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Hailed on publication as "an impressive integration of postmodernism and relational psychoanalysis" (James Hansel) and "an intelligent and stimulating account of where the issues of identity, gender, and difference are joined" (Jessica Benjamin), Lynne Layton's Who's That Girl? Who's That Boy? is a major contribution to the postmodern understanding of gender issues.
This new edition, under the aegis of the Bending Psychoanalysis Book Series, includes a Foreword by Series Editor Jack Drescher and an Afterword in which Lynne Layton addresses the evolution of her thinking since the book's publication in 1998.
- Sales Rank: #2813683 in Books
- Published on: 2004-04-01
- Released on: 2004-05-11
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .67" w x 6.00" l, .90 pounds
- Binding: Paperback
- 296 pages
Review
"[Layton] explores that layer of existence that filters the social through the psychological, bringing clinical work and feminist theory together. Her book is a significant interlocutor too, and serves as introduction for a number of important feminist dialogues and debates, such as the relation between the personal and the political and between social constructionist versus identity-derived perspectives. Layton's text brings these many, sometimes contesting, perspectives together in an incisive and grounded exposition."
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�- Kareen Ror Malone, Signs
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"I don't think it is an exaggeration to call this a work of intellectual virtuosity. Where some, myself included, grow impatient with postmodern theories, while nonetheless being influenced by the same social currents out of which these theories have sprung, others bury themselves in theory, seemingly losing touch with lived experience. Layton brings patience and passion to unraveling the knotty intellectual currents of meaning that both unify and separate these two areas of thought. Rather than come down on one side or the other of what she considers a false polarity, she shows how one can inform the other."
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�- Sheila Bienenfeld, Women's Review of Books
From the Back Cover
"This is a remarkable book. Lynne Layton engages some of the most abstract and challenging theorizing of our time and relates it to the way we live our lives, as reflected in popular culture and clinical practice. She gracefully bridges the most abstruse postmodern concepts with the popular iconography of film, music, and fiction. Her writing is critical but respectful, highly accessible but never simplistic,and personal. She speaks to the central struggles of women and men in our gender-confused times, with a voice that is both strong and sympathetic." (Stephen Mitchel, Ph.D.)
About the Author
Lynne Layton is Assistant Clinical Professor of Psychology in the Department of Psychiatry at Harvard Medical School. She is also on the faculty of the Massachusetts Institute for Psychoanalysis and is in clinical practice in Brookline, Massachusetts.
Most helpful customer reviews
1 of 1 people found the following review helpful.
multidisciplinary brilliance
By Fred E. Maus
Layton has a triple citizenship in academic gender theory (with its reliance on Lacan and continentally-oriented theorists such as Judith Butler); Anglo-American psychoanalytic practice, with its emphasis on clinical experience and its respect for clients' longing for wholeness; and pop culture (Madonna, Blue Velvet ...). She is unusually gifted at clear, humane, politically-engaged writing; the book is full of thoughtful, insightful writing, including some of the very best writing on Madonna. She is particularly fine in articulating the tensions among different schools of psychonanalysis, always writing about this in a way that is conceptually lucid and personally committed. I wish there were more books by her to read!
3 of 5 people found the following review helpful.
Challenging, didactic, never pedantic
By A Customer
An enjoyable set of reversible one way mirrors where approachable and popular icons and genres are exhibits used to explain and to critique implications of cultural and psychoanalytic theories which themselves are employed by the author to understand the dominance of specific icons and the particular content of several cultural forms. On a practical level, the work is an effective counterpoint to the neo-scary pigeonholing of persons and, more specifically, psychotherapy patients, in biological categories which the author demonstrates succesfully are not biological at all.
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