Feminist Theory

The identification and valorization of unacknowledged, feminized forms of economic productivity has been an important task for feminist theory. In this article, we expand and rethink existing definitions of labour, in order to recognize the essential economic role women play in the stem cell and regenerative medicine industries, new fields of biomedical research that are rapidly expanding throughout the world. Women constitute the primary tissue donors in the new stem cell industries, which require high volumes of human embryos, oöcytes, foetal tissue and umbilical cord blood. Such material is generally given for free in the advanced industrial democracies, constituted as a surplus (‘spare’ embryos) or waste (umbilical cord ‘afterbirth’, cadaveric foetuses, poor quality oöcytes) whose generative powers should not be withheld from others. At the same time, among impoverished female populations in developing nations, such biological material is now often procured through frankly transactional relations, where women undertake risky procedures for small fees. In each case, female bodily productivity is mobilized to support bioeconomic research, yet the economic value involved in these relations is largely unacknowledged. In this article, we consider both the gift economy and the transactional economy for reproductive tissues as a form of labour. In order to fully conceptualize the specificities of feminized productivity in the bioeconomy, we distinguish between earlier feminist theories of reproductive labour and the emerging practices generated by stem cell research, which we term regenerative labour. We consider how historical transformations in the regulation of feminized labour and the technical repertoires of stem cell research renegotiate the productivity limits of female reproductive biology, opening it out to novel and profitable forms of surplus value and enrolling women in complex negotiations over their role in bioeconomic activity.

This article brings a phenomenological account of the body into dialogue with theories of gender performativity, through an analysis of performance artist Cathy Sisler’s videos Aberrant Motion #1 (1993) and Aberrant Motion #4 (1994). In the work I discuss, Sisler foregrounds he limits of visibility and employs a visual mode which is more haptic than strictly optic. At the same time, the work makes explicit the power of visibility to regulate, control and mark out the subject and critiques the effect of the gaze upon structures of identity formation and, crucially, the motility of the body. I argue that in this work, the viewer’s relation to the images is severed from the visual mastery associated with the modes of viewing which position Sisler as ‘other’, but which remain vitally at stake within the haptic visual economy she creates.

While ethics has become accepted as an important field of inquiry within Anglo-American critical and feminist theory, the same thing cannot be said about ‘love’. I argue that ‘love’ needs to be taken as a serious, valid and crucial subject for academic study, and that feminist theory should have a special investment in the topic. Phenomenological theories of pain and psychoanalytic theories of melancholy can provide a negative definition of love by describing situations where love has lost its objects. These theories help to map connections amongst pain, love, and language, and demonstrate how language — and for Julia Kristeva, how especially literary language — can play an important role in mediating these states. I propose that ‘love’ names not only a particular qualitative relation between a self and an Other, but also a process of altering oneself that involves the creation of an unusual and seemingly contradictory spacing or distance. Luce Irigaray’s work helps us conceive of this concept as an embodied one through her concept of proximate distance. I suggest a ‘poethics of love’ as a theory/methodology that could allow us to continue to think through these complex issues in a way that ties ethical, political and aesthetic concerns together.

This article analyses Mary Kelly’s Love Songs, 2005—07, which was exhibited in 2007 at Documenta 12. The series of artworks addresses the political and ideological legacies of early Anglo-US feminism through the perspectives of two generations of women. Drawing on oral and photographic archives, as well as historical re-enactments, Kelly indicates how her work does not simply record a feminist legacy but, rather, keenly intervenes in the process. I propose that this intervention is an ethical one. Drawing on Luce Irigaray’s writings on the maternal gift, I demonstrate how Kelly’s project may be understood to enact an ethical relationality that I find is fundamental for thinking about the vexing issue of feminist intergenerationality. I conclude that while Love Songs maps no specific course of action, nor indicates exactly why or how a current generation of feminists should proceed, it nonetheless generates a space in which to imagine the radical futurity of the maternal gift.