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• Jacques Lacan
• Sigmund Freud
• Mente
• Discurso
• Psicoanálisis

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The Body in the Text

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Interpretations This series provides clearly written and up-to-date introductions to recent tl'reories and critical practices in the humanities and social sciences.

General Editor Ken Ruthven (University of Melboume) Aclvisory Board Tony Bennett (Grifñth University) Penny Boumelha (University of Adelaide) John Frow (University of Queensland) Sneja Gunew (University of Victoria, British Columbia) Kevin Hart (Monash University) Robert Hodge (University of Western Sydney) Terry Threadgold (Monash University)

In preparation: Reconstructing theory, edited by David Roberts After a fashion, by Joanne Finkelstein Hypertext, by Ilana SnYder German feminist theory, by Silke Beinssen-Hesse and Catherine Rigby

Anne Cranny-Francis

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MELBOURNE UNIVERSITY PRESS 7995

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Melbourne University Press PO Box 278, Carfton South, Victoria 3Q53, Australia

ForJim, Hamisb and Conal

First pul>lished 1995

Reprinted 199(r

Text

@ Anne Cranny-Francis 1995 Design and typography @ Melbourne University Press 1995

This book is copyright. Apart from any use permitted under the Copyttgbt Act 1968 and subsequent amendments, no part may be reproduced, stored in a retrieval system or transmitted by any means or process whatsoever without the prior written permission of the publisher. Designed by Mark Davis/text-art Typeset by Melbourne University Press in 10.5/1.3 pt Garamond Printed in Malaysia by SRM Production Services Sdn Bhd

rssN 1039-6128 National Library of Australia Cataloguing-in-Publication entry Cranny-Francis, Anne The body in the text. Bibliography. Includes index. rsBN 0 522 84575 4. 1. Body image. 2. Body, Human-Social aspects.

Human-Symbolic aspects. I. Title. Interpretations). 306.4

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Contents

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Preface

Introduction: 'Written on the

Body

1

dualism Feminist critiques Theorists of class and race The'normal'body Mind/body

3 4 7

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From consciousness to embodied subjectivity Postmodern

.................. 1O

bodies

bodies Postmodern bodies and desire Foucault.....

12 15

Bodies and technology: cyborg

....................... 16

(En)acting, (PerXorming Gender: Bodies, Sexes,

Sexualities..............

Politicising the gendered body (En)acting gender: bodies, sexes, sexualities (Re)production: gender in performance ...........

18

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22 23

27 33

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liml>oclyilrg tltc ()tllt't': lttst'l'i¡rtiolts Race and Iitltnicity

46

Bodies and ethnicitics ..............

59

of 'otherness' .........'..........'....

Classifying Bodies: Inscriptions of Class Class(ify)ing the

body

Sexuality: class andlof the Bocly techniques: classing

5

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Racial stereotyping and l>oclily inscri¡rtion Race and ethnicity: degrees

4

rtual body. Instead, desire comes to be conceptualised as a productive mechanism, a continual process of stimtrlation, connection and (re)production. Such a mechanism is theorised most thoroughly in the work of Michel Foucault, whcr focused critical attention on the ways in which not only the mincl

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'fog'. . . This follows from the previous point, of course. If the mind is the pure essence of self, the body can be perceived only as an unnecessary, confrning, even polluting presence. The metaphors Bordo cites are crucial here: as a'prison' or'cage', the body traps the essential mind; like a'swamp' it pollutes that purity of essence; and it confuses the real, pure' essential self by the 'fog' of its physical imperatives. These metaphors are as negative as the primary apperceptions discussed' Related to this is the notion of the body as the enemy. This is seen very clearly in the Christian theology which is based on that earlier Greek philosophy. In the writings of St Augustine the body is presented unequivocally as the deadly enemy of the mind, will, spirituality and intellect. The body holds us back from spiritual apotheosis; it is tom by physical temptations which must be resisted if the pure self is to ascend to anorher, higher (than bodily) state. The bocly must therefore be disciplined, controlled and used as the mind requires to achieve this end. Hence Bordo's final point is that 1he body is the locus of all that threatens our attempts at conttol.If overtakes, it overwhelms, it erupts and disrupts'(Bordo, 198892)' She again quotes Augustine's imprecations against the body, as the site of 'slimy desires of the flesh', noting that 'Plato, Augustine, and, most explicitly, Descartes provide instructions, rules, or models of how to gain control over the body, with the ultimate aim of learning to live without it' (ibid.:93). Although this latter aim may seem a bit self-defeating, it is a desire often expressed by those who were the focus of Bordo's research, namely people suffering anorexia neruos*. Yet it is not simply those suffering some form of physical pathology who express this disdain for the body. Rather it seems that anorexics make explicit the mincl/body dualism of much western and Christian a 'swamp', a'cage', a

thought.

