Kelly Oliver

Between the Psyche and the Social is the first collection that specifically features the field of psychoanalytic social theory emerging in and between psychoanalysis, feminism, postcolonial studies, and queer theory, and across the disciplines of philosophy, literary, film, and cultural studies. This collection of essays takes the psychoanalytic study of social oppression in some new directions by engaging—indeed, stirring up—unconscious fantasies and ethical tensions at the heart of social subjectivity

Critically engaging the work of Immanuel Kant, Hannah Arendt, Martin Heidegger, and Jacques Derrida together with her own observations on contemporary politics, environmental degradation, and the pursuit of a just and sustainable world, Kelly Oliver lays the groundwork for a politics and ethics that embraces otherness without exploiting difference. Rooted firmly in human beings' relationship to the planet and to each other, Oliver shows peace is possible only if we maintain our ties to earth and world. Oliver begins with Immanuel Kant and his vision of politics grounded on earth as a finite surface shared by humans. She then incorporates Hannah Arendt's belief in plural worlds constituted through human relationships; Martin Heidegger's warning that alienation from the Earth endangers not only politics but also the very essence of being human; and Jacques Derrida's meditations on the singular worlds individuals, human and otherwise, create and how they inform the reality we inhabit. Each of these theorists, Oliver argues, resists the easy idealism of world citizenship and globalism, yet they all think about the earth against the globe to advance a grounded ethics. They contribute to a philosophy that avoids globalization's totalizing and homogenizing impulses and instead help build a framework for living within and among the world's rich biodiversity

abstract: This essay explores the connections between speculation, spectacle, and the death penalty, particularly insofar as they bear on what is “proper to man” and on the man–animal distinction. Returning to a scene of death from Derrida's seminar The Beast and the Sovereign, specifically the scene of an elephant's autopsy, we see how what he calls “the globalization of the autopsic model” of sovereignty requires the death of the animal (Derrida 2009, 296). Following Derrida, we see how man's dominion over other animals is built on a model of sovereignty as necropsy that erects itself through the autopsic model of power, which ultimately is built on the scaffolding of death and the death penalty. Following the history of the death penalty, however, we see that it becomes the property of man through its exercise on animals, particularly through the capital punishment of animals, which inaugurated the codification of law in Europe, and Thomas Edison's electrocution of animals, which inaugurated the electric chair as a form of execution in the United States. Moreover, the case of Edison (who invented both the electric chair and the first moving pictures, many of which were images of execution) makes manifest the connection between spectacle, animals, and the death penalty

Julia Kristeva is known as rejecting feminism, nonetheless her work is useful for feminist theory. I reconsider Kristeva's rejection of feminism and her theories of difference, identity, and maternity, elaborating on Kristeva's contributions to debates over the necessity of identity politics, indicating how Kristeva's theory suggests the cause of and possible solutions to women's oppression in Western culture, and, using Kristeva's theory, setting up a framework for a feminist rethinking of politics and ethics

In my brief remarks, I consider what it means to return and rebind—that is to say, the significance of the re for Kristeva’s thought. Kristeva does not just talk about binding or birth, or unbinding or death, but rather rebinding and rebirth, suggesting that it is a retrospective return rather than an original moment that is crucial. The most significant moment, then, is not the moment of imaginary plenitude, nor the moment of originary loss, but rather the moment of rebirth that comes through rebinding after the loss of plenitude. Indeed, Kristeva’s insistence on re-turning suggests that there is no originary moment of plenitude nor of castration or loss, but rather a constant movement of compensation for a recurrent loss. By emphasizing rebinding and rebirth, she underscores not the loss as cutting wound but rather the healing power of signification, always already inherent within loss. The flip-side of separation is reattachment. And rather than just focus on the separation or cut, Kristeva looks to that which allows us to rebind and reattach in order to create relations that sustain us. Both unbinding and binding are necessary for rebinding. Thus, by focusing on rebinding, Kristeva insists on the process of unbinding and binding, and the oscillation between them.

In The Poetic Axis of Ethics, Kelly Oliver argues that in Derrida's The Beast and the Sovereign Volume II, a line of poetry from Celan becomes the axis around which Derrida's analysis of world, death, and ethics revolves: ‘Die Welt ist fort, ich muß dich tragen’ [The world is far away, I must carry you]. Oliver maintains that the Celan fragment, which is repeated in nearly every session, is not only the axis around which Derrida binds the unlikely duo Robinson-Heidegger, but also it is a performance of a certain poetic world making that Derrida proposes as a counterbalance to sovereign world building.

“The bandages signify death,” says Derrida, “the condemnation to death; when they fall away, out of use, undone, untied, untying, they signify, like a detached signifier, that the dead one is resuscitated." Like a detached signifier, indicating a metaphorical relationship between signification and the bandages. But, when we follow the metonymy of bandages in Derrida’s Death Penalty seminar volume one, the bandages appear as the figure for figuration itself. More specifically, they are a sign that needs interpretation; a sign that the bandages are detached from the body; a sign that the word, or sign, is detached from the thing

In Subjectivity without Subjects, well-known philosopher and feminist theorist Kelly Oliver looks at aspects of popular culture, film, science, and law to examine contemporary notions of paternity and maternity. Oliver studies the roles of paternal responsibility, virility, and race in such events as the Million Man March and the Promise Keeper's movement and suggests alternative ways to conceive of self-other relations and the subjective identity at stake in them. In addition she offers a detailed analysis of particular works by such well-known filmmakers as Polanski, Bergman, and Varda in developing a theory of identity that opens the subject to otherness and difference