Kelly Oliver – författare

Discover the delightfully gripping new historical mystery series that's perfect for fans of Helena Dixon, Verity Bright and T E Kinsey.'If you thought the Golden Age of crime was dead, think again!' Verity BrightAgatha Christie is about to embark on a new, gripping murder case. But this time, she’s not the author – she’s a suspect…1926 – Christie is a darling of the literary circuit and the most desired guest in London’s glittering social scene. She can often be found at meetings of the Detection Club – where mystery writers come together to share ideas, swap secrets and drink copiously. But then a fellow author's initiation ceremony takes a gruesome turn, and one of the group ends up dead. Now, Agatha is no longer just the creator of great mystery plots – she’s a player in one.And when Agatha disappears the day after the murder, she’s widely assumed to be guilty. Only Eliza Baker, assistant to the Club’s enigmatic secretary, Dorothy Sayers, is interested in investigating the case. But in a world where murder is the ultimate plot device, can Eliza piece together the evidence and find the killer before it’s too late?Winner of the Agatha Award for Best Historical MysteryPraise for Kelly Oliver:'A cleverly crafted murder mystery which includes Agatha Christie’s actual disappearance in an interesting twist to this start of a new Golden Age series.' Anita Davison'A delightful and un-put-downable whodunnit!' Jane Cleland'Sharp, witty and full of surprises!' Clara McKenna'A fast and fun-filled mystery that checks every box. If you're new to the series, it stands on its own as an action-packed novel that's leavened with the dry wit of its indomitable heroine. A 2024 must-read.' Lori Robbins'A fun, mix of whodunnit and thriller!' T. A. Williams'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham * 'Will keep you turning the pages and laughing all the way!' *Dianne Freeman'Perfect for fans of Downton Abbey and Maisie Dobbs.' BookTrib'A pure delight! A bold, original sleuth, a devilishly charming adversary and a plucky Pekingese.' Mariah Fredericks'Tantalizing and riveting with a good dose of humor.' The Los Angeles Post'Fiona reminds me so much of Miss Fisher. Humor, action, and intrigue.. thoroughly entertaining.' Urban Book Reviews'A perfect blend of wit, fun, and intrigue.' Debra Goldstein ​ 'Smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!' Cathi Stoler'Rich with historical details, and perfectly laced with humor and high jinks. Brilliant!' Margaret Mizushima'Lushly layered in period detail, this mystery delivers twists in a lighthearted tale of suspense and derring-do.' Muddy Rose Reviews'A delightful English countryside mystery with two handsome suitors and twists and turns worthy of Agatha Christie herself!' Amanda Flower

All aboard the Orient Express! 🚂 Love Agatha Christie and Dorothy L. Sayers? READ THIS GRIPPING MURDER MYSTERY! 🔍Don't miss the next installment in Kelly Oliver's brilliantly addictive Detection Club cozy mystery series!Paris, 1928: Agatha Christie and fellow writer Dorothy L Sayers board the Orient Express, bound for Constantinople. Christie in particular is looking forward to a break from recent dispiriting events in both her work and private life – the finalisation of her divorce from her philanderous husband Archie, and the miserly reception of her latest book.But before the duo can settle in to enjoy the luxuries of their first-class journey, their journey is derailed when a fellow guest drops dead during the dinner service. And as the last person to speak to the victim, Dorothy finds herself a prime suspect in his murder.As the train hurtles East, Sayers’ resourceful assistant Eliza and her friend Theo must navigate a maze of suspects. But with each passing mile, the stakes rise, and when another body is discovered, their search to find the killer before they reach their destination becomes increasingly complicated.Can Eliza and Theo stay one step ahead, crack the mystery and clear Dorothy’s name? Or will this be one journey too far for the amateur sleuths?Praise for Kelly Oliver:'Sharp, witty and full of surprises!' Clara McKenna'A fast and fun-filled mystery that checks every box. If you're new to the series, it stands on its own as an action-packed novel that's leavened with the dry wit of its indomitable heroine. A 2024 must-read.' Lori Robbins'A fun, mix of whodunnit and thriller!' T. A. Williams'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham'Will keep you turning the pages and laughing all the way!' Dianne Freeman'Perfect for fans of Downton Abbey and Maisie Dobbs.' BookTrib'A pure delight! A bold, original sleuth, a devilishly charming adversary and a plucky Pekingese.' Mariah Fredericks'Tantalizing and riveting with a good dose of humor.' The Los Angeles Post'Fiona reminds me so much of Miss Fisher. Humor, action, and intrigue.. thoroughly entertaining.' Urban Book Reviews'A perfect blend of wit, fun, and intrigue.' Debra Goldstein ​ 'Smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!' Cathi Stoler'Rich with historical details, and perfectly laced with humor and high jinks. Brilliant!' Margaret Mizushima'Lushly layered in period detail, this mystery delivers twists in a lighthearted tale of suspense and derring-do.' Muddy Rose Reviews'A delightful English countryside mystery with two handsome suitors and twists and turns worthy of Agatha Christie herself!' Amanda Flower