Feminist critiques Feminists began ro consider the mind/body duality quite explicitly

in the 1970s. lvriting in 1978 about the development of patriarchal subjectivity, Eva Figes noted:

1 Intrcduction: Wriilen on tbe Body

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If mind becomes the motor force of matter, it nevertheless implies a split, whereupon mind is extolled at the expense of matter. Just as earlier Christians distinguished between body and soul, and tended to portray woman as the incarnation of physical lust, the idealists also tended to make an evaluative split berween mind and physical matter, with mind as male and the body, loathsome and sordid, as female. (Figes, 1978:1,22) 'When we recognise how the negative term in mincl/bocly clualisnr

is conflated with other concepts such as femininity, then its social and political significance is even more striking. The French feminist writer Héléne Cixous traces the use of this metaphor in her intro-

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Activity/passiviry, Sun/Moon,

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Culture,/Nature,

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DaylNight,

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duction to Sorties (1981): 'Wbere

is sbé?

Father/Mother,

Head/heart, Intelligible/sensitive, Logos/Pathos.

Form, convex, step, advance, seed, progress. Matter, concave, ground-which supports the step, receptacle. Man '$?'oman

Always the same metaphor: we follow it, it transports us, in all of its forms, wherever a discourse is organized. The same thread, or double tress leads us, whether we are reading or speaking, through literature, philosophy, criticism, centuries of representation, of reflection. (Cixous, 1981:90) Cixous traces a history of what she terms the 'bierarcbized oppositions' (ibid.:91) by which woman is constituted in westem 5

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thinking. One of these is the mind/body dualism as realised in her list of formulations which follow the Father/Mother dyad or couple. By her implication in this series, Woman is defined and described as the negative 'other' of Man, while at the same time being the necessary term for his existence; that is, Man is the primary and positive term of this dualism only as long as Voman remains the negative and secondary term. This implicit denigration of Woman can be traced in social practices that systematically devalue and marginalise the role of women. \ü7hen feminists asserted in the early 1,970s that 'the personal is political' they were not merely asking for a more equitable home life. They were rejecting a public/private dualism (with its familiar hierarchisation) which was often used to justify the maintenance of inequalities between men and women. At the same time they argued that it was not a dualism at all, because the division is neither valid nor actr¡al. The behaviours, values and attitudes that characterise the public sphere can also be seen at work in the private sphereand nowhere more so than in the behaviour of those who campaign ptrblicly for equality, but privately enact a wholly different set of practices (a distinction which is the experience of many women). This dualism is destroyed by demonstrations that its terms are iclentical. So too is the traditional dr.¡alism of mind/body, whose social and political consequences are manifest in the Man/tüfloman dyad ancl its constitutive metaphors. This is not simply to say that Man equals'Woman, but that each term is produced in its traditional sense (and with traditional consequences) by one particular philosophical or metaphysical move, namely the mind/body dr.ralism. In other words, by asserting that 'the personal is political', feminist writers subvert or disrupt one of the fundamental dualisms that stnrctures western thought. The motivation for feminist writers to engage in this kind of philosophical or discursive exercise is to change the social practices engendered by these 'bierarcbized oppositions'. For Cixous, an engagement with the constitutive metaphors of q/estern culture is not a game of semantics but a disct¡rsive intervention aimecl at producing material changes: in the ways women are not only perceived and treated, but also perceive and treat themselves. For feminist writers, to challenge the mind/body dualism was ancl

