastic and monstrous creatures on the margins of human and non-human. One contemporary example is that of the cyborg, who serves as a metaphor of the various ways in which the contemporary west is currently experiencing the hybridization of human nature. One version of the cyborg popular with cultural theorists-especially feminists- has been the vision articulated in Haraway's 'Manifesto for Cyborgs'. Termed here as Haraway's 'cyborg writing', it expresses important values about gender, politics and technology; but whilst the cyborg subverts many of the dualisms of western culture, Haraway's comment that she would 'rather be a cyborg than a goddess' inadvertently reinforces one final, often unspoken dichotomy of modernity: that between religion and the secular. Therefore the implications for feminist theory and praxis of a recovery of the goddess are explored. To concur with Haraway, such a project is prone to an inversion of traditional gender stererotypes, enclosing women in a realm of unreconstructed 'nature' at the expense of empowering them to engage with new technologies. Other models of 'becoming divine', however, promise more radical reconfigurations of the religious symbolic of western modernity, a symbolic that has sanctioned the equation of technology with the disavowal of embodied finitude in the name of a quest for transcendence. Irigaray's concept of the 'sensible transcendental' refuses the simplistic distinctions between sacred/secular, spiritual/material, divine/human. Far from representing a female version of the patriarchal sky-god, or even a bucolic, romanticized 'mothergoddess', therefore, Irigaray's model of 'becoming divine' offers an exciting addition to the critical and reconstructive resources of cyberfeminism.