The page-turning, historical cozy mystery series from Kelly Oliver 🔎 If you love Golden-Age detective stories like Agatha Christie, you'll love this! 📚Mesopotamia, 1930: When Agatha Christie invites fellow members of the Detection Club to witness the famous excavations at the ruins of Ur, Dorothy L. Sayers, her quick-witted assistant Eliza Baker, and Theo Sharp expect ancient wonders – not fresh corpses.But when an archaeologist is found dead in the sand, whispers of a deadly curse sweep through the camp. Eliza suspects something far more dangerous than superstition. Amid glittering artifacts and fragile alliances, every guest harbors secrets: the Woolleys, whose marriage is shadowed by tragedy; a journalist hungry for scandal; even academic Max Mallowan, whose loyalties are not what they seem.As theft, forgery, and coded messages surface, the line between archaeology and espionage blurs. And when Eliza and Theo find themselves in danger, they must face not only the truth about the murder – but also the truths they’ve long denied about each other. Can they uncover the killer before the desert claims another victim? Or will this dig unearth secrets too dangerous to survive?Readers love The Case of the Christie Curse:'Witty, atmospheric, and full of intrigue. It’s perfect if you enjoy Christie and cozy historical mysteries. I’ll definitely be picking up more books in this series.' Reader review'An engaging historical mystery that provides romantic quandaries amidst an intriguing puzzle.' Reader review'If you love a solid mystery with plenty of intrigue, humor, and action, The Case of the Christie Curse has all this and more!' Reader reviewPraise for Kelly Oliver:'Sharp, witty and full of surprises!' Clara McKenna'A fast and fun-filled mystery that checks every box. If you're new to the series, it stands on its own as an action-packed novel that's leavened with the dry wit of its indomitable heroine.' Lori Robbins'A fun, mix of whodunnit and thriller!' T. A. Williams'Fast-paced, tongue-in-cheek spy romp. Enjoy the ride!' Frances Evesham'Will keep you turning the pages and laughing all the way!' Dianne Freeman'Perfect for fans of Downton Abbey and Maisie Dobbs.' BookTrib'A perfect blend of wit, fun, and intrigue.' Debra Goldstein ​'Smart, sneaky, and full of surprises... A fun whodunit that will keep you turning the pages!' Cathi Stoler'Rich with historical details, and perfectly laced with humor and high jinks. Brilliant!' Margaret Mizushima'A delightful English countryside mystery with two handsome suitors and twists and turns worthy of Agatha Christie herself!' Amanda Flower

Have we entered a historical moment of 'post-feminism'? This volume presents a timely and convincing 'no'. These essays demonstrate that there is a new generation of French women who take up questions of equality and difference from a position distinct from either first or second wave feminism, a position that often attempts to move beyond the binary of equality and/or difference to a new form of the individual.

As a linguist, Julia Kristeva has pioneered a revolutionary theory of the sign in its relation to social and political emancipation; as a practicing psychoanalyst, she has produced work on the nature of the human subject and sexuality, and on the "new maladies" of today's neurotic. The Portable Kristeva is the only fully comprehensive compilation of Kristeva's key writings. The second edition includes added material from Kristeva's most important works of the past five years, including The Sense and Non-Sense of Revolt, Intimate Revolt, and Hannah Arendt. Editor Kelly Oliver has also added new material to the introduction, summarizing Kristeva's latest intellectual endeavors and updating the bibliography.

