Tim Smith-Laing – författare

Michel Foucault’s 1969 essay “What is an Author?” sidesteps the stormy arguments surrounding “intentional fallacy” and the “death of the author,” offering an entirely different way of looking at texts. Foucault points out that all texts are written but not all are discussed as having “authors”. So what is special about “authored” texts? And what makes an “author” different to other kinds of text-producers? From its deceptively simple titular question, Foucault’s essay offers a complex argument for viewing authors and their texts as objects. A challenging, thought-provoking piece, it is one of the most influential literary essays of the twentieth century.

Michel Foucault’s 1969 essay “What is an Author?” sidesteps the stormy arguments surrounding “intentional fallacy” and the “death of the author,” offering an entirely different way of looking at texts. Foucault points out that all texts are written but not all are discussed as having “authors”. So what is special about “authored” texts? And what makes an “author” different to other kinds of text-producers? From its deceptively simple titular question, Foucault’s essay offers a complex argument for viewing authors and their texts as objects. A challenging, thought-provoking piece, it is one of the most influential literary essays of the twentieth century.

Jacques Derrida’s Structure, Sign, and Play is one of the most controversial and influential philosophical texts of the 20th century. Delivered at a conference on structuralism at Johns Hopkins, the lecture took aim at the critical and philosophical fashions of the time and radically proposing a world in which meaning cannot be pinned down or traced to an origin, but instead is continuously shifting, fleeting, and open to play. Hailed by many as a watershed in philosophy and literary theory, Derrida’s lecture has shaped both disciplines. At once dense, brilliant, and humorous, it is a crucial read for anyone interested in questioning our natural assumptions about meaning in the world.

Jacques Derrida’s Structure, Sign, and Play is one of the most controversial and influential philosophical texts of the 20th century. Delivered at a conference on structuralism at Johns Hopkins, the lecture took aim at the critical and philosophical fashions of the time and radically proposing a world in which meaning cannot be pinned down or traced to an origin, but instead is continuously shifting, fleeting, and open to play. Hailed by many as a watershed in philosophy and literary theory, Derrida’s lecture has shaped both disciplines. At once dense, brilliant, and humorous, it is a crucial read for anyone interested in questioning our natural assumptions about meaning in the world.

A Room of One''s Own is a very clear example of how creative thinkers connect and present things in novel ways.

Based on the text of a talk given by Virginia Woolf at an all-female Cambridge college, Room considers the subject of ''women and fiction.'' Woolf’s approach is to ask why, in the early 20th century, literary history presented so few examples of canonically ''great'' women writers. The common prejudices of the time suggested this was caused by (and proof of) women''s creative and intellectual inferiority to men. Woolf argued instead that it was to do with a very simple fact: across the centuries, male-dominated society had systematically prevented women from having the educational opportunities, private spaces and economic independence to produce great art. At a time when ''art'' was commonly considered to be a province of the mind that had no relation to economic circumstances, this was a novel proposal. More novel, though, was Woolf''s manner of arguing and proving her contentions: through a fictional account of the limits placed on even the most privileged women in everyday existence. An impressive early example of cultural materialism, A Room of One''s Own is an exemplary encapsulation of creative thinking.

Judith Butler''s Gender Trouble is a perfect example of creative thinking. The book redefines feminism''s struggle against patriarchy as part of a much broader issue: the damaging effects of all our assumptions about gender and identity.

Looking at the factionalism of contemporary (1980s) feminism, Butler saw a movement split by identity politics. Riven by arguments over what it meant to be a women, over sexuality, and over class and race, feminism was falling prey to internal problems of identity, and was failing to move towards broader solidarity with other liberation movements such as LGBT.

Butler turned these issues on their head by questioning the basis that supposedly fundamental and fixed identities such as ''masculine/feminine'' or ''straight/gay'' actually have. Tracing these binary definitions back to the binary nature of human anatomy (''male/female''), she argues that there is no necessary link between our anatomies and our identities. Subjecting a wide range of evidence from philosophy, cultural theory, anthropology, psychology and anthropology to a renewed search for meaning, Butler shows both that sex (biology) and gender (identity) are separate, and that even biological sex is not simplistically either/or male/female. Separating our biology from identity then allows her to argue that, while categories such as ''masculine/feminine/straight/gay'' are real, they are not necessary; rather, they are the product of society''s assumptions, and the constant reproduction of those assumptions by everyone around us. That opens up some small hope for change: a hope that – 25 years after Gender Trouble''s publication – is having a huge impact on societies and politics across the world.

A Room of One''s Own is a very clear example of how creative thinkers connect and present things in novel ways.

Based on the text of a talk given by Virginia Woolf at an all-female Cambridge college, Room considers the subject of ''women and fiction.'' Woolf’s approach is to ask why, in the early 20th century, literary history presented so few examples of canonically ''great'' women writers. The common prejudices of the time suggested this was caused by (and proof of) women''s creative and intellectual inferiority to men. Woolf argued instead that it was to do with a very simple fact: across the centuries, male-dominated society had systematically prevented women from having the educational opportunities, private spaces and economic independence to produce great art. At a time when ''art'' was commonly considered to be a province of the mind that had no relation to economic circumstances, this was a novel proposal. More novel, though, was Woolf''s manner of arguing and proving her contentions: through a fictional account of the limits placed on even the most privileged women in everyday existence. An impressive early example of cultural materialism, A Room of One''s Own is an exemplary encapsulation of creative thinking.

Judith Butler''s Gender Trouble is a perfect example of creative thinking. The book redefines feminism''s struggle against patriarchy as part of a much broader issue: the damaging effects of all our assumptions about gender and identity.

Looking at the factionalism of contemporary (1980s) feminism, Butler saw a movement split by identity politics. Riven by arguments over what it meant to be a women, over sexuality, and over class and race, feminism was falling prey to internal problems of identity, and was failing to move towards broader solidarity with other liberation movements such as LGBT.

Butler turned these issues on their head by questioning the basis that supposedly fundamental and fixed identities such as ''masculine/feminine'' or ''straight/gay'' actually have. Tracing these binary definitions back to the binary nature of human anatomy (''male/female''), she argues that there is no necessary link between our anatomies and our identities. Subjecting a wide range of evidence from philosophy, cultural theory, anthropology, psychology and anthropology to a renewed search for meaning, Butler shows both that sex (biology) and gender (identity) are separate, and that even biological sex is not simplistically either/or male/female. Separating our biology from identity then allows her to argue that, while categories such as ''masculine/feminine/straight/gay'' are real, they are not necessary; rather, they are the product of society''s assumptions, and the constant reproduction of those assumptions by everyone around us. That opens up some small hope for change: a hope that – 25 years after Gender Trouble''s publication – is having a huge impact on societies and politics across the world.