Critique of Sexual Difference | Analysis

Critique of Sexual Difference | Analysis Sexual Difference Representation Explain how and why the critique of sexual difference intersected with a (postmodern) critique of representation in the later 1970s and early 1980s. Consider why photography had an important role and the significance of image-text relationship in this type of practice. As Craig Owens states in his paper ‘The Discourse of Others: Feminists and Postmodernism’ (Owens, 1983), the 1970s and 80s saw a coming together of the (mainly) feminist and queer theory critiques of sexual difference and the erosion of perspectivalist and univocal theories of vision and representation. As this paper shall assert, both of these positions can be seen to be traceable back to a single ontological and aesthetic rupture: the breakdown in what Lyotard was to term the grand or â€Å"meta narrative† (Lyotard, 1984: xxiv) and the subsequent rise in notions such as polyvocity (Deleuze and Guattari, 2004), heteroglossia (Bakhtin, 2000) ecriture feminine (Cixous, 1980) and differance (Derrida, 1997). This paper will also assert, through of the work of Roland Barthes especially, that photography had a major significance in exemplifying the kind of aesthetico-ontological concerns and strategies of postmodernity and poststructuralism; chiefly through such notion s as the punctum (Barthes, 2000); â€Å"the obtuse meaning† inherent within still visual images (Barthes, 1983) and the play of meaning between image and linguistic sign. This paper represents then an attempt to not only understand photography’s place within critical theory over the last two decades or so but how this provides a mirror to the wider movements of philosophical thought. The critique of sexual difference can be seen to emanate from a wide variety of authors (Foucault, Derrida, Kristeva, Wittig etc) however, within the mandates of this paper, I should like to look at two main theorists that have special relevance: Luce Irigaray and Helene Cixous, both of whom have been seen to challenge the phallic hegemony and its role in normative representation. As Elizabeth Grosz (1994) points out, one of the chief critiques inherent within the second wave feminist movement of the 1970s and 80s was its contention that the philosophical and social subject had always been thought of gendered, as Grosz states: The enigma that Woman has posed for men is an enigma only because the male subject construed itself as the subject par excellence. The way (he fantasizes) that Woman differs from him makes her containable within his imagination (reduced to his size) but also produces her as a mystery for him to master and decipher†¦ The construction of the male universal subject, asserted many feminist thinkers, resulted not only in the normalisation of phallocentricism but a privileging of its many dependants (reason, univocity, vision and so on). By positing Woman as the symptom of man through such notions as (among others) the castration complex and the psycho-sexual other, a phallocentric regime suppressed many of the discourses and thought processes associated with the feminine. Thinkers such as Luce Irigaray and Helene Cixous attempted to challenge this position by asserting the prominence of other discourses and narratives that avoided or sometimes even challenged, the dominance of the male point of view. In ‘The Laugh of the Medusa’ (1980) for instance, Cixous suggests that women’s writing and artistic creativity (disciplines such as photography for instance) should recognise the value of multiple readings, intertextuality and indistinct poetic expression, for her the notion of sexual difference was inextricably tied to textual and visual representation and both were dominated by a single, male-centred, vision, as Cixous details: Nearly the entire history of writing is confounded with the history of reason, of which it is at once the effect, the support, and one of the privileged alibis. It has been one with the phallocentric tradition. It is indeed that same self-admiring, self-stimulating, self congratulatory phallocentricism. This same theme is continued in the essay ‘This Sex Which is Not One’ (1985) by Luce Irigaray where the example of the female genitals is cited as existing as an intensive binary, each part relying and drawing stimulation from the other, thus challenging the oneness and singularity of the phallus. Irigaray also makes the point that, for female sexuality, touch is more meaningful that vision, the first suggestion that there maybe some cross over between the critiques of sexual difference and representation. As Owens (1983) suggests, postmodernity and the critique of representation also aimed to challenge the accepted (male dominated) field of vision by, firstly, exposing the links that exist between representation and phallocentricism and then by asserting the value of multi-perspectives, multiple readings and other modes of viewing. The postmodern image, as Jameson (1991) states, is one that has lost its originary connection to a real world and exists instead in a circuit of self referencing images whereby â€Å"The world†¦momentarily loses its depth and threatens to become a glossy skin, a stereoscopic illusion, a rush of filmic images without density.