Ever since Eve tempted Adam with her apple, women have been regarded as a corrupting and destructive force. The very idea that women can be used as interrogation tools, as evidenced in the infamous Abu Ghraib torture photos, plays on age-old fears of women as sexually threatening weapons, and therefore the literal explosion of women onto the war scene should come as no surprise. From the female soldiers involved in Abu Ghraib to Palestinian women suicide bombers, women and their bodies have become powerful weapons in the Afghanistan and Iraq wars. In Women as Weapons of War, Kelly Oliver reveals how the media and the administration frequently use metaphors of weaponry to describe women and female sexuality and forge a deliberate link between notions of vulnerability and images of violence. Focusing specifically on the U.S. campaigns in Afghanistan and Iraq, Oliver analyzes contemporary discourse surrounding women, sex, and gender and the use of women to justify America's decision to go to war. For example, the administration's call to liberate "women of cover," suggesting a woman's right to bare arms is a sign of freedom and progress.Oliver also considers what forms of cultural meaning, or lack of meaning, could cause both the guiltlessness demonstrated by female soldiers at Abu Ghraib and the profound commitment to death made by suicide bombers. She examines the pleasure taken in violence and the passion for death exhibited by these women and what kind of contexts created them. In conclusion, Oliver diagnoses our cultural fascination with sex, violence, and death and its relationship with live news coverage and embedded reporting, which naturalizes horrific events and stymies critical reflection. This process, she argues, further compromises the borders between fantasy and reality, fueling a kind of paranoid patriotism that results in extreme forms of violence.

Ever since Eve tempted Adam with her apple, women have been regarded as a corrupting and destructive force. The very idea that women can be used as interrogation tools, as evidenced in the infamous Abu Ghraib torture photos, plays on age-old fears of women as sexually threatening weapons, and therefore the literal explosion of women onto the war scene should come as no surprise. From the female soldiers involved in Abu Ghraib to Palestinian women suicide bombers, women and their bodies have become powerful weapons in the Afghanistan and Iraq wars. In Women as Weapons of War, Kelly Oliver reveals how the media and the administration frequently use metaphors of weaponry to describe women and female sexuality and forge a deliberate link between notions of vulnerability and images of violence. Focusing specifically on the U.S. campaigns in Afghanistan and Iraq, Oliver analyzes contemporary discourse surrounding women, sex, and gender and the use of women to justify America's decision to go to war. For example, the administration's call to liberate "women of cover," suggesting a woman's right to bare arms is a sign of freedom and progress.Oliver also considers what forms of cultural meaning, or lack of meaning, could cause both the guiltlessness demonstrated by female soldiers at Abu Ghraib and the profound commitment to death made by suicide bombers. She examines the pleasure taken in violence and the passion for death exhibited by these women and what kind of contexts created them. In conclusion, Oliver diagnoses our cultural fascination with sex, violence, and death and its relationship with live news coverage and embedded reporting, which naturalizes horrific events and stymies critical reflection. This process, she argues, further compromises the borders between fantasy and reality, fueling a kind of paranoid patriotism that results in extreme forms of violence.

Philosophy reads humanity against animality, arguing that "man" is man because he is separate from beast. Deftly challenging this position, Kelly Oliver proves that, in fact, it is the animal that teaches us to be human. Through their sex, their habits, and our perception of their purpose, animals show us how not to be them. This kinship plays out in a number of ways. We sacrifice animals to establish human kinship, but without the animal, the bonds of "brotherhood" fall apart. Either kinship with animals is possible or kinship with humans is impossible. Philosophy holds that humans and animals are distinct, but in defending this position, the discipline depends on a discourse that relies on the animal for its very definition of the human. Through these and other examples, Oliver does more than just establish an animal ethics. She transforms ethics by showing how its very origin is dependent upon the animal. Examining for the first time the treatment of the animal in the work of Heidegger, Merleau-Ponty, Derrida, Agamben, Freud, Lacan, and Kristeva, among others, Animal Lessons argues that the animal bites back, thereby reopening the question of the animal for philosophy.

No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as Where the Heart Is (2000), Riding in Cars with Boys (2001), Palindromes (2004), Saved! (2004), Quinceanera (2006), Children of Men (2006), Knocked Up (2007), Juno (2007), Baby Mama (2008), Away We Go (2009), Precious (2009), The Back-up Plan (2010), Due Date (2010), and Twilight: Breaking Dawn (2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.

No longer is pregnancy a repulsive or shameful condition in Hollywood films, but an attractive attribute, often enhancing the romantic or comedic storyline of a female character. Kelly Oliver investigates this curious shift and its reflection of changing attitudes toward women's roles in reproduction and the family. Not all representations signify progress. Oliver finds that in many pregnancy films, our anxieties over modern reproductive practices and technologies are made manifest, and in some cases perpetuate conventions curtailing women's freedom. Reading such films as Where the Heart Is (2000), Riding in Cars with Boys (2001), Palindromes (2004), Saved! (2004), Quinceanera (2006), Children of Men (2006), Knocked Up (2007), Juno (2007), Baby Mama (2008), Away We Go (2009), Precious (2009), The Back-up Plan (2010), Due Date (2010), and Twilight: Breaking Dawn (2011), Oliver investigates pregnancy as a vehicle for romance, a political issue of "choice," a representation of the hosting of "others," a prism for fears of miscegenation, and a screen for modern technological anxieties.

