ABSTRACT
The conjunction of various texts not only enables a dynamic continuum across the spheres of scholarship and teaching, but also drives home the point that the academic and the popular are not simplistically opposed: namely, Romantic literature, contemporary film, and the rise of modern science overlay each other to form a complex portrait of power in relation to gender in science, as artistically and popularly depicted. The different but converging paths have led to the relegation of women, “the feminine,” and the racial “other” to the object position. Similarly, their projects enable a revisioning of the conditions of possibility within which power, gender, and race in science and art may be configured, leading to a more dialectical and less tyrannical schema that destabilizes the parallel and intersecting dichotomies of masculine-feminine, subject-object, and culture-nature.
