Relevant bibliographies by topics / Elizabeth Grosz

Academic literature on the topic 'Elizabeth Grosz'

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Published: 4 June 2021
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Journal articles on the topic "Elizabeth Grosz"

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Noack, Ruth. "Elizabeth Grosz: Volatile Bodies." Die Philosophin 7, no. 13 (1996): 117–19. http://dx.doi.org/10.5840/philosophin199671314.

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Editors, The. "Elizabeth Grosz, Jacques Lacan." Journal of French and Francophone Philosophy 1, no. 3 (February 11, 1989): 42. http://dx.doi.org/10.5195/jffp.1989.287.

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Jagusiak, Agnieszka. "The Corporeality in Elizabeth Grosz’s Posthumanistic Theory of Two-Dimensional Subjectivity." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Filozofia 12 (2015): 153–65. http://dx.doi.org/10.16926/fil.2015.12.09.

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Bergoffen, Debra B. "Elizabeth Grosz, Jacques Lacan: A Feminist Introduction." Journal of French and Francophone Philosophy 5, no. 1 (March 3, 1993): 108–11. http://dx.doi.org/10.5195/jffp.1993.342.

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Bell, Vikki. "An Interview with Elizabeth Grosz: ‘The Incorporeal’." Theory, Culture & Society 34, no. 7-8 (November 7, 2017): 237–43. http://dx.doi.org/10.1177/0263276417736814.

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In this interview with Vikki Bell, Elizabeth Grosz explains some of the key concepts and arguments in her book The Incorporeal (2017), including how this book sits with her earlier interventions, the appeal of Simondon’s concept of the pre-individual, Ruyer and the notion of directionality, and why reading the Stoics helps us understand current Deleuzian-inspired debates on immanent ethics.
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Varino, Sofia. "Incorporeal Conditions: Elizabeth Grosz’s Ontoethics." Freiburger Zeitschrift für GeschlechterStudien 24, no. 1-2018 (December 3, 2018): 113–15. http://dx.doi.org/10.3224/fzg.v24i1.07.

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Grosz, Elizabeth, Kathryn Yusoff, and Nigel Clark. "An Interview with Elizabeth Grosz: Geopower, Inhumanism and the Biopolitical." Theory, Culture & Society 34, no. 2-3 (February 7, 2017): 129–46. http://dx.doi.org/10.1177/0263276417689899.

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This article is an interview with Elizabeth Grosz by Kathryn Yusoff and Nigel Clark. It primarily addresses Grosz’s approaches to ‘geopower’, and the discussion encompasses an exploration of her ideas on biopolitics, inhuman forces and material experimentation. Grosz describes geopower as a force that subtends the possibility of politics. The interview is accompanied by a brief contextualizing introduction examining the themes of geophilosophy and the inhumanities in Grosz’s work.
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Colebrook, Claire. "Time Travels: Feminism, Nature Power, by Elizabeth Grosz." Journal of the British Society for Phenomenology 39, no. 3 (January 2008): 331–33. http://dx.doi.org/10.1080/00071773.2008.11006656.

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Nelson, Diane M. ": Volatile Bodies: Toward a Corporeal Feminism . Elizabeth Grosz." American Anthropologist 98, no. 4 (December 1996): 918–19. http://dx.doi.org/10.1525/aa.1996.98.4.02a00650.

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Trappes, Rose. "Evaluating Elizabeth Grosz's Biological Turn." Hypatia 34, no. 4 (2019): 736–54. http://dx.doi.org/10.1111/hypa.12487.

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Elizabeth Grosz's interpretation of Darwinian evolutionary theory to ground a feminist ontology of biology has been particularly controversial. Most critics have understood Grosz as supporting her theory with empirical evidence, and they criticize her for being either inaccurate or uncritical of and overly dependent on science. I argue that Grosz reads Darwin as a philosopher in a Deleuzian and Irigarayan sense, and that Grosz's project is therefore better understood in terms of its ethical and political goals rather than in terms of empirical adequacy. Employing this evaluative framework leads to a novel route for critique of Grosz's ontology in terms of its reliance on the Darwinian distinction between organism and environment. I conclude that Grosz's work is valuable for the way it maintains ethical and political considerations in feminist ontological debates, and that introducing a more sensitive understanding of the organism–environment relation will lead us closer to a truly feminist ontology of biology.
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Dissertations / Theses on the topic "Elizabeth Grosz"

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Collie, Natalie Estelle. "Pieces of a city : the art of making speculative cities, bodies, & texts." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/59618/1/Natalie_Collie_Thesis.pdf.

