A CFP for a special issue of the journal Angelaki is below.
The theme raises questions that include whether and how philosophy (or certain areas or styles in philosophy) are masculine, and if so, whether it is their masculine qualities that contribute to those areas of inquiry being pursued by more males than females.
For example, Jender has noted that software which presumes to guess an author's gender generally pegs analytic philosophy as male, no matter the actual gender of the author. The style expectations in analytic philosophy mimic typical male speech/writing patterns.
This raises some of the same issues as the silly literature on whether boys are naturally good at math, or whether the fact that they receive more instruction and more instructor attention has something to do with it. We analytic philosophers apparently learn which writing style is appropriate. Are women in general taught that a particular writing style is the one with which they are expected to express themselves?
Here's the cfp:
Recoupling Genre and ‘Gender’
Edited by Moira Gatens
Theme Issue for Angelaki: journal of theoretical humanities
Proposed publication date: December 2008
Questions about genre always raise questions of tradition, authority and exclusion. What justifies the judgement that one text is ‘philosophical’, another ‘literary’, and yet another ‘historical’? And
how might these broad ‘genre’ distinctions play out in the realm of gender? Is literary production ‘feminised’ in relation to a ‘masculinised’ philosophy? And what can be said about the gendering of
genres within disciplines?
· Writing the history of ‘Great Men’ and ‘Great Events’ is the preserve of men whereas social histories, that require an ‘eye for detail’ and the ‘everyday’, are suited to the special talents of women.
· Metaphysics and Epistemology are at the ‘science’ end of philosophy, whereas moral and social philosophy is at the ‘humanities’ end and so more suited to women.
· Epic poetry, high tragedy, and wide-ranging, ‘big picture’, creations are the literary preserve of men; women’s genre is the novel and the short story, both of which suit women’s talents in representing the
everyday and domesticity.
Perhaps these platitudes do little more than rearticulate the claim that Man is able to grasp the 'universal' whereas woman’s preserve is the ‘particular’? Recent scholarship, across the disciplines, has questioned both how these disciplines (history, philosophy, and literature) relate to each other and the way in which ‘gender’ has been coupled with particular genres of writing.
This special issue of Angelaki aims to bring together an interdisciplinary group of scholars in order to reconsider ways in which the genre and gender question has been configured in recent theory. It seeks innovative reformulations of the genre-gender relation that emphasise the ways in which this relation is intimately tied to specific social norms and particular institutions in a variety of cultural, historical and political contexts. To this end, the papers will explore the specificity of the discursive relationship between various ‘coupled’ authors as well as the way in which the reception of their writings may have changed over time. (The ‘coupled’ authors might include: Wollstonecraft and Godwin, George Eliot and G.H. Lewes, Virgina Woolf and Vita Sackville West, Mary Shelley and P.B. Shelley, Heidegger and Arendt, Delueze and Guattari). The overriding aim is to move towards a 'recoupling' of genre and gender that acknowledges the full force of the range of institutions and social and historical conventions at work in genre allocation.
The upper limit for submissions is 10,000 words but shorter pieces are welcome. Please follow MLA style and submit papers electronically (in Word format) to Moira.Gatens@arts.usyd.edu.au
Deadline for submission: 15 April 2008.