Sally Burgess

“Recognition” has become a keyword of our time. Yet this word [recognition] runs insistently through my readings, appearing sometimes like a gremlin who pops up at the wrong place, at other times as welcomed, even as looked for and anticipated. Which places are those? Recognition demands our attention. As a “keyword,” its significance is measured in part simply by the number of times it appears across the pages of the works that occupy our desks. Claimed by political theorists, moral philosophers, cultural anthropologists, legal scholars, activists, historians, and rhetoricians, recognition has become a workhorse for theorizing the ontological, epistemological..

What makes identity politics a significant departure from earlier, pre-identitarian forms of the politics of recognition is its demand for recognition on the basis of the very grounds on which recognition has previously been denied: it is qua women, qua blacks, qua lesbians that groups demand recognition.... The demand is not for inclusion within the fold of “universal humankind,” on the basis of shared human attributes; nor is it for respect “in spite of” one’s differences. Rather, what is demanded is respect for oneself as different. And here we reach the crux of the matter: once we move from group claims to the individual struggle for recognition, to the continuous conversation with others and..

The anti-patriarchy movement is going to undo ten thousand years of recorded history…. You watch. The time has come. Women are gonna take charge of society.I think [#MeToo] will have staying power because people, and not only women, men as well as women, realize how wrong the behavior was and how it subordinated women. So we shall see, but my prediction is that it is here to stay.As the story is told, #MeToo arrived in a kairotic moment. Jodi Kantor and Megan Twohey's 5 October 2017 New York Times exposé of the methods Harvey Weinstein used to systematically harass and subsequently silence women in the entertainment industry opened the proverbial floodgates. Ten days later, actor Alyssa...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:For More than One Voice: Toward a Philosophy of Vocal ExpressionSarah K. Burgess and Stuart J. MurrayFor More than One Voice: Toward a Philosophy of Vocal Expression. Adriana Cavarero. Trans. Paul A. Kottman. Stanford: Stanford University Press, 2005. Pp. 262. $65.00, hardcover; $24.95, paperback.Adriana Cavarero's most recent book, For More than One Voice, offers the reader a critique of Western metaphysics that challenges the hegemony of speech's relation to thought within politics. Revisiting Aristotle's Politics, Cavarero examines the famous definition of man as "zoon logon echon"—usually translated as "rational animal." She is critical of the tradition that renders logos here as "reason" or "rationality," modeled on the abstract and disembodied Platonic idea. Reading the Politics alongside the Poetics, she brings politics into a distinctly rhetorical sphere, and therefore figures logos as "phone semantike." In this light, man is a "speaking animal," an animal who speaks with a voice (phone) that is meaningful (semantike—an adjectival form that qualifies the voice itself). Cavarero's argument is that voice and meaning—phonic and semantic—must be sharply distinguished. The history of Western philosophy, she contends, has effaced this vital difference and focused instead on speech as a unitary phenomenon in which the vocalic and the semantic are always already joined as meaningful signification. In this way, the singularity of the vocalic itself has been elided in favor of speech that strongly privileges meaning. She therefore wishes to deliver us from language, as it were, through a recuperation of the force of the vocalic, the acoustic, the resonant and sonorous auditory quality of phone.Absent in the history of Western philosophy, this sonorous aspect of the vocalic stands as a corrective to our logocentric metaphysical tradition that singularly values the visual over the acoustic, semantic content over vocal utterances, and an abstract, anonymous "what" over a particular, embodied "who." Cavarero claims that the vocalic is an "anti-metaphysical" force that exceeds and challenges signification. In other words, the vocalic immediately communicates the uniqueness of the speaker without recourse to the signifying content of his or her speech. The voice is essentially relational—a relation that is described as "the condition of every communication.... the communicability of the communicable, or the significance of signification" (29). Indeed, for Cavarero the voice is that which "precedes, generates, and exceeds verbal communication" [End Page 166] (29–30). In this way, remarkably, Cavarero refigures the voice as a presymbolic origin that is both temporally and ontologically prior to signification, as that which is a condition of possibility for signification, and as that which is never exhausted by any signifying speech act as such.The voice is the expression of one unique, embodied individual to another. This expression, a "reciprocal invocation" founded in the sonorous, rhythmic, and resonant materiality of the voice, constitutes a "duet," a musical exchange of voices in and through which individuals mutually invoke one another. Cavarero resists inscribing such a relation within the symbolic realm; yet for her this relation is a "wordless language" that takes place in the paradigmatic scene between mother and infant. Here, in this originary scene, there is not yet the movement of language or speech as such, but the rhythm and cadence of demand and response—the voices of mother and infant that invoke one another. Drawing on Hélène Cixous's and Julia Kristeva's well-known work on the maternal chora, Cavarero demonstrates that the cadence of the "la-la melody" exchanged between mother and infant "configure[s] a reciprocal dependence" (170) that takes a structural form in the movement between demand and response.For Cavarero, the "scene of infancy" enjoys a primacy: it is both ontologically and chronologically prior to the institution of language and law. The maternal chora is figured as that which invisibly underwrites what will be understood as the law of the father—a law that is said to mark the inauguration of language. But if the law of the father is rational and semantic, the maternal should not be conceived as simply irrational and pure sound. For Cavarero, the maternal vocalic demonstrates its own reason through its rhythmic and musical resonance...