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This practice-led doctorate involved the development of a collection – a bricolage – of interwoven fragments of literary texts and visual imagery explor-ing questions of speculative fiction, urban space and embodiment. As a sup-plement to the creative work, I also developed an exegesis, using a combina-tion of theoretical and contextual analysis combined with critical reflections on my creative process and outputs. An emphasis on issues of creative practice and a sustained investigation into an aesthetics of fragmentation and assem-blage is organised around the concept and methodology of bricolage, the eve-ryday art of ‘making do’. The exegesis also addresses my interest in the city and urban forms of subjectivity and embodiment through the use of a range of theorists, including Michel de Certeau and Elizabeth Grosz.
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Schütze, Sven. "Biologische Evolutionstheorie." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220911.

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Biologische Evolutionstheorie erklärt die sukzessive Veränderung von Arten durch Vererbung und wurde erstmalig von Charles Darwin umfassend formuliert. Die Rezeption durch die Genderforschung umfasst diskursanalytische Studien und die Methodenkritik feministischer Biowissenschaftler_innen. Konkrete Bezugspunkte stellen dabei die sexuelle Selektion, naturalisierende Thesen der Soziobiologie und der evolutionären Psychologie sowie die Rolle des Essentialismus in der Evolutionstheorie Darwins dar.
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Lavi, Tali, and talilavi@netspace net au. "Tales of Ash: Phantom Bodies as Testimony in Artistic Representations of Terrorism." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080428.114445.

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This paper delves into the realms of tragedy, memory and representation. Drawing upon the phenomenon of the Phantom Limb and extending it towards a theory of Phantom Bodies, various artworks - literary, theatrical and visual - are examined. After the conflagration of the terrorist attack, how are these absences grieved over and remembered through artistic representation? The essay examines this question by positioning itself amongst the scarred landscapes of post-September 11 New York and suicide bombings in Israel (2000-2006). Furthermore, it investigates whether humanity can be restored in the aftermath of an event in which certain individuals have sought to eradicate it. The fragmentation of the affected body in these scenarios is understood as further complicating processes of grief and remembrance. Artists who reject political polemic and engage with the dimensions of human loss are seen to have discovered means of referring to the absence caused by the act of terrorism. Three such recurring representations present themselves: ash and remnants, presence/absence and memory building. Phantom Bodies are perceived as simultaneously functioning as a reminder of the event itself, insisting upon the response of bearing witness, and as a symbol of the overwhelming power of humanity. Challenges arise when individuals or sections of the affected society deem these artworks to be inappropriate or explicit. Works considered include: Neil LaBute's play The Mercy Seat, Sigalit Landau's art installation The Country, Jonathan Safran Foer's Extremely Loud & Incredibly Close, Spike Lee's 25th Hour, Daniel Libeskind's architectural plans for the World Trade Center site, Eric Fischl's sculpture 'Tumbling Woman', Honor Molloy's autodelete://beginning dump of physical memory and A.B.Yehoshua's A Woman in Jerusalem. The accompanying play, Tales of Ash: A diptych for the theatre, is set in Melbourne, New York and Tel Aviv and deals with life in the face of and after terror. It veers between naturalism, poetic monologue and the epic. Tales of Ash contains two plays. The first centres on Mia, a young sculptor living in New York, who loses both her lover and her creativity on September 11. Upon returning to her home in Melbourne, she finds familial bonds still entwined with guilt and family trauma. The second play revolves around Ilana and Benny, two people living in Tel Aviv, who find themselves suddenly thrust together after a devastating bombing. As they attempt to resume rhythms of life, in the face of all the inherent ferocity of a modern existence in Israel, the struggle between The Ash Woman and The Ash Takers escalates.
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Myshko, Yelena. "A little story about big issues : an introspective account of FEMEN." Thesis, Linköpings universitet, Tema Genus, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-151544.