† The postmodern image elides notions such as authenticity and distinct critical reading because it has lost what Benjamin (2008) described as the aura of original authorial intent. Commensurate with notions such as the death of author (Barthes, 1988) the postmodern critical position asserts the validity of multiple readings and the inherent intertextual nature of image and text, as Owens (1983) states: It is precisely at the legislative frontier between what can be represented and what can cannot that the postmodernist operation is being staged not in order to transcend representation, but in order to expose the system of power that authorizes certain representations while blocking, prohibiting or invalidating others. Among those prohibited from Western representation, whose representations are denied legitimacy, are women. The critique of sexual difference, then, and the critique of representation are inextricably linked, being as they are both attempts at challenging traditional modernist and phallocentric modes of thinking. Each can be viewed as a strategy that seeks to overcome not only specific areas (gender inequality, monolithic modes of representation etc) but the regime that provides their ground. Each attempts to do this through a series of critical re-framings and theoretical positions that uncover the inherent inconsistencies and internal fissures in the dominant discourse. Roland Barthes’ work Camera Lucida (2000) is an ideal example of how such ideas can be translated into literary and photographic theory. In his notion of the punctum, for instance, Barthes details how time, sentiment and personal interest can alter our reception of a photograph far beyond the intents of either the photographer or the photographic model. The punctum, or as Barthes details â€Å"a partial object† (Barthes, 2000: 43) is that which exists outside of the normalised view of what is representable in a photograph, it elides direct visual recognition and changes with each viewer and viewing; Barthes describes his experience of a photograph by William Klein from 1954 of poverty stricken children in New York’s Little Italy for instance, despite the overtly socio-political message of the photograph (an adult hand holding a gun to a smiling boy’s head) what could be considered the traditional representational, rational meaning, Barthes can not help but â€Å"stubbornly see one child’s bad teeth† (Barthes, 2000: 45). In his notion of the â€Å"third meaning†, also from his essay of the same name, Barthes points to the ironic and sometimes comical accidental elements of a photograph or a still image of a film, what he calls the obtuse meaning, speaking of a still from Romm’s Ordinary Fascism, he says: I can easily read (in this still) an obvious meaning, that of fascism (aesthetics and symbolics of power, the theatrical hunt), but I can also read an obtuse meaning: the (again) disguised blond silliness of the young quiver-bearer, the flabbiness of his hands and mouth†¦Goering’s thick nails, his trashy ring†¦ For Barthes then, that which was not intended to be represented – the inherent phallic instability of the Nazi party – can be discerned in photography, not in the elements that form the centre of the picture (the ‘studium’) but those at the periphery that elide the rational and studied gaze. As Shawcross (1997) details, Barthes’ notions here reflect the desire to challenge the kinds of discourses we have looked at above, it stresses the importance of multiple readings when dealing with photographic images and also attempts to challenge traditional (Western phallocentric) notions of single point perspective. In allowing such multiple readings, asserts Barthes, the photographs brings into question the relationship between image and text and, more rightly, exposing the play that exists between the two. In a process that Barthes calls â€Å"anchorage† (Barthes, 1977: 38) text pins down the multi-faceted meaning of an image, suppressing the natural polyvocal nature of a photograph and re-establishing the rational search for a unique interpretation. In the series of photographs by Gillian Wearing, for example, where ordinary members of the public were photographed holding up textual messages such as â€Å"I’m Desperate† and â€Å"Help†, it is the text that is assumed to be the underlying truth behind the photographic image, highlighting the extent that textual and linguistic signifiers have historically dominated visual ones. Feminist photographers have often played with the inherent slippage of meaning within the photographic image; the work of Cindy Sherman, for instance, exemplifies many of the issues we have been discussing here. Photographed in a series of ironic and iconic poses and ‘disguises’ Sherman’s work is both postmodern, in that it is self referential and kitsch but it is also considered feminist in that it attempts to rediscover and reclaim patriarchally constructed images of womanhood (the housewife, the screen starlet, the victim etc). As Shawcross (1997) details, by using herself as a model, Sherman also deconstructs the notion of identity and surface appearances – who or what are we reacting to in these images, Sherman the photographer, Sherman the icon, Sherman the disguised housewife or the housewife per se as an image in itself? As Barthes would suggest, the contribution of the photograph to the debate on the relationship between image and text (Sherman tel lingly does not titled