Inside Plato's cave (after Irigaray)

Coventry University exhibition curated by Rosemary Cisernos

Book review. becoming two in love: Kierkegaard, Irigaray, and the ethics of sexual difference

Book review of Roland J. De Vries, Becoming Two in Love: Kierkegaard, Irigaray, and the Ethics of Sexual Difference. Eugene, Oregon: Pickwick Publications, 2013 (ISBN 978-1-61097-517-9)

Excess and mimesis in organization theory: emancipation from within?

In organizational analysis it can be argued that 'radical separatism'—in the guise of the original 'agenda' for Radical Organization Theory (see Benson, 1977a; Burrell and Morgan, 1979; Clegg and Dunkerley, 1980) or more recently that for Critical Management Studies (see Alvesson and Willmott, 1992; Fournier and Grey, 2000; Casey, 2002; Grey, 2004)—has failed to breach the hegemony of functionalist orthodoxy, and notably so when it comes to practice. Given this failure, we speculate, upon the potential for a different emancipatory approach, one based theoretically on the fluid process of 'undecidability'. Unusually our approach attempts to undermine the conventions of functionalist organization theory from within. In brief, we speculate upon the adoption and enactment of Luce Irigaray's (1985, 1991) strategy of mimicry as a means to illuminate the notion of 'excess' in organization theory. To liberate the feminine, Irigaray mimics the symbolic representation of the female body to excess so as to expose the contradictions of phallocentric discourse. When applied to organization theory, this sees a deliberate mimicking of critiques of radical separatism so as to make explicit the latter's imprisonment within functionalism. Through excessive mimicking of the functionalists' critique, the radical/critical organization theorist may become cognizant of, but perhaps not so subjugated by, the hegemony of functionalist discourse.

That tender discipline: spacing, structured nothingness & kumbhaka

In the discussion that follows here, I will attempt what I have decided to call an onto-poetic reading of the yogic practice of kumbhaka. I choose the double-barrelled nomination 'onto-poetic' since I would like to use my experience of kumbhaka both to think of certain current ontological paradigms and implications, and also to allow myself the flexibility and discipline that I associate with the poetic register. I will draw on three particular thinkers, namely Alain Badiou, Jacques Derrida and Luce Irigaray. Badiou makes very explicit metaontological claims that, I believe, have something to contribute to a reading of kumbhaka. Derrida, for his part, has written extensively about phonologocentrism and its inherent links with speech and breath in the history of phallocentric metaphysics. Irigaray, finally, demonstrates a way to think unity, breath and praxis so as to bring these conceptual strands together in a kind of elegant, but urgent, agency.
What can the very practice of kumbhaka help me to think? And how can such thinking impact on what happens when I practice pranayama that involves kumbhaka? Kumbhaka can be situated as a practice within the broader discipline of Yogic pranayama. Yoga, as it often encountered in this historical moment in the so-called West, can appear to emphasize physical posture (which are certainly as aspect of its breadth). Yoga, however, as a technology of existential and ontological inquiry, has often, throughout its long and meandering history, made use of the manipulation of, and abstinence from, breath. I will begin by cursorily outlining the place of pranayama itself within the yogic canon of practice. Then, I will go on to explain specifically the technology of kumbhaka, before embarking on my onto-poetic discussion.

Catholic mothers and daughters: resilient conversations

In this paper, conversations between a group of white, middle class, adult Australian mothers and daughters are examined to disclose the symbolic dimensions that mark girlhood, womanhood, motherhood and the mother– daughter dyad within Catholic discourse. In their conversations,women unravel and produce understandings of themselves as women, and as mothers and daughters that operate at both a symbolic and real material level. Thewomen in their intergenerational dialogue depict a visceral account of Catholic desire, guilt, pleasure, piety and anger. They offer insights into the curious patriarchal religious rituals; logic and superstition that shaped their Catholic upbringings and that still permeate their adult lives. For it becomes evident that they are still affected by, and living out, the intensity of this religious force. By constructing traces of the Catholic mother–daughter nexus which relates back to women’s conversations, the intention is not to construct a closed off space but, rather, to construct a place in which women actively talk, listen and read, and by so doing come to a better understanding of their own social gendered embodied selves.

Having sex with capitalism: parodic in-citation in the prose poem sequence

In his Spleen de Paris or Petits poèmes en prose [Little Prose Poems] Baudelaire (1869) forges an instrument of supple and radical potential, declaring the prose poem a ‘dangerous’ hybrid, which he wills elastic enough and staccato enough, to register the flows, jolts and distractions for the flâneur in the increasingly industrialised Paris. Here,by the mid-19th century, plate glass and gas lighting enable conspicuous consumption. Itis most strikingly the romantic-erotic and the relation between poet and his delicious, execrable wife, his inescapable, pitiless Muse (Baudelaire 1989: 177] that provides the nexus for radical questioning of the whole socio-political economy. Departing from Johnson’s Défigurations (1979) and using Irigaray’s (1984) hypothesis that the economy of sexual difference is the founding trope for the discursive and thus political economy of differences – of culture, ethnicity and class – this article first looks at theway Baudelaire activates the heterosexual relation as a site for social critique. It examines how Perec continues Baudelaire’s prose poetry experiment, offering, pre-May 1968, a revolutionary critique of desire by exploiting formal constraints to deconstruct still further the consumer subject of capitalism. It then investigates Brossard’s ‘hologrammatic’ challenge (1991) to patriarchal regimes of representation and the forms of desire they outlaw. Finally, it suggests how new work by Walwicz (2015)develops and displaces this radical inheritance.