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This research contributes a detailed personal account of a FEMEN activist. It presents an autophenomenographic analysis of cultural artefacts, including a Retrospective Diary, resulting from the activity of Yelena Myshko in FEMEN between 2012 and 2014. Previously FEMEN has been used as raw material for external analysis by press and academics to fit their individual agendas. To counteract this, Myshko’s research proposes an insider perspective on FEMEN activism. She writes herself in response to academics and FEMEN leader Inna Shevchenko who ignore the contribution of FEMEN Netherlands. Myshko merges author/researcher/researched and uses evocative storytelling to provide an introspective account of sextremism, connecting it to relevant embodiment concepts that illustrate its technology of empowerment and unintended side effects.   Through an autophenomenographic analysis of her personal experience, Myshko suggests how FEMEN employs sextremism to create soldiers of feminism. Her research proposes that sextremism is an attitude, a way of life and technology of resistance. For Myshko, sextremism embodies feminist polemic that turns against patriarchy through topless protest. Through personal accounts she illustrates how she internalized this aggressive femininity during physical and mental training. Myshko argues that in protest FEMEN activists communicate to the public and mobilize new activists through feminist snap. In addition, Myshko observes that sextremism produces visual activism that internalizes feminist polemic and transforms it into figurative storytelling. Myshko explains how she reproduced sextremism through body image that made her assertive and empowered her in action.   In turn Myshko demonstrates how personal accounts of sextremist embodiment and problems encountered as a woman in the world reproduce FEMEN’s fight in the media. Myshko analysis interviews with the press where she pinpoints topical feminist issues, making FEMEN real and relevant in Western society. Myshko observes that the media appropriated the spectacle created by FEMEN Netherlands but often distorted it and bend the news to fit its own agenda. In addition, the media criticized FEMEN Netherlands for cross-passing national values and power symbols. For Myshko, sextremism is empowering but also destructive. It promotes an unapologetic self-critical attitude that accumulates collateral damage in battle. The sporadic and restrained relationships between activists does not allow intimacy. Because of the eye of the media, tenderness is perceived as weakness and is not aloud. The combination of criticism, media scrutiny and police persecution hurt Myshko’s feelings. These unresolved feelings of hurt led to resentment and disengagement from FEMEN.
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Books on the topic "Elizabeth Grosz"

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Maybaum, Mary L. Study guide, Oceanography, a view of earth, 7th edition, M. Grant Gross, Elizabeth Gross. Upper Saddle River, N.J: Prentice Hall, 1996.

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Grosz, A. E. Heavy-mineral concentrations associated with some gamma-ray aeroradiometric anomalies over crataceous sediments in North Carolina: Implications for locating placer mineral deposits near the fall zone / by Andrew E. Grosz, Francisco C. San Juan, Jr., and Jeffrey C. Reid ; prepared in cooperation with Elizabeth City State University and the North Carolina Geological Survey. Reston, VA: U.S. Geological Survey, 1992.

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Grosz, A. E. Heavy-mineral concentrations associated with some gamma-ray aeroradiometric anomalies over crataceous sediments in North Carolina: Implications for locating placer mineral deposits near the fall zone / by Andrew E. Grosz, Francisco C. San Juan, Jr., and Jeffrey C. Reid ; prepared in cooperation with Elizabeth City State University and the North Carolina Geological Survey. Reston, VA: U.S. Geological Survey, 1992.

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Grosz, A. E. Heavy-mineral concentrations associated with some gamma-ray aeroradiometric anomalies over cretaceous sediments in North Carolina: Implications for locating placer mineral deposits near the fall zone / by Andrew E. Grosz, Francisco C. San Juan, Jr., and Jeffrey C. Reid ; prepared in cooperation with Elizabeth City State University and the North Carolina Geological Survey. Reston, VA: U.S. Geological Survey, 1992.

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Wellborn, L. Margaret Holcomb. Part I. William Holcomb (1650-aft. 1705) of England, and New Kent Co., Virginia: His family and descendants through John and Elizabeth (Lawrence) Holcomb of New Kent Co., Virginia, and Surry County, North Carolina. Part II. Simon Gross (b. 1711) of Baden, Germany, and Rowan Co., North Carolina : his family and descendants. Asheville, NC: Ward Pub. Co., 1992.