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.

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.

Katniss Everdeen (The Hunger Games), Bella Swan (Twilight), Tris Prior (Divergent), and other strong and resourceful characters have decimated the fairytale archetype of the helpless girl waiting to be rescued. Giving as good as they get, these young women access reserves of aggression to liberate themselves-but who truly benefits? By meeting violence with violence, are women turning victimization into entertainment? Are they playing out old fantasies, institutionalizing their abuse? In Hunting Girls, Kelly Oliver examines popular culture's fixation on representing young women as predators and prey and the implication that violence-especially sexual violence-is an inevitable, perhaps even celebrated, part of a woman's maturity. In such films as Kick-Ass (2010), The Girl with the Dragon Tattoo (2011), and Maleficent (2014), power, control, and danger drive the story, but traditional relationships of care bind the narrative, and even the protagonist's love interest adds to her suffering.To underscore the threat of these depictions, Oliver locates their manifestation of violent sex in the growing prevalence of campus rape, the valorization of woman's lack of consent, and the new urgency to implement affirmative consent apps and policies.

Katniss Everdeen (The Hunger Games), Bella Swan (Twilight), Tris Prior (Divergent), and other strong and resourceful characters have decimated the fairytale archetype of the helpless girl waiting to be rescued. Giving as good as they get, these young women access reserves of aggression to liberate themselves-but who truly benefits? By meeting violence with violence, are women turning victimization into entertainment? Are they playing out old fantasies, institutionalizing their abuse? In Hunting Girls, Kelly Oliver examines popular culture's fixation on representing young women as predators and prey and the implication that violence-especially sexual violence-is an inevitable, perhaps even celebrated, part of a woman's maturity. In such films as Kick-Ass (2010), The Girl with the Dragon Tattoo (2011), and Maleficent (2014), power, control, and danger drive the story, but traditional relationships of care bind the narrative, and even the protagonist's love interest adds to her suffering.To underscore the threat of these depictions, Oliver locates their manifestation of violent sex in the growing prevalence of campus rape, the valorization of woman's lack of consent, and the new urgency to implement affirmative consent apps and policies.

" . . . both an excellent introduction and a thoroughgoing analysis of Kristeva's writing." —Signs"The book is a brilliant combination of a recuperative and a critical reading of Kristeva's work." —Changes: An International Journal of Psychology & Psychotherapy" . . . a thorough, detailed, and critical analysis of the writings of Julia Kristeva." —Elizabeth Grosz". . . the most involved and engaging study of Julia Kristeva's work to date . . ." —The Year's Work in Critical and Cultural TheoryThis first full-scale feminist interpretation of Kristeva's work situates her within the context of French feminism. Oliver guides her readers through Kristeva's intellectual formation in linguistics, Freud, Lacan, and poetics. This comprehensive introduction to Kristeva makes accessible her important contributions to philosophy, linguistics, and psychoanalytic feminism.

Nietzsche has the reputation of being a virulent misogynist, so why are feminists interested in his philosophy? The essays in this volume provide answers to this question from a variety of feminist perspectives.The organization of the volume into two sets of essays, "Nietzsche's Use of Woman" and "Feminists' Use of Nietzsche," reflects the two general approaches taken to the issue of Nietzsche and woman. First, many debates have focused on how to interpret Nietzsche's remarks about women and femininity. Are all of Nietzsche's comments to be read literally, or is he being ironic, perhaps even parodying and subverting stereotypes about women? Second, is his philosophy useful to feminist theory? Can we separate his philosophy from his seemingly derogatory remarks about women? Can feminists use his criticisms of truth, objectivity, reason, and the autonomous subject to challenge the exclusion of women from the history of philosophy? Some view his critiques of dualism and essentialism as well as his perspectivism and social constructivism as adumbrating later feminist positions. Others find troubling his privileging of masculinity and paradigms of domination; they see Nietzsche's sexual dualism as countering otherwise transgressive themes.Contributors are Debra Bergoffen, Maudmarie Clark, Daniel Conway, Jacques Derrida, Jean Graybeal, Kathleen Higgins, Luce Irigaray, Sarah Kofman, Tamsin Lorraine, Kelly Oliver, David Owen, Marilyn Pearsall, Ofelia Schutte, Linda Singer, Lynne Tirrell, and Kathleen Wininger.

