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The author argues that rather than seeing liberalism as exclusionary of women's specificity, as many contemporary feminists do, we should look at variations in liberalism, and in particular at its democratisation in the nineteenth century, and at how feminists have used liberalism as a resource. Liberalism is analysed using a post-structuralist theory of hegemony: texts of liberal political philosophy are deconstructed to show how the term 'women' is used as an 'undecidable' in the Derridean sense to produce the opposition between feminine private and masculine public spheres; these texts are then linked to liberal-democratic social and political practices, including feminism as a social movement.
From the diverse work and often competing insights of women's human rights activists, Brooke Ackerly has written a feminist and a universal theory of human rights that bridges the relativists' concerns about universalizing from particulars and the activists' commitment to justice. Unlike universal theories that rely on shared commitments to divine authority or to an 'enlightened' way of reasoning, Ackerly's theory relies on rigorous methodological attention to difference and disagreement. She sets out human rights as at once a research ethic, a tool for criticism of injustice and a call to recognize our obligations to promote justice through our actions. This book will be of great interest to political theorists, feminist and gender studies scholars and researchers of social movements.
The Handbook of Sex Differences is a four-volume reference work written to assess sex differences, with a primary focus on the human species. Based on the authors’ highly influential 2008 book Sex Differences, these volumes highlight important new research findings from the last decade and a half alongside earlier findings. In this, the work’s fourth and last volume, two related questions are addressed: Are there universal sex differences (i.e., sex differences found in all societies)? And if the answer is yes, what are they and how can each one be theoretically explained? To answer the first of these two questions, this volume condenses much of the research findings amassed in the book’s first three volumes into summary tables. Then, to help identify likely universal sex differences, three versions of social role theory and two versions of evolutionary theory are examined relative to each possible universal sex difference. Consideration is even given to religious scriptures as a sixth type of explanation. In the concluding analyses, 308 likely universal sex differences are identified. No single theory was able to explain all these differences. Nevertheless, the two evolutionary theories were better in this regard than any of the three social role theories, including the recently proposed biosocial version of social role theory. The Handbook of Sex Differences is of importance for any researcher, student, or professional who requires a comprehensive resource on sex differences.
The Dimensions of Difference departs from traditional takes on feminist film criticism, and in particular from the psychoanalytical focus on the gaze, to examine the question of sexual difference through three axes: space, time, and bodies. These are some of the most fundamental elements of cinema, which deploys the bodies of actors through space and time, for instance, through camerawork and editing. While this approach may not at first sight seem to be related to questions of gender and sexuality, Caroline Godart demonstrates its relevance to feminist film studies by weaving together careful analyses of space, time, and bodies in women’s cinema with close readings of the same concepts in the works of three philosophers: Luce Irigaray, Henri Bergson, and Gilles Deleuze. The book investigates how certain films generate a cinematic experience of sexual difference, and frames this analysis within a careful philosophical inquiry into the notion of alterity itself. These tools provide fruitful resources for feminist inquiry, giving insights into sexual difference as it operates within film aesthetics and, beyond cinema, in the world at large. The result is a compelling reflection on feminism, film form, and continental philosophy.
G. W. F. Hegel's first masterpiece, the Phenomenology of Spirit, is one of the great works of philosophy. It remains, however, one of the most challenging and mysterious books ever written. Michael Inwood presents this central work to the modern reader in an intelligible and accurate new translation. This translation attempts to convey, as accurately as possible, the subtle nuances of the original German text. Inwood also provides a detailed commentary that explains what Hegel is saying at each stage of his argument and also discusses the philosophical issues it raises. This volume will therefore prove invaluable to those who want to get to grips with Hegel's thought processes and to follow his complex argument.
wide criticism both from Western and Eastern scholars.