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Miller, Ruth A. Feminist Theory and the Politics of Life. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190638351.003.0002.

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This chapter reviews recent writing in feminist theory on the problem that reproductive life has conventionally posed to democratic engagement. Setting the work of feminist philosophers alongside the writing of both historic and contemporary natural historians and biologists—Elizabeth Grosz alongside Charles Darwin and Rudolf Leuckart, Claire Colebrook in conversation with Cell, and Rosi Braidotti with Alain Prochiantz, among others—the chapter demonstrates that feminist theorists have already begun to describe the political influence of nonhuman thought and, or as, nonhuman reproduction. The chapter posits that these discussions within the field of feminist theory also set a foundation for a discussion of this mode of political engagement as, specifically, nostalgic.
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Tulloch, John, and Belinda Middleweek. Desire, Intimacy, Transgression, and the Gaze in the Work of Andrea Arnold and Lynne Ramsay. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0013.

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Chapter 11 revisits feminist screen studies notions of the filmic gaze through the simulated, high-impact sex films made by female directors Andrea Arnold and Lynne Ramsay. With particular emphasis on Arnold’s Red Road and Ramsay’s Morvern Callar, the chapter explores the work of Laura Mulvey, Lynn Williams, Anne Kaplan, Elizabeth Grosz, Slavoj Žižek, and Elena del Rio in light of Horeck and Kendall’s “unsayable” and Grønstad’s “unwatchable” concepts to shift emphasis from the gaze to the role of the sensory and the affective in extreme cinema. Overall, this chapter brings into dialogue the concepts of desire, intimacy, and risk in feminist film studies as part of a larger conversation (undertaken throughout this book) about sociological theories of risk, the mapping of embodiment in feminist geography, and interdisciplinary debates more generally.
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Laskey, Elizabeth. Gross and Gory (Laskey, Elizabeth, Wild Nature.). Heinemann, 2004.

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Rohman, Carrie. Choreographies of the Living. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.001.0001.

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Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.
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C, San Juan Francisco, Reid Jeffrey C, Geological Survey (U.S.), Elizabeth City State University, and North Carolina. Geological Survey Section., eds. Heavy-mineral concentrations associated with some gamma-ray aeroradiometric anomalies over crataceous sediments in North Carolina: Implications for locating placer mineral deposits near the fall zone / by Andrew E. Grosz, Francisco C. San Juan, Jr., and Jeffrey C. Reid ; prepared in cooperation with Elizabeth City State University and the North Carolina Geological Survey. Reston, VA: U.S. Geological Survey, 1992.

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Book chapters on the topic "Elizabeth Grosz"

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Roffe, Jon, and Hannah Stark. "Deleuze and the Nonhuman Turn: An Interview with Elizabeth Grosz." In Deleuze and the Non/Human, 17–24. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137453693_2.

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"Elizabeth Grosz." In Gender Space Architecture, 226–38. Routledge, 2002. http://dx.doi.org/10.4324/9780203449127-32.

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"Elizabeth Grosz EXPERIMENTAL DESIRE: RETHINKING QUEER SUBJECTIVITY." In The Routledge Queer Studies Reader, 211–28. Routledge, 2012. http://dx.doi.org/10.4324/9780203720776-19.

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Grosz, Elizabeth, and Rebecca Hill. "Onto-Ethics and Difference: An Interview with Elizabeth Grosz." In Philosophies of Difference, 5–14. Routledge, 2020. http://dx.doi.org/10.4324/9780429461590-2.

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Paris, Václav. "Afterword." In The Evolutions of Modernist Epic, 167–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868217.003.0006.

