By Charles Christi Thomas

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In a Christian European context, the concept of genius comes to describe a creativity that in some way parallels divine creativity and thereby inevitably reflects the normative male gender of God within this tradition. ”11 Whether it is related to the divinely initiated power of procreativity, to skill, talent, ingenuity, reason, passion, sexual energy, or imagination, or even if it is said to walk a “sublime” path between “sanity” and “madness,” between the “monstrous” and the “superhuman,”12 the history of genius reflects its persistently masculine character.

85 See Pamela Sue Anderson, A Feminist Philosophy of Religion (Oxford: Blackwell, 1998); and “The Lived Body, Gender and Confidence,” in New Topics in Feminist Philosophy of Religion, ed. Anderson, 163–80. 86 Kathleen O’Grady, “The Tower and the Chalice: Julia Kristeva and the Story of Santa Barbara,” in Religion in French Feminist Thought: Critical Perspectives, ed. Morny Joy, Kathleen O’Grady, and Judith L. Poxon (London: Routledge, 2003), 86. 87 Penelope Margaret Magee, “Disputing the Sacred: Some Theoretical Approaches to Gender and Religion,” in Religion and Gender, ed.

Anderson, 147–62. 84 Hampson, “Kant and the Present,” 156. 85 See Pamela Sue Anderson, A Feminist Philosophy of Religion (Oxford: Blackwell, 1998); and “The Lived Body, Gender and Confidence,” in New Topics in Feminist Philosophy of Religion, ed. Anderson, 163–80. 86 Kathleen O’Grady, “The Tower and the Chalice: Julia Kristeva and the Story of Santa Barbara,” in Religion in French Feminist Thought: Critical Perspectives, ed. Morny Joy, Kathleen O’Grady, and Judith L. Poxon (London: Routledge, 2003), 86.

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