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By Teresa de Lauretis, Patricia White

The altering face of feminist discourse as mirrored by way of the profession of 1 of its preeminent scholars

Figures of Resistance brings jointly the unpublished lectures and little-seen essays of the world over well known theorist Teresa de Lauretis, spanning over 20 years of her most interesting paintings. Thirty years after the peak of feminist concept, this assortment invitations us to mirror at the historical past of feminism and take a difficult examine the place it stands at the present time. chosen essays comprise "Sexual Indifference and Lesbian Representation," "The trap of the Mannish Lesbian," "Eccentric Subjects," "Habit Changes," "The Intractability of Desire," and the unpublished article "Figures of Resistance." An creation from feminist movie student Patricia White presents an summary of the advance of de Lauretis's idea and of feminist concept over earlier decades.

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Redupers makes the wall a signifier for psychic as well as ideological, political, and geo­ graphical boundaries. It functions there as a metaphor for sexual difference, for the subjective limits articulated by the existing sym­ bolic order both in East and West. 1 1 Those o f u s who share Silverman's perception must wonder whether in fact the sense of that other, specific division represented by the wall in Redupers (sexual difference, a discursive boundary, a subjective limit) is in the film or in our viewers' eyes.

1 974), which in a sense all of these films continue to reelaborate. The gender-specific division of women in language, the distance from official culture, the urge to imag­ ine new forms of community as well as to create new images ( " creating · Rethinking Women's Cinema · so mething else to be" ) , and the consciousness of a "subjective factor" at the core of all kinds of work-domestic, industrial, artistic, critical, o r political work-are some of the themes articulating the particular rela tion of subjectivity, meaning, and experience which en-genders the socia l subject as female.

For there are, after all, different histories of women. There are women who masquerade and women who wear the veil; women invisible to men, in their society, but also women who are invisible to other women, in our society. 17 The invisibility of black women in white women's films, for instance, or of lesbianism in mainstream feminist criticism, is what Lizzie Borden's B orn in Flames ( 1 9 8 3 ) most forcefully represents, while at the same time constructing the terms of their visibility as subjects and objects of vision.

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