I

l¡tInxluction: V(ritten on tbe Body

rcrrr:rins rr ¡rolitieen the source of much dissatisfaction witl'r the women's moventent, where the specificities of a white, middle-class, heterosexual, and Anglo woman's existence came to be the yardstick or point of identity for all women. That not only omitted the embodied experience of all other women, but also aligned those feminists implicitly with bourgeois, Anglocentric, homophobic and white supremacist discourses. This was understood only when women of colour, lesbians and working-class women began to contest their prejudicial positioning, and to argue from tbe body about their different experiences. To analogise from an earlier argument, a white woman and a black woman in a similar institutional position, speaking the same discourse, are not perceived in the same way. Relationally-constituted bodies, however, are not confined by sr.rch simplistic positioning. Furthermore, they are able to form strategic alliances which enable them to contest hegemonic values, discourses and practices. Mary Douglas points out that social order is created by'exaggerating the differences between within and without, above and below, male and female, with and against . . .' (quoted in Butler, 7990:137). By relativising the terms, 'male'and'female', and by implicating them within a network of discourses and practices any one time and place, that inflect their significance differently "t gendering of bodies and those both the possible to challenge it is assumptions about sex and sextrality that correspond to it.

(Re)production: gender in performance

So rather than suppressing solidarity, the notion of identity as something displaced across a variety of different positionings (race, class, ethnicity, age, gender and sexuality) offers opportunities for more interventions, subversions and other oppositional activities. Bodies constituted within this interlocking network of identities

The reproductive capacity or power of women occupies a unique position in the construction of regimes for regulating sexuality, particulady through its medicalisation. It has also been one of the few specifically female capacities which men have long attempted in various ways to usurp, either metaphorically or, more recently,

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through technology. As such it offers fascinating insights into the practices of gendering. one of the mosr striking uses of 'trre bocry' is as a metaphor for the output of an artist: the bocly or corpus of her or his work. In attempting to understand this use of the term-which sits uncom_ fortably with the mind/bocly clichotomy, renclering the artist,s work non-intellectual or non-spiritual-we are lecl to another complex of meanings in which the bocly is implicated, and which

production and reproducrion. In the 15gOs the English poet "o.r..rn Sir Philip Sidney wrore in this way about his struggles tá write, Thus, great with child to speak, ancl helpless in my throes, Riting my trewand pen, beating myself for spite, 'Fool,' says my muse to me, ,look in thy heart ancl write., (qtroted in Friedman, l99l:371)

This appropriarion of the pecuriarry femare ability to bear children is not rrncommon in Engrish riterature. Susan Stanford Friedman cliscu.s.ses the figurative construction of writing as parturition in 'Oreativiry and the Childbirrh Meraphor, (799D: 'l'lri.s worclplay revears not only currents of unconscious thought :r's 'Signr.nd Freud has describecl but arso

the structures of

¡rrrtrirrrclry tl-rat have divided rabor into men's production and rvo.strnodernist and post-structrlralist writings argue against tllc notieirrg llri.strical, apolitical and asocial. The libidinal and econonric conclitions of existence of otherness as a symbol are both prescril>cd ancl proscribed. They are perceived as the ,natural' op¡-losite ancl cleñning conclitions of western dominance (in the fbrrn o[ sext¡al propriety and the bourgeois work ethic). They are in.scril>ecl on the bodies of those markecl by this otherness (as sexr¡:rl availability, sexual promiscuity or provocativeness, laziness and shiftlessness). As hooks nores, in the USA the bodies of black men ancl wonten were the ground.s on which the racist discourse

of slavery was enacted and inscribed as the possessed

female bocly ancl the promiscr¡ous male bocly. similar constnrctions of otllcrness are embodied in repre.sent.ations of other colonisecl 50

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littrlxxl.ying lbe Olber

()f incligenous Australians and Said of ¡'r¡o¡rlt's, lts l.:tttglorl Il()lcs ,oricnt:rl.s'. Ailt'rl¡rtirrg to ex¡>licate the complex of fear ancl desire Irssoc.i:rlcrl witlr tllt:se stcrc()tyPes, Bhabha observes how this n:rrrrtivt: is lr:rsccl irr ¡xrrt on the incorporation of traditional elites into coloniul :rclnrinistrati()ns: 'This sets up the native subject as a site e

54

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interrogated, even thouglt Fanon's illustration and Bhabha's careful analysis reveal not only its vulnerability but also its power. As a Mexican-American, Richard Rodrigr.rez writes in terms similar to Fanon's abor.¡t the power of the racist stereotype to (re)inscribe the body of the marginalised social subject. He recounts his youthful sensitivity to taunts about his skin colour, and the impact on him of his parents' feelings about their (and his own) dark colouring:

'fhroughout ¿rdolescence, I felt myself rnystcriotrsly rnarked. Nothing else about my appearance would concern me so much as the fact that my complexion was dark . .