any of her photographs) is the very play of interpretation that such photographs expose. Ultimately, then, as we have seen, there could be considered a direct link between the failure of grand narratives such as sexual difference and perspectivalist representation and the rise in critical interest in photography. As an art form that is both indexical and open to manipulation, photography is ideally suited to exemplify debates on the nature of interpretation and semiotics, something that has had a marked influence on both critical theorists and photographers alike. References Bakhtin, M (2000), The Dialogic Imagination, Austin: University of Texas. Barthes, R (1977), Image Music Text, London: Hill and Wang. Barthes, R (1980), Barthes Selected Writings, London: Fontana. Barthes, R (2000), Camera Lucida, London: Vintage. Benjamin, W (2008), The Work of Art in the Age of Technological Reproducibility and Other Writings on Media, Cambridge: Harvard University. Cixous, H (1980), ‘The Laugh of the Medusa’, published in New French Feminisms, London: Harvester. Deleuze, G and Guattari, F (2004), A Thousand Plateaus, London: Continuum. Derrida, J (1997), Of Grammatology, Baltimore; Johns Hopkins University. Durand, R and Criqui, J.P (2006), Cindy Sherman, London: Flammarion. Grosz, E (1994), Volatile Bodies: Towards a Corporeal Feminism, Indianapolis: University of Indiana. Heidegger, M (2007), ‘The Origin of the Workd of Art’, published in Basic Writings, London: Routledge. Irigaray, L (1985), This Sex Which is Not One, New York: Cornell University. Jameson, F (1991), Postmodernism, or The Logic of Late Capitalism, London: Verso. Lloyd, G (1984), The Man of Reason, London: Methuen. Lyotard, J.F (1984), The Postmodern Condition, Manchester: University of Manchester. Owens, C (1983), ‘The Discourse of Others’ available online at http://216.239.59.104/search?q=cache:Fb1ceOH6t0AJ:www.mariabuszek.com/kcai/PoMoSeminar/Readings/OwensOthers.pdf+the+discourse+of+othershl=enct=clnkcd=1gl=uk Paley, M (1997), Gillian Wearing – Signs that Say What you Want Them to Say and Not Signs That Say What Someone Else Wants, London: Interim Art. Shawcross, N (1997), Roland Barthes: On Photography, Gainsville: University of Florida.

Brownie Baker: Case Analysis

One of the ways The Brownie Baker accomplishes this effort is through its use of product packaging and design. However, based on the company's overall performance history and strategic business maneuvers, low-cost leadership is what truly Is In motion. The Brownie Baker relies heavily on achieving maximum value through its products. One of the many ways that this is achieved is through product quality control. The Brownie Baker has placed a lot of effort into making sure higher grade ingredients are implemented into the production of their food products.Another way that I live quality and value are achieved is through the strict guidelines followed to assure product freshness. Customers find exceptional value In The Brownie Baker's products not only for the amount of product they receive for their dollar, but also the consistency of a delicious fresh product. The Brownie Baker company has consistently made changes over the years to drive down costs while maintaining product quality. From changes to its production processes to the establishment of third-party business partnerships, The Brownie Baker has strives for efficiency to promote a sustainable and profitable business. Referring to the list of operations strategies in the Powering booklet, which does The Brownie Baker use? Please cite examples from the case to support each strategy that you mention. There are a multitude of operational decisions that a business must utilize Its operational management strategy. The Brownie Baker clearly uses the low-cost leadership business format in its day to day business processes. For example, The Brownie Baker has been very decisive with the distribution points for its products.The company has identified its target markets and the consumer types for effective reduce placement that have proven successful. The company Initially defined Its Because The Brownie Baker has maintained its value and quality over the years, management has realized further market potential to ex pand its reach into the super market industry. To accomplish this task the company has had to also maintain cost production to keep pricing competitive. The Brownie Baker has partnered with a multitude of third-party resources to ensure efficiency, product development and maintenance of external costs.Another way that The Brownie Baker has practiced the low-cost leadership strategy is n the internal production of its products. The company has found a number of methods to refine the production process and lower overhead expenditures with inventory control. For instance, the company used to produce food products for future sales but now has shifted too production by order process. This strategy has lowered production costs through better inventory management and reduced the likelihood of overproduction and waste. . Referring to the Powering slide which shows various patterns that can be found in historical demand, which can be observed at the Brownie Baker? How can you tell? The Brown ie Baker has experienced steady growth volume in sales over the years by paying close attention to commodity price fluctuations and adapting its business strategies appropriately. Historically the company has embraced a steady stream of demand from the consumer market with only a slight deviation normally seen in the month of January.Management has come to see this slight differentiation of the norm possibly due to lack of consumer expendable income and dieting after the holidays. This pattern in the normal trend of demand behavior would be considered an irregular variation. 