In the following essay, Deutscher analyzes the cultural and philosophical significance of Irigaray's feminist reconceptualization of divinity in Sexes and Genealogies and An Ethics of Sexual Difference.

In the following interview, originally conducted in May 1994, Irigaray discusses the specificity of her own practice as a writer, her relationship with psychoanalytic theory, and her relationship to traditional Western philosophy.

In the following essay, Holmlund surveys Irigaray's oeuvre and its critical reception, identifying three central tropes that inform her criticism and the political/literary implications of these devices in the evolution of her thought.

In the following essay, Berg proposes an ironic reading of “When Our Lips Speak Together,” situating Irigaray's “lips” metaphor as a counterpart to Lacan's “phallus” metaphor.

In the following essay, Schor considers contemporary critiques of essentialism, comparing the opposing thought of Simone de Beauvoir and Irigaray.

In the following essay, Dellamora analyzes apocalyptic rhetoric in Irigaray, comparing her vision of gender relations with that of poststructuralists Emmanuel Lévinas and Michel Foucault.

In the following essay, Burke discusses Irigaray's early works in the context of Lacanian and Derridean thought, examining how Irigaray's writing functions and whether it meets its own criteria.

In the following essay, Quick analyzes Irigaray's philosophical construction of female subjectivity, emphasizing the “fluidity” of femininity.

In the following essay, Whitford deals with the symbolic implications of Irigaray's images of the female body in To Speak Is Never Neutral and This Sex Which Is Not One.

In the following essay, Schutte analyzes the critique of female identity formation in Speculum of the Other Woman, examining Irigaray's claims of phallocentric biases in psychoanalysis.

In the following review, Haas examines Irigaray's thought in Marine Lover of Friedrich Nietzsche and The Irigaray Reader, focusing on her contributions to philosophy.

In the following review, Deutscher contends that Irigaray's later work—including I Love to You: Sketch for a Happiness within History—is less sophisticated than her earlier efforts, which many critics preferred for its deconstructive rather than progressive perspectives.

In the following essay, Wenzel outlines Irigaray's feminist revision of psychoanalytic theories concerning the mother-daughter relationship in “And the One Doesn't Stir without the Other.”