.

Thirteen years old. Fourteen. In a grammar school art class, when the assignment was to draw a self-portrait, I tried and I tried but could not bring myself to shade in the face on the paper to anything like my actual tone . . . I grew divorced from my body. Insecure, overweight, listless . . . The normal, extraordinary, animal excitement of feeling my body alive-riding shirtless on a birycle in the warm wind created by furious self-propelled motion-the sensations that first had excited in me a sense of my maleness, I denied, I was too ashamed of my body. I wanted to forget that I had a body because I had a brown body. (Rodriguez, 1990:27I-2)

The racist (re)inscription of the body of the colonised subject as inferior or bad is progressively reinforced, as Rodriguez describes, by its effect on his psyche. As he becomes 'li]nsecure, overweight, listless', he loses that freedom which animates the body of the dominant social subject, and comes to hate his body as,the marker of his 'otherness'. Rodriguez traces his gradual recovery from this negative constitution of his body and sense of selfhood, pointing out that he was given partictrlar strength by the 'Black is beautiful' campaign of African-Americans. The disruption of the stereotype encapsulated in this slogan was enabling and empowering for him. In 'Black HairlStyle Politics' Kobena Mercer (1990) traces a series of such disruptions enacted in hair-styles characterised as 'black', from the conk of the 1940s through the Afro of the 1960s to the dreadlocks of the 1970s and the curly perm of the 1980s.

Enrbodying tbe Otber

of race established a cla.s.sificatory symbolic ol'color with 'black' and 'white' as signiñers of funda¡nental polarization of human worth-'superiority/inferiority'. Clrr.s.sical icleologies

sy.stcrn

I)isl.inctions of aesthetic value, 'beatrtiful/trgly', have always bcen central to the way racism divides the world into binary oppositions in its adjudication of human worth. (Mercer, 1990:249) For Mercer, then, the inctrlcation of such values is evident in the

ways in which individtrals (rc)produce thcir bodics in responsc ty tlrc ltol>ot in l,brbiclclcn planct (Fred M. \ü/ilcox, 1956)); rhe android that is human in shape but still predominantly mechanical (Data in starTreh: tbe Next Generqlion); tlre flesh-machine hybricl (the Schwarzeneggcr anclroicl oftlte Tenninalor m.vie.s); the genetically n-ranipulatecl organic being (Nexus-6 of Blade Runner); and most recently the sophisticatecl pcrlynrer being of Tenninator 2. Like Frankenstein's creation, the anclroid is fetishised as the source of both superhuman power ancl subhtrnran lirnit¿rtions. shelley's creatr¡re was extraorclinarily strong and nimble, but also inhumanly ugly (the result of his having been composed of various ill-matched pieces of dead bodies). Because nlore recent androids h¿rve overcome some of the physical limitations of early nineteenth-century models and so look human, their exploration of humanity becomes all the more poignant. In Btacte Ilunner, for example, a group of Nextrs-6 androids are pr.rrsuecl by the blade ntnner, Rick Deckard, whose job is to clestroy them before they commit any more acts of terrorism. The anclroicls commit these terrorist acts in order to discover how to incapacitate tlreir inbuilt self-destruct mechanisms; in their terms, they are fighting for their lives. I)eckard, on the other hand, is working for authorities he does not respect, and for whom the androids' major ,crime, is to be bodily different from humans (Deckard's boss calls them 'skin jobs'). The movie's central problematic becomes therefore an exploration of the meaning of 'humanity': who is less human-the genetically-engineered androids who kill in order to live, or their human assassin who kills because he is orclered to? In fact, there are strggestions that the blacle nrnner is hi¡nself an android (for like them he is preoccupied with faniily photographs wl'rich establish his'human'past). Such similarities compound the moral dilemma posed in the movie. The questions raised by the behavior¡r of the androicl ch¿rracters and the rnoral dilernma of the blacle runner concern the delineation of boundaries between the human and the machine. How much of the non-hr¡man is acceptable in the constittrtion of a 'human' l>ocly? Again, this line of questioning is not surprising at a time when 92

