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On Deconstruction: Theory and Criticism after Structuralism
TLDR
In this article, the authors discuss readers and reading and deconstructive critical criticism. But their focus is on the reader and reading as a woman, and not on the critic.Abstract:
Preface to New Edition. Preface to First Edition Introduction Chapter 1: Readers and Reading 1. New Fortunes 2. Reading as a Woman 3. Stories of Reading Chapter 2: Deconstruction 1. Writing and Logocentrism 2. Meaning and Iterability 3. Grafts and Graft 4. Institutions and Inversions 5. Critical Consequences Chapter 3: Deconstructive Criticism Bibliography. Indexread more
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Inhabiting the threshold: the Women's Gallery as liminal space in New Zealand's feminist art history
Abstract: In the four years between January 1980 and January 1984, a gallery was run in Wellington by a collective of women to display the work of female artists only. This feminist space sought to provide an educational, supportive and inclusive environment, free from the obstacles which were perceived to prohibit women from displaying their work in mainstream art spaces. This thesis tackles the history of this gallery’s reception and seeks to address its absence in the writing of New Zealand’s art history. In reassessing its history, I assert the Women’s Gallery deserves a place within critical accounts of art in New Zealand. Chapter one locates the Women’s Gallery within the cultural and political context of New Zealand society by tracing the development of the women’s art movement, and feminism as a grassroots political movement. An examination of the gallery’s Opening Show serves as an example of the way in which the ideology of the Women’s Gallery shaped its organisational structure. Chapter two pinpoints the time of the gallery’s existence at a point of transformation within feminist thinking. This chapter problematises the evolution of feminist thought from ‘essentialism’ to a critique informed by poststructuralist strategies. A close analysis of artworks demonstrates that the Women’s Gallery was simultaneously occupied by artists who exhibited both tendencies. By proposing Victor Turner’s model of liminality as a framework upon which to base a discussion of the Women’s Gallery, chapter three reframes the gallery as a liminal space. I argue the temporary existence of the gallery allowed women a space – removed from patriarchal power structures – in which to experiment both politically and creatively.
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Of Property and the Human; or, C.B. Macpherson, Samuel Hearne, and Contemporary Theory
TL;DR: This paper argued that Macpherson's brief but engaging study of Burke published in 1980 in the Past Masters series declines to treat Burke's aesthetics at all, dismissing it in a sentence as "of little theoretical interest" (19).
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feminist disavowal or return to immanence? the problem of poststructuralism and the naked female form in Nic Green’s Trilogy and Ursula Martinez’ My Stories, Your Emails
TL;DR: The authors discusses the work of two female theatre-makers, and their strategic use of nudity on stage, and appropriates signs of indignation in this work in order to re-visit the "problem" of the female form being traditionally associated with bodily immanence rather than transcendence.
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Bringing the Author Back Into the Audience Research: A Hermeneutical Perspective on the Audience's Understanding of the Author
TL;DR: In this paper, a multidimensional model of the author is proposed to understand how the audiences' understanding of author co-determines the reader's interpretation of the particular text.