4. What changes have been made in production scheduling and inventory management? Why have these changes been important? The Brownie Baker has taken advantage of several new technologies and techniques to enhance product consistency and productivity over the recent years.Some of the most critical strategies the company has revamped are in production scheduling and inventory management. The company began this res tructure in scheduling by increasing employees and modifying work hours to optimize production output and cleaning maintenance. Another significant change the company took was to reduce the overproduction of its rodents. Since The Brownie Baker's food products have a 21-day shelf life they had to remain frozen in storage until shipment. The company was lumping orders together and baking goods for future distribution; this was keeping money tied up while products waited to be shipped.Instead, the company now prepares its shipments and freeing assets frozen in inventory and storage costs. Finally, I believe another important change to The Brownie Baker's production process was the implementation of cross-training its employees in product production. At one point the company had 10 to 20 workers that were trained to reduce one type of product. Having this new strategy in place has increased the flexibility needed for shorter production runs and increased overall efficiency. 5.How are c hanges made to deal with increasing commodity prices also related to sustainability issues? (Cite three examples of changes AND how each change is related to sustainability. ) There are several measures The Brownie Baker has taken through use of low-cost leadership operational decisions to sustain itself successfully over the years. In an ever-changing external environment with some changes that are predictable and there unforeseen, a company has to consistently forecast, prepare, innovate and refine its processes.One way that The Brownie Baker has found sustainability in the volatility of commodity prices was the establishment of Third-party partnerships with other companies to offset transportation costs due to the increase in fuel prices. The Brownie Baker has also implemented newer technologies, utilizing newer servers, computer hardware and financial software to provide them vital reports on costs. To have this current computer technology at dispose is crucial in today's busine ss market and environment. These systems provide management the tools accessory to monitor and optimize purchases for necessary commodities in real time.Having the ability to research cost data provides sustainability through purchase cost savings potential. Current technology and powerful software offers the company better flexibility, efficiency and purchasing effectiveness. Lastly, I believe a key element that The Brownie Baker has carefully managed is the accuracy and timeliness of its product pricing. The company has been able to sustain itself by properly adjusting its product pricing to remain not only competitive but also offset increases in commodity costs and other economic factors.

Theme Of Dr. Jekyll And Mr. Hyde And Something Wicked This...

Decisions are constantly being made through conscious and unconscious evaluation. As stated by Freud’s psychodynamics’ theory, one’s mind is made up of the law abiding superego, the pleasure driven id, and the ego that mediates between the two. It is clear that one’s decisions are always being influenced by external factors. This idea is portrayed in both Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde and Ray Bradbury’s Something Wicked this Way Comes. The story of Dr. Jekyll and Mr. Hyde follows a lawyer as he attempts to uncover the mystery of his friend Dr. Jekyll and his connection to the id-driven Mr. Hyde. Something Wicked this Way Comes is about three characters named Jim Nightshade, Will Halloway and his father, Charles Halloway,†¦show more content†¦Mr. Hyde’s only thoughts are to fulfill Dr. Jekyll’s id thus, he embodies his aggressive and sexual desires. Mr. Hyde gains enormous pleasure from harming people because Mr. Hyde’s decisions to brutalize people satisfy the id’s aggressive nature. In Something Wicked this Way Comes, Charles Halloway’s description of autumn people portrays the interdependence between the mind’s superego and the id. He says, â€Å"‘Such are the autumn people. Beware of them.’ After a pause, both boys exhaled at once. [†¦] ‘Then’ Will swallowed – ‘does that make us†¦summer people?’ ‘Not quite. Most of us are half-and-half. [†¦] there are times when were all autumn people,’† (Bradbury 106). This quote is an analogy of the superego and the id that makes up the psyche of every person. Mr. Halloway explains to the boys that they should beware autumn people, who are people that act largely on the id’s impulsive nature. He also states that most people are half and half which demonstrates Freud’s psychodynamic theory which states that the mind must be made up of the id, ego and superego. By saying this, Mr. Halloway meant that all people make decisions by considering both their id and superego. Nonetheless, he also states that at times all people are autumn people which shows that based on one’s emotions, the ego may agree with the id’s instincts. Judy Cornes analyzes and explains the effects of Dr. Jekyll’s experiment pertaining to his unconscious mind. She says, â€Å"If Jekyll is not particularlyShow MoreRelatedDr Jekyll And Mr Hyde Analysis1467 Words   |  6 Pages â€Å"Dr. Jekyll and Mr. Hyde† by Robert Louis Stevenson and â€Å"Goblin Market† by Christina Rossetti are two interesting stories that would show how authors are able to outline good and evil in stories. The first story I consider a mystery as Stevenson leaves his reader in suspense of who really is Mr. Hyde, and what relationship does he have with Dr. Jekyll. And to help the reader solve this mystery was an interesting c haracter by the name Mr. Utterson, who is a Lawyer by profession. Thus, in his questRead MoreDr. Jekyll And Mr. Hyde2521 Words   |  11 PagesUncovering Dr. Jekyll and Mr. Hyde The Strange Case of Dr. Jekyll and Mr. Hyde was published in 1886 by Robert Louis Stevenson. The story is based on a London lawyer named Gabriel John Utterson, who investigates strange occurrences between his old friend, Dr. Henry Jekyll, and the evil Edward Hyde. This novel was composed as a shilling shocker. A shilling shocker is a short, graphic book. This whole novel is based in Victorian England. 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Meanwhile Mr. Utterson, Dr. Jekyll’s lawyer and close friend, tries to figure out why his dear friend Dr. Jekyll is acting so suspiciously, while simultaneously trying to uncover the origin of Mr. Hyde for himself. The StrangeRead MoreHomosexuality in Victorian and Elizabethan Literature.6608 Words   |  27 Pageshomosexuality due to his Victorian male upbringing; a man named Frankenstein. Robert Stevenson described what happens when a homosexual male attempts to live double lives to cover up his true feelings, and entitled it The Strange Case of Dr. Jekyll and Mr. Hyde. The Elizabethan era, like the Victorian era, had its own view of homosexuality. Iago, a man with the tongue of a serpent, is believed to be homosexual, and because of his homosexuality, he brings to fruition the tragic deaths of the the main

Personal Narrative The Way Down - 1055 Words

The Way Down â€Å"I can’t believe I’m doing this,† I thought, as I inched forward and looked over the side of the plane. I looked over to see my friend who was with me getting ready to jump. Chris had been skydiving before, knew all the basics and would go everyday if he could. My best friend Chris wasn’t afraid of anything and jumped out of the plane as soon as the instructor said it was okay. It wasn’t a surprise that Chris wasn’t afraid of skydiving. He’s 6’ 4†, plays college football and is built like an ox. Unlike me who is short, skinny and president of the student body. As I looked down into the plain sky, I saw Chris going down hurtling towards the ground, screaming a happy cheer at the top of his lungs. It really was a surprise†¦show more content†¦I looked down to see the helmet hit Chris and his body went motionless. I remember hearing that if you put your hand on your side and leaned forward you will go faster. I tried this. My body went faster and faster, until I couldn’t hear anything, even my own thoughts. I passed my instructor on the way down and was headed to my friend. I reached Chris and pulled his shoot. Nothing happened. I pulled the tab harder, again nothing. I started to panic. I did the only thing I could do. I unstrapped my friend and carried him, hoping that the parachute would hold both of us. I then pulled my tab. It wouldn’t open with the extra weight. I couldn’t do anything except for hope for the best. I then remembered the pack that was attached to my shoot, holding any belongings I wanted to bring down with me. I started to throw everything down below. By now, we were way below the area where we were supposed to pull the shoot, and coming closer and closer to the ground. After throwing out everything that was in both Chris’s pack and my pack, we were probably 10 pounds lighter. I tried pulling the shoot again and surprisingly it worked. I took a deep breath thanking God that the shoot finally worked. I looked up and saw the instructor with his eyes wide open, giving me a thumbs up. Chris was still unconscious and laying across my lap. I was so excited that we were finally going to make it. We didn’t have much to go before we would hit the ground. I decidedShow MoreRelatedWalter Fishers Narrative Paradigm Analysis727 Words   |  3 PagesWalter Fisher created the narrative paradigm in 1984. Our book lists several communication theories under the heading of group an d public communication; narrative paradigm is one of them. Fisher contends it is human nature to communicate using storytelling. Relating events in this manner helps us make decisions. Stories passed down from generation to generation teach the history and importance of culture or tradition. 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For me I believe my personal narrative has had a large impact on my personality a nd so I am going