5 C.t,lnrys and lVel-uarc tcr'lrrrokrgics lrrc r:tpiclly clt:tnging, ancl con.sceen noted

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and act on it zrt the cellular level from within. In a sense, this is what viruses do. Ilut nanotechnologists now predict the development of machine.s so small that they can be injected into the body via the blooclstrearn. Although tl'reir r¡ses have yet to be determined, optimally they might be used to combat disease-as did the miniaturised subm¿rriners of Fantastic Voyage (Richard Fleischer, 1966). Such applications are extreme predictions of the ncw technologies with which western .society is already dealing, and which are already changing western perceptions of the body. Consider, for example, the use of intra-uterine probes such as ultrasound, amniocentesis, and chorionic villus sampling for the medical assessment of foetuses. On the one hand, they can be seen as offering women exactly the information they need in order to make informed decisions about their own bodies (st¡ch as whether a pregnancy should be terminated). On the other hand, it must be recognised that such procedures are a new form of bodily regulation and control, ¿l new nteans of policing the definition of an 'acceptable' human embodiment. Furthermore, their use relieves a society from having to deal with those who are differently embodied, or even to examine its collective unwillingness or inability to provide a worthwhile lif'e for such citizens. These procedures are ¿rlso implicatecl, of cottrse, in the selection of children by sex, and the abortion of foetuses because they are female-a practice which many would see as a blatant abuse of the technology. The point is that each use of these technologies (whether for good or ill, depending on the perspectives taken) involves an intrusion which then becomes a n'leans of regulating and controlling' both the m¿rternal body (to abort or not) and the body of tl-re foetus (to be aborted or sustained). Given traditional assumptions about bodily integrity in western society (where tlte most violent action is the violation of someone else's body), it seems inevitable that such practices-even when performed with the best motives-will provoke unease. lWith respect to both the dis-ease of AIDS and the un-ease of high-tech medicine, the Liquid Terminator can be seen as an embodiment of anxieties about the penetration and violation of the hnman body, as well as about the consequences of such violation for the ongoing (re)conceptr¡alisation of the body over which we 96

5 Cyborgs and

lYet-utare

rrs incliviclual entbodied subjects have little control. T1000 enacts

cornpantblc concerns at the loss of certainty about embodied iclcntitics. Onc of the most disturbing features of his characterisation is sr.rrely his police offrcer persona. To look at, he is an ideal representative of the law and of the State: clean-cut, handsome and well-clre.ssecl in a recognisable and respected unifornt, lte seenls :t stereotypical embocliment of the State's protective and rcgr"rlatory function. Yet he acts like a thug. He is a murderer who seems to

enjoy the perversity of his actions, particulady in the scenes of bocly penetration. By contrast, the conventional image of the cornrpt police officer is a character such as Lieutenant Eckhardt in Batntan

gurton, 1989). overweight, unkempt and unshaven, he is constituted by signifiers which place him outside late rwentiethcentury bodily deñnitions of 'normal' or'8ood'. But because T1000 looks like he should be a good guy, his character is even more disturbing. He resembles 'one of us' (the good people), whereas, like Eckhardt, he shoulcl look like 'one of them' (a criminal).

tti-

The late rwentieth century is a time not only of rapid technological change in the west, but also of rapid political and social change. The introduction of anti-discrimination and equal opportunity laws,

the huge migrations resulting from wars, the breakdown of nineteenth-century colonial regimes, the demands on sovereign territories of multinational capitalism, the increased reach of literacy and numeracy, and the infiltration of middle-class institutions by members of traditionally working-class families are just some of the social and political developments that have radically altered westem society. Accordingly, many nineteenth-century values which once constitutecl the moral and ethical basis of bourgeois society in the west have since proved unsustainable, based as they are on racial, ethnic, class, gencler, age and sexual inequalities which arc generally unacceptable nowadays. It is no longer possible to characterise an individual socially at a glance, though there are always many markers for doing so. As with the Liquid Terminator, the problem is that too often mistakes are made. Individual and instiiutional identities are suddenly permeable and flexible, where once they seemecl solicl and impregnable. The hybrid ht¡manmachine can be seen as embodying this uncertainty and anxiety, but also perhaps the possibilities it opens uP' 97

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Cyborg manifesto: (re)positioning the cyborg