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The afterword evaluates the potential ranges of the methodology for reading comparative modernism proposed in The Evolutions of Modernist Epic. Many more epic works than those discussed in detail could be analyzed in relation to the eclipse of Darwinism in the early twentieth century. These include, for instance, Marcel Proust’s In Search of Lost Time. In addition, there are a number of benefits promised by a thorough understanding of biocentric modernism. Hitherto, however, little attention has been paid to the eclipse and its impact on modernism. One reason for this is that for many years the eclipse was regarded as a scientific mistake. The afterword describes how scholars of evolution, including Lynn Margulis, Elizabeth Grosz, and others, have come to reconsider its place in relation to Neo-Darwinism. It is within this larger reconsideration that it is worthwile returning to modernist epic as a source for radical thinking about human and literary evolution.
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Bryant, Jan. "Political-Aesthetics and Contemporary Artists: Introduction." In Artmaking in the Age of Global Capitalism, 71–86. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474456944.003.0016.

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As introduction to the four essays on contemporary practice, this chapter opens with some examples of political despondency at the turn of the century. Two films from the 1960s, Soy Cuba and Winter Soldier, are closely examined as a way to understand the hopefulness for a renewed future that must have inspired their making. From a contemporary perspective, hope has faded with the unfolding of history and the intensification of class inequality. While this seems to support an ‘end of history’ thesis, it is the point where Andrew Benjamin’s structuring of hope in the present becomes a potent retort. The chapter concludes with a consideration of how political-aesthetics is informed this century by a renewed interest in materials and their effects, while also considering the materialist approaches of Marx, Walter Benjamin, and Elizabeth Grosz. A materialist approach means that focus on the sensate realm determines that a portion of any interpretation of artwork will include a subjective dimension. [154]
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Hanson, Clare. "A Catastrophic Universe: Lessing, Posthumanism and Deep History." In Doris Lessing and the Forming of History. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414432.003.0013.

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This chapter explores the shift in Lessing’s work from social realism to an experimental approach to genre and argues that it is inseparable from the expansion of the scope of her later fiction, from the specifics of contemporary history to a concern with evolutionary and planetary time. A recurring tension in her writing is identified, between a trans-humanist ethos (expressed through the protagonists’ engagement with the prospect of ‘enhancing’ humanity) and post-humanist perspectives that offer a radical challenge to human exceptionalism. Taking the figure of the evolutionary ‘throwback’ in The Fifth Child (1988) as a starting point, the chapter argues that the novel opens up a landscape in which ‘the human’ in its current incarnation is no longer the structuring norm. It goes on to consider the relationship between humans and other animals in Lessing’s work, charting an emerging critique of anthropocentric ideology and an innovative mapping of inter-species subjectivities. Drawing on the neo-vitalist philosophy of Rosi Braidotti and Elizabeth Grosz, it argues that a post-humanist perspective is articulated in Lessing’s fiction, but that it is complicated by a transhumanism which is in part impelled by her continued commitment to Sufism. The chapter concludes by locating Lessing’s space fiction and late fables such as Mara and Dann (1999) in the context of Dipesh Chakrabarty’s concept of ‘deep history’, an approach that he argues is mandatory at a time of planetary crisis.
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"The Body of Signification: Elizabeth Gross." In Abjection, Melancholia and Love, 88–111. Routledge, 2012. http://dx.doi.org/10.4324/9780203120545-13.

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Heffernan, David. "Complaint, reform and conflict: Treatise writing in late Elizabethan Ireland, 1579–1594." In Debating Tudor policy in sixteenth-century Ireland. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526118165.003.0005.

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This chapter proposes a revision of our understanding of political discourse in late Elizabethan Ireland and public policy there more generally. Previously it has largely been contended that officials in Ireland at this time began to believe that the country was beyond ‘reform’ and that a harsh brand of military subjugation would have to be employed to create a tabula rasa on which an English society could be constructed. Converse to this the chapter argues that officials were actually deeply critical of Tudor policy in Ireland itself at this time. Accordingly they argued that what was needed was a more conciliatory approach to the governance of the country and reformation of the gross levels of militarisation and corruption which had become endemic there. These views were clearly laid out in a literature of complaint which emerged in the ‘reform’ treatises being written at this time. The chapter is primarily an exploration of this literature of complaint. It also examines the treatises attendant upon the inception of the Munster Plantation. Finally, it examines attitudes towards the problem posed by Ulster in the 1580s and early 1590s and queries what policies were promoted for the province in the years preceding the outbreak of the Nine Years War in 1594.
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