Because of Beauvoir: Christianity and the Cultivation of by Alison E. Jasper

By Alison E. Jasper

Because of Beauvoir does what many say is very unlikely: it demonstrates how ladies can flourish, with out clash, whereas being at the same time Christian and feminist. Alison Jasper bargains a imaginative and prescient of Julia Kristeva's "female genius" because the means of girls to thrive and domesticate mind inside of and throughout various cultural and theological environments. utilizing the writings of English girls from the seventeenth in the course of the twenty first centuries as dwelling profiles, Jasper attracts upon the artistic energy within the lives of actual girls to acknowledge and retrieve a feminine subjectivity--one that determines how girls see and are obvious after Simone de Beauvoir.

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Realizing the Archaic Future: A Radical Elemental Feminist Manifesto (Boston: Beacon Press, 1999), 15. 79 24 Because of Beauvoir Similarly, feminist theologian Carol Christ took off on a new pathway marked by the deliberate development of non-Trinitarian symbols82 and a discourse of God/dess that, like Daly’s Be-ing, rejected Christianity because its images and metaphors seemed simply to enshrine and sacralize the hegemonic male. ”87 It is indeed as if most feminists in the liberal tradition over the last sixty years 82 See Carol Christ, “Why Women Need the Goddess: Phenomenological, Psychological and Political Reflections,” in Womanspirit Rising: A Feminist Reader in Religion, ed.

Carol P. , Womanspirit Rising: A Feminist Reader in Religion (New York: Harper & Row, 1979). 90 Carol P. Christ and Judith Plaskow, eds. Weaving the Visions: New Patterns in Feminist Spirituality (New York: HarperSanFrancisco, 1989). , Feminist Theology from the Third World: A Reader (London: SPCK, 1994). 92 The reference to the imagination and to its crucial role in structuring and sustaining relationships between women and men comes from the feminist writer and theorist Adrienne Rich, particularly her essay “When We Dead Awaken: Writing as Re-Vision” (1971), in which she describes the idea of “re-visioning” as “a radical critique of literature” and a vital prerequisite.

Parshley (Harmondsworth, UK: Penguin, 1972), 17 Battersby, Gender and Genius, 135. 19 This Romantic understanding of genius has had a long reach, affecting even Beauvoir in the twentieth century when she was producing her most significant writing and when, in spite of the groundbreaking work she did to lay bare the strategies by which the normative male established and sustained himself, she still seems to have become entangled in that idea of genius as a male preserve. ”20 So her analysis of the normative male and the (im)possibilities of becoming female “human beings”—subjects on the same terms as men—does not prevent her from being sometimes very dismissive of the capacity of women.

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