In her celebratecl

essay, 'A Cyborg Manifesto' (1991), Donna Haraway argues that a cyborg imaginary can usefully challenge whatJacques Derrida calls the 'phallogocentrism' of late twentiethcentury western capitalist society. In her view the old dualisms that strLrcture western thought have finally broken down by being 'techno-digested', a term she adopts from Zoe Soña (Sofoulis) (Ilaraway, l99lJ6r. What results is rhe loss of old identities ancl the formation of new hybrid positionings, which people occupy strategically in order to position themselves powerftrlly enough to protect their own interests. Accorclingly, IJaraway proposes replacing the imagery of private and public 'dsrn¿i¡5'-¡he 'places' of women and men-v/ith the image of networking: 'I prefer a network ideological image, suggesting the profusion of spaces and identities and the permeability of boundaries in the personal body and the lrocly politic. "Networking" is both a feminist practice and a nrtrltinational corporate strategy-weaving is for oppositional cyborgs'(ibid.:170). Furthermore, she argues that the most effective strlrtcfly flor women is to learn how to read and then deconstruct these networks, in the process constructing new kinds of identities nr>t bound by earlier dichotomies: tl'lere is no 'place' for women in these networks, only geometrics

of difference and contradiction crucial to women's

cyborg identities. If we learn how to read these webs of power and social life, we might learn new couplings, new coalitions. There is no way to read the following list lof what she calls key social sitesl from a standpoint of identification', of a unitary self. The isstre is clispersion. The task is to survive the diaspora. (ibid.) For l-Iaraway the cyborg serves as a metaphorical expfession of

5

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and til'et'uare

Otrr lroclit's, orrrst'lvcs; boclies are maps of power and identity. Cybcrt, s:rnclra M. ancl su.san Gr.¡bar (lg7D'lr.ta Murlux¡tttrttt iu rltt: Attic: The v(oman writerancl tbc Nittctccntb-c'anhrry Lirerary Ima¿4ination, New Haven: yale Univer.sity pre.ss Gillarcl, Patricia (1986) Girls and Teleuision, Syclney: N.S.\í. Ministry of Education Gilroy, Paul (1992) 'The end of anri-racism' in J. Donald and A. Rattansi (eds) 'Race', Cttlture and Dffirence, London: Sage Golclstein, Lawrence (ed.) (1991) The Female Body: Figures, Styles, Speculations, Ann Arbor: University of Michigan press Grosz, Elizabeth (1989) Sexual Subuercions: Three Frencb Femi_ zrfs, Sydney: Allen and Unwin (1990) 'Inscriptions and Body-maps: Representations and the corporeal'in Terry Threadgold and Anne cranny-Francis - (e ds) Fem i n i ne/M a s c u I in e a n d Repres ent a ti o n, Sydney : Allen and Unwin, pp. 62-74 Gunew, Sneja (ed.) (1990) Feminist Knowledge: Critique and Constntct, London and New york: Routledge Hall, Stuart (1992) 'The euestion of Cultural ldentity' in Stuart Hall, David Held and Tony McGrew (eds) Modentity and its Futures, Cambridge: polity press, pp. 277325 Haraway, Donna (1991) 'A Cyborg Manifesto: Science, Technol_ ogy, and Socialist-Feminism in the Late Twentieth Century' in Sirnians, Cyborys and Vlomen: Tbe Reinuentíon of Nature, New York: Rourledge, pp. 149-81, Hardy, Thomas (1978) Tess of tbe D,Urberuilles: A pure Wornan, Harmondsworth: penguin [1891] I lekrnan, Susan J. (1990) Gender and Knowledge: Elements of a Pc¡stmodent Feminism, Cambridge: polity press lrooks, bell (1990) Yeaming: Race, Gender, and Cuhural politics, Boston: South End Press Idlre, Don (1990) Tecbnologlt and tbe Lifeuorld: Frcm Garden to Eartb, Bloomington: Indiana University press Irigaray, Luce (1985) Speculum of tbe otber'rvornan, trans. Gillian C. Gill, Irhaca, New york: Cornell University press [Fr 1974]

