Mariana Ortega

Inspired by the Kristevan notion of abjection and her view of the corpse as the “most sickening of wastes,” I propose a notion of photographic incandescence—the affective and carnal possibility of a photograph to undo the self. I first discuss the notion of abjection and its relation to incandescence and explore how this incandescence is connected to Kristeva’s view of the corpse. Second, I discuss the notion of photographic incandescence in light of an analysis of Susan Meiselas’s photograph, Cuesta del Plomo, and Roland Barthes’s notions of piercing and fulguration. Finally, I engage Gloria Anzaldúa’s practice of putting Coyolxauhqui together in its attempt to “re-member” the self through the act of creativity, an experience not without pain or the possibility of failure and unreconcilable carnal excess.

Draws from Latina feminism, existential phenomenology, and race theory to explore the concept of selfhood. This original study intertwining Latina feminism, existential phenomenology, and race theory offers a new philosophical approach to understanding selfhood and identity. Focusing on writings by Gloría Anzaldúa, María Lugones, and Linda Martín Alcoff, Mariana Ortega articulates a phenomenology that introduces a conception of selfhood as both multiple and singular. Her Latina feminist phenomenological approach can account for identities belonging simultaneously to different worlds, including immigrants, exiles, and inhabitants of borderlands. Ortega’s project forges new directions not only in Latina feminist thinking on such issues as borders, mestizaje, marginality, resistance, and identity politics, but also connects this analysis to the existential phenomenology of Martin Heidegger and to such concepts as being-in-the-world, authenticity, and intersubjectivity. The pairing of the personal and the political in Ortega’s work is illustrative of the primacy of lived experience in the development of theoretical understandings of who we are. In addition to bringing to light central metaphysical issues regarding the temporality and continuity of the self, Ortega models a practice of philosophy that draws from work in other disciplines and that recognizes the important contributions of Latina feminists and other theorists of color to philosophical pursuits. Mariana Ortega is Professor of Philosophy at John Carroll University and coeditor (with Linda Martín Alcoff) of Constructing the Nation: A Race and Nationalism Reader, also published by SUNY Press.

In the following essay I discuss Monique Roelofs’s The Cultural Promise of the Aesthetic. I show that Roelofs’s rich and complex notion of the aesthetic, informed by promises, modes of address, and aesthetic relationality, offers an important and novel way of understanding the aesthetic within a context attuned to questions of difference. I point out that Roelofs’s analysis may be enhanced by notions theorized by Audre Lorde, Gloria Anzaldúa, and María Lugones. Moreover, I raise a question regarding the intricate link between Roelofs’s notion of the aesthetic and morality.

The overall aim of this project is to provide an explanation of Dasein that takes into account both Dasein's social and individual characters as well as both Division I and II of Being and Time. Chapter 1 provides an exposition of the existentialia of Dasein which illustrate the difference between Heidegger's characterization of human beings as Dasein and the traditional Cartesian epistemic subject. Chapter 2 analyzes the roles of das Man and Mitsein, the existential structures that are key in explaining Dasein's social character. Furthermore, this chapter provides an account of what the individual character of Dasein amounts to, given that Dasein is an entity that has both das Man and Mitsein as part of its existential make-up. Chapter 3 concentrates on the important notion of authenticity or what Heidegger calls resoluteness. It addresses Heidegger's puzzling claims that authentic Being-one's-Self is a modification of das Man and that the das Man self is an existentiell modification of the authentic self. Lastly, Chapter 4 studies the role that the notion of choice plays in Heidegger's existential analytic as well as the relationship that an authentic Dasein has to history. ;In conclusion, this work shows that recent interpretations which portray Dasein as a being that is primarily social and that is completely defined by the norms of its community do not do justice to the fact that Dasein has an individual character which is a key element in its ontological make-up as well as in its ontic involvements, more specifically, in the ways in which, as authentic, it can appropriate the history of its community. In the end, we are left with a picture in which Dasein cannot be seen as wholly dominated by its sociality or as completely individualistic, but as an entity whose existential structure involves a social as well as an individual character, both of which contribute to its being-in-the-world

This essay examines photographic representations of queer Latinidad. A longing to discover a photographic history of Latina lesbian desire prompts a discussion of queerness in the context of Latinx love, sexuality, and desire. By way of examples of photographic representations, queer Latinidad is presented as complex and capable of encompassing paradoxical but expansive, nondichotomous understandings of sexuality and of gender presentation. Such photographic representations also allow for disidentifications that introduce the possibility of desires that cut across races and racism. Following Muñoz, queer Latinidad is ultimately connected to a sense of longing and melancholia that is resistant in the face of the various erasures of queer Latinidad, both in the context of queer theory and in the context of everydayness.