In Womanizing Nietzsche, Kelly Oliver uses an analysis of the position of woman in Nietzsche's texts to open onto the larger question of philosophy's relation to the feminine and the maternal. Offering readings from Nietzsche, Derrida, Irigaray, Kristeva, Freud and Lacan, Oliver builds an innovative foundation for an ontology of intersubjective relationships that suggests a new approach to ethics.

A valuable intervention in Kristevan scholarship and a significant and exciting contribution in its own right to post-structuralist discussions of ethical and political agency and practice. Contributors: Judith Butler, Tina Chanter, Marilyn Edelstein, Jean Graybeal, Suzanne Guerlac, Alice Jardine, Lisa Lowe, Noelle McAfee, Norma Claire Moruzzi, Kelly Oliver, Tilottma Rajan, Jacqueline Rose, Allison Weir, Mary Bittner Wiseman, Ewa Ziarek

Family Values shows how the various contradictions at the heart of Western conceptions of maternity and paternity problematize our relationships with ourselves and with others. Using philosophical texts, psychoanalytic theory, studies in biology and popular culture, Kelly Oliver challenges our traditional concepts of maternity which are associated with nature, and our conceptions of paternity which are embedded in culture.Oliver's intervention calls into question the traditional image of the oppositional relationship between nature and culture, maternal and paternal. Family Values also undercuts recent returns to the rhetoric of a "battle between the sexes" by analyzing the conceptual basis of these descriptions in biological research and the presuppositions of such suggestions in philosophy and psychoanalysis. By developing a reconception of maternity and paternity, Family Values offers hope for peace in the battle of the sexes.

Family Values shows how the various contradictions at the heart of Western conceptions of maternity and paternity problematize our relationships with ourselves and with others. Using philosophical texts, psychoanalytic theory, studies in biology and popular culture, Kelly Oliver challenges our traditional concepts of maternity which are associated with nature, and our conceptions of paternity which are embedded in culture.Oliver's intervention calls into question the traditional image of the oppositional relationship between nature and culture, maternal and paternal. Family Values also undercuts recent returns to the rhetoric of a "battle between the sexes" by analyzing the conceptual basis of these descriptions in biological research and the presuppositions of such suggestions in philosophy and psychoanalysis. By developing a reconception of maternity and paternity, Family Values offers hope for peace in the battle of the sexes.

Between the Psyche and the Social is the first collection of its kind to offer original, interdisciplinary essays on questions of social subjectivity. Contributors engage the disciplines of feminism, psychoanalytic theory, queer theory, postcolonial theory, film theory, literary criticism, and philosophy to transform the psychoanalytic study of social oppression. The book considers such questions as, How can psychoanalysis and critical social theory engage and transform one another? How can the social dimensions of subjectivity be understood within the framework of a classic psychoanalytic theory that rejects the social domain that gives rise to subjectivity in the first place? Between the Psyche and the Social reclaims the contributions of psychoanalysis, feminism, queer theory, postcolonial, and political theories in order to change the parameters of the current debates on the social dimensions of subjectivity.

Gathers authors with different backgrounds and methods to advance feminist discussions of the relation between language and women's oppression, suggesting promising new directions for further research.Presenting new and important scholarship in feminist language theory, this book addresses issues within diverse traditions, bringing together feminist positions, strategies, and styles in an original way. Gathering together authors with different backgrounds and methods, Language and Liberation puts this diverse scholarship into dialogue.The questions and concerns reflected in these essays are presented within the context of their historical background, provided by the editors' comprehensive Introduction. These questions include: Is there a distinction between "female" and "male" language? What is the relationship of feminine/feminist identity to language? What is the value of metaphor for feminist theory and practice?

The work of the distinguished philosopher Sarah Kofman has, since her tragic death in 1994, become a focus for many scholars interested in contemporary French philosophy. The first critical collection on her thought to appear in English, Enigmas evaluates Kofman's most important contributions to philosophy, psychoanalytic theory, feminism, and literary theory. These insightful essays range from analyses of Kofman's first book, L'Enfance de l'art (1970), to her last, L'Imposture de la beauté (1995). This unique volume represents the major themes in Kofman's scholarship: literature and aesthetics; philosophy and metaphor; women, feminism, and psychoanalysis; and Jews and German nationalism. Selected essays explore and diagnose Kofman's personal struggles as they are reflected in her writing.