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(1985) TIt¡s Sex \Vbicb Is Not One, trans. Catherine porter and Carolyn Burke, Ithaca, New york: Cornell University - Press [Fr 1977] Mary, Evelyn Fox Keller and Sally Shuttleworth (eds) Jacobus, (1990) Body/Politics: Women and tbe Discources of Science, New York and London: Routledge Jardine, Alice (1987) Gynesis: Configurations of tWoman and Modernity, Ithaca, New York: Cornell University press Jones, Ernest (1950) 'The Factory Town' in A Cbartist Antbologjt, Moscow: Progress Press, pp. 147-5118471 Kafka, Franz (L948) 'In the Penal Colony' in The penal Colony: Stories and Sbort Pieces, trans. Willa and Edwin Muir, New York: Schocken [Ger 1919] Kristeva, Julia (7982) The Pouerc of Horror: An Essay on Abjection, trans. Leon Roudiez, New York: Columbia University press Langton, Marcia (199, 'Well, I Heard it on tbe Radio and I Saw it on tbe Teleuision' . , . : An essay for tbe Australian Film Commission on tbe Politics and Aestbetics of Filmmahing by and about Aboriginal People and Tltings, Norrh Sydney: Australian Film Commission Lawrence, D. H. (1960) Lady Cbatterley's Louer, Harmondsworth: Penguin 119281 Le Guin, Ursula (1981) Tbe Left Hand of Darkness, London: Furura t19691

Levy, Steven (1992) Arrirtcial Life: A Reportfrom tbe Frontier V{/bere Computers Meet Biologlt, New York: Vintage Lorde, Audre (1984) Sister Outsider: Essays and Speecbes, Freedom, California: The Crossing Press

Lutz, Catherine A. and Jane' L. Collins (199, Reading National Geographic, Chicago and London: University of Chicago Press

Macarthur, Sally (7994) 'Keys to the Musical Body' in Feminist Tbeory and Women's Studies in tbe 199Os, Humanities Research Centre Summer School, Canberra, 2-5 February McHoul, Alec and Vendy Grace (199, A Foucault primer: Discoutse, Pouer and tbe Subject, Carlton: Melbourne University Press

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McNay, Lois (1992) Foucault and Femínism: Pou.ter, Gender and tbe Self, Cambridge: Polity Press Marks, Elaine and Isabelle de Courtivron (eds) (1981) Neut Frencb Fentinisms: An Antbology, Brighton, Sussex: Harvester Martin, Emily (198D A \J(oman in tbe Body: A Cultural Analysis of Reproduction, Boston: Beacon Press MATRIX (ed.) (1984) Mahing Space: lVomen and tbe Man-made Enuironment, London and Sydney: Pluto Press Mauss, Marcel (1992) 'Techniques of the Body', in Crary and Kwinter (eds) Incorporations, pp. 455-77 í1934) Mead, Edward P. (1950) 'The Steam King' in A Cbartist Anthologjt, Moscow: Progress Press, pp. 91-2l1,B43l Mercer, Kobena (1990) 'Black HairlStyle Politics' in Ferguson et al. (eds) Out Tbere, pp.247-64 Michie, Elsie (1992) 'From Simianized Irish to Oriental Despots: Heathcliff, Rochester and Racial Difference', Nouel: A Forum on Fiction 25,2, pp. l2lo Minh-ha, Trinh (1991)'Outside In Inside Out' in lVben tbe Moon lV'axes Red: Representa.tion, Gender and Cultural Politics, New York and London: Routledge, pp. 65-78 Moon, Brian (1.992) Literary Terms: A Practical Glossary, Scarborough: Chalkface Press Morgan, Sally (1987) My Place, Fremantle: Fremantle Arts Centre

Poster, Mark (1992) 'RoboCop' in Ctary and Kwinter (eds) Incorporations, PP. 43U0 Riviere, Joan (1986) '\lomanliness as a Masquerade' in Victor Burgin, James Donald and Cora Kaplan (eds) Formations of . Fantasy, London and New York: Methuen, Pp. 3544119291 Robinson, Hilary (ed.) (19s7) visibly Female: Feminism ancl Art:

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Morris, Villiam (1885) 'Attractive Labour', Cornmonweal, June Supplement, p. 49 col. 1- p. 50 col. 1 Morrison, Tony (ed.) (1992) Race-ingJustice, En-gendering Pouter: Essays on Anita Hill, Clarence Tbomas, and tbe Constntction of Social Reality, New York: Pantheon Owens, Craig (1983) 'The Discourse of Others: Feminists and Postmodernism' in Hal Foster (ed.) Postmodern Culture, London and Sydneyr Pluto Press, pp.57-42 Pateman, Carole and Elizabeth Gross (eds) (1986) Feminist Cballenges: Social and Political Tbeory, Sydney: Allen and Unwin Penley, Constance and Andrew Ross (eds) (1991) Tecbnoculture, Minneapolis: University of Minnesota Press Piercy, Marge (1991) Body of Gla.ss, London: Penguin

