Date: Thu, 22 Nov 2001 10:01:29 +0000 From: mary condren <mcondren-AT-tcd.ie> Subject: Re: irigaray & colour Many thanks for allowing the rest of us "in" on this discussion. I have recently started looking anew at the work of Jungian psychotherapist, Marion Woodman. Coming from an entirely different perspective, I suspect she is very much on same journey as Irigaray. Has anyone looked at this? Happy Thanksgiving Mary Condren At 02:08 22/11/2001 EST, you wrote: >Hello Hilary, > > In a message dated 11/18/2001 10:55:21 AM Central Standard Time, >h.robinson-AT-ulst.ac.uk writes: > > > Hi Simone > > Good to hear from you - I know of those references in Irigaray's work > - and look forward to the translation of Between East and West, due > to be published soon. > > > Fantastic! > > I was wondering if anyone has written on this > strand in Irigaray's work - and would love to see a copy of your > paper, if that would be possible. (maybe send it to my private email > address, but continue the conversation on-list?). > > > > Most perplexing. > > > > My own thesis was on the implications of Irigaray's work for > contemporary feminist art practices and criticism. In begining to > theorize the artwork as mediation between artist and audience, in an > intersubjective relation (rather than, as is usual in art theory, > reading the artwork as an object in subject-object relation to both > artist and audience - or artwork as symptom) the work on buddhism was > very useful. > > > > > > My partner is an artist and has practiced rinzai zen (an > austere Japanese form) for over 30 years, so I used his extensive > library to help me find readings of, for example, the passages where > LI discusses buddha and the flower. > > > Ah, well, then, you will likely find yourself correcting me on some of my >argument and interpretation. > > However, I did feel a little > isolated in this! it is an aspect of her work that commentators tend > to skirt. I'm now working on turning my thesis into a book, and wish > to re-address this material, particularly in the light of recent > translations. > > > W! e had better hurry up and get our work out there to publish. > > > And of course her mentions of colour are totally apposite for any > discussion of visual art - Flesh Colours is the main essay, though > there are other mentions through the work. Again, it's not something > that folk seem to have engaged with. > I'd love to know what your thoughts are - particularly on her > discussions of Buddhism - > > > I would be delighted. > > Be well, > Simone > > ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > In the face of laughter, nothing can stand. > Mark Twain > > Our glances, our smiles, are spent; laughs > exude from all our mouths; our blood flows > and we extend ourselves without ever reaching > an end; we never hold back our thoughts, > our signs, our writing; and we're not afraid > of lacking. > Helen Cixous > > Simone Roberts, Ph. D. Candidate, A.B.D. > Humanities: Studies in Literature > University of Texas-Dallas > > "in Literature" means: > (19th and 20th Century European > and American Poetics and Literature, > Literary Theory, and Feminist Philosophy, > all with a "History of Ideas" flava) > --- from list french-feminism-AT-lists.village.virginia.edu ---
Display software: ArchTracker © Malgosia Askanas, 2000-2005