The work of the distinguished philosopher Sarah Kofman has, since her tragic death in 1994, become a focus for many scholars interested in contemporary French philosophy. The first critical collection on her thought to appear in English, Enigmas evaluates Kofman's most important contributions to philosophy, psychoanalytic theory, feminism, and literary theory. These insightful essays range from analyses of Kofman's first book, L'Enfance de l'art (1970), to her last, L'Imposture de la beauté (1995). This unique volume represents the major themes in Kofman's scholarship: literature and aesthetics; philosophy and metaphor; women, feminism, and psychoanalysis; and Jews and German nationalism. Selected essays explore and diagnose Kofman's personal struggles as they are reflected in her writing.

A new, ethically based theory of identity by a major scholar.Challenging the fundamental tenet of the multicultural movement-that social struggles turning upon race, gender, and sexuality are struggles for recognition-this work offers a powerful critique of current conceptions of identity and subjectivity based on Hegelian notions of recognition. The author’s critical engagement with major texts of contemporary philosophy prepares the way for a highly original conception of ethics based on witnessing.Central to this project is Oliver’s contention that the demand for recognition is a symptom of the pathology of oppression that perpetuates subject-object and same-different hierarchies. While theorists across the disciplines of the humanities and social sciences focus their research on multiculturalism around the struggle for recognition, Oliver argues that the actual texts and survivors’ accounts from the aftermath of the Holocaust and slavery are testimonials to a pathos that is “beyond recognition.” Oliver traces many of the problems with the recognition model of subjective identity to a particular notion of vision presupposed in theories of recognition and misrecognition. Contesting the idea of an objectifying gaze, she reformulates vision as a loving look that facilitates connection rather than necessitates alienation. As an alternative, Oliver develops a theory of witnessing subjectivity. She suggests that the notion of witnessing, with its double meaning as either eyewitness or bearing witness to the unseen, is more promising than recognition for describing the onset and sustenance of subjectivity. Subjectivity is born out of and sustained by the process of witnessing-the possibility of address and response-which puts ethical obligations at its heart.

Investigates the fears and desires about sexuality and racial identity that shape film noir.Among the elements that define the classic film noir-chiaroscuro lighting, voice-over narration, and such archetypal characters as the world-weary private eye and the femme fatale-perhaps no element is more responsible for the genre’s continued popularity among movie buffs, filmmakers, and critics than the palpable sense of anxiety that emanates from the screen. Because the genre emerged in the shadow of the Second World War, this profound psychological and philosophical unease is usually ascribed either to postwar fears about the atomic bomb or to the reactions of returning soldiers to a new social landscape. In Noir Anxiety, however, Kelly Oliver and Benigno Trigo interpret what has been called the "free-floating anxiety" of film noir as concrete apprehensions about race and sexuality. Applying feminist and postcolonial psychoanalytic theory to traditional noir films (Murder, My Sweet; The Lady from Shanghai; Vertigo; and Touch of Evil) and the "neo-noirs" of the 1970s, 1980s, and 1990s (Chinatown, Devil in a Blue Dress, and Bound), the authors uncover a rich array of unconscious worries and desires about ambiguous sexual, racial, and national identities, often displaced onto these films’ narrative and stylistic components. In particular, Oliver and Trigo focus on the looming absence of the mother figure within the genre and fears about maternal sexuality and miscegenation. Drawing on the work of Freud and Julia Kristeva, Noir Anxiety locates film noir’s studied ambivalence toward these critical themes within the genre’s social, historical, and cinematic context.

Reveals the psychic and social costs of racial and sexual oppressionWe are, Julia Kristeva writes, strangers to ourselves; and indeed much of contemporary theory, whether psychoanalytic, historical, social, or critical, describes the human condition as one of alienation. Eloquently arguing that we cannot explain the development of individuality or subjectivity apart from its social context, Kelly Oliver makes a powerful case for recognizing the social aspects of alienation and the psychic aspects of oppression.Oliver’s work shows how existentialist and psychoanalytic notions of alienation cover up specific forms of racist and sexist alienation that serve as the underside of the human condition. She reveals that such notions are actually symptomatic of the subject’s anxiety and guilt over the oppression on which his privileged position rests. Not only does such alienation not embody subjectivity and humanity, it in fact undermines them.Asserting that sublimation and forgiveness-and not alienation-constitute subjectivity, Oliver explores the complex ways in which the alienation unique to oppression leads to depression, shame, anger, or violence; and how these affects, now often misread and misdiagnosed, can be transformed into agency, individuality, solidarity, and community.