An Antbologlt, London: Camden Press (eds) Rodriguez, Richard (1990) 'complexion' in Ferguson et al. Out Tltere, pp.26518 Russ, Joann a Q9B4) How to Suppress Wonlen's lVritinS, London: '$7omen's Press Russell, \irilly (1985) Educating Rita, London: Longman

Orientalistn London: Penguin Sarsby, Jacqueline (19s5) 'sexual segregation in the Pottery Industry', Feminist Reuiew 21, pp. 67-93 shelley, Mary Q982) Frankenstein orTbe Modern Prometbeus, ed. Maurice Hindle, Harmondsworth: Penguin [1818] Shepherd, John (1991) Music as social Text, Cambridge: Polity

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shilling, chris (1993) Tlte Body and social Theory, London: sage Sobchak, Vivian (1987) Screening Space: Tbe Atnerican Scien'ce Fiction Filrn,Znd edn, New York: Ungar Spencler, Dale (1989) Ttte lvriting or the Sex? Or IVby You Don't Haue to Read'V/'omen's lVriting to Know lt's No Good, New York: Pergamon sreedman, carolyn (1986) Landscapefor a Good'lYoman: A story London: Virago Press stoker, Bram (1983) Dracula, oxford: oxford university Press o.f Two Liues, 118971

stoller, Robert J. (1968) Sex and Gender, London: Hogarth Press rYarm Tiptree, James, Jr (1'97)'The \üfomen Men Don't See' in 'lVorlds and Otbentt se, New York: Ballantine, pp' 737-44 Treichler, Paula (1990) 'Feminism, Medicine, and the Meaning of Childbirth' in Jacobus et al. (eds) Body/Politics, pp' 71'3-38 van Leeuwen, Theo (1988) 'Music and ideology: Notes towards a Sociosemiotics of Mass Meclia Music' in T. Threadgold (ed.) Sydney Associationfor Studies in society and culture: working PaPers 2, pP. 1944

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Vinge, Joan D. (1982) Psion, New York: Bantam (1988) Catspaw, New York: rü(/arner Virilio, Paul (1991) Tbe Lost Dimension, trans. Daniel Moshenberg, New York: Semiotext(e) [Fr 1984] \flalkerdine, Valerie (1989) Counting Girls Out, London: Virago

Star Trek: tbe Ncxt Gcneration (1988-94) Paramount Pictures

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Corporation Verhoeven, Pattl (tlir.) (1992) Basic Instinct, Carolco/Canal Plus (dir.) (1987) IloboCop, Rank/Orion 'Wilcox, Fred M. (dir.) (1956) Forbidden Planet, MGM

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Walkerdine, Valerie and Helen Lucey (1989) Democracy in tbe Kitcben: Regulating Motbers and Socialising. Daugbters, Lndon: Virago Vells, H. G. (n.d.) The Island of Doctor Moreau, London: The Readers Library Publishing Co. [1896] Villis, Paul (1980) Learning to Labour How Working Class Kids Get Worhing Class Jobs, Aldershot, Hampshire: Gower Winterson, Jeanette (199, Written on tbe Body, London: Vintage lVired (199, 1, J Quly-August) Wittig, Monique (1981) 'One is Not Born a '$ü'oman', Feminist .lssl¿es vol. 1, no. 2

Film and television Iltrrton, Tim (dir.) (1989) Batman, Warner Cameron, James (dir.) (1984) Tbe Terminator, Orion/Hemdale/ Pacific Western (dir.) (1986) Aliens, TCF/Brandywine (clir.) (1990) Terminator 2: Judgment Day, Pacific Iü(/estern -Campion, (199, Tbe Piano, Buena Vista -Fincher, Jane (dir.) (dir.) (1992) Alien, Twentieth Century Fox/ David Rrandywine I;leischer, Richard (dir.) (1966) Fantastic Voyage,TCF Gill>ert, Lewis (dir.) (1983) Educating Rita, Columbia Lyne, Adrian (dir.) (1987) Fatal Attraction, paramount/JaffeLansing Mtrrnrrrr, F. 'üf. (dir.) (1921) Nosferatu, Prana Sc()tt, lli(llcy (clir.) (197D Alicn, TCF/llranclywine

((lir.) (1982) Blade Runner, Varner/LaddlBlade Runner

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