In this study I am concerned with understanding how the emergence of participatory or, broadly understood, existential approaches to education has shifted the nature of the student/lecturer relationship. Historically, the difference was represented through the in loco parentis trope which contains implicit understandings as to the nature of the lecturer's authority and the ethical parameters of the relationship. With the emergence of more participatory approaches this relationship and its constitutive elements have to be re-imagined. In the first chapter I place this enquiry in the contemporary context in which the very identity of the university is changing as a result of massification and the accountability regime. In the second chapter I look at bell hooks' pedagogy as an example of such a participatory approach to education at higher education institutions. I describe her practice as a deconstructive pedagogy that is as powerful as it is because of the operation of a difference constitutive of it. In the third chapter I ask whether representing this difference in terms of the pre-modern master/apprentice offers a useful response to the questions raised by an existential praxis.

I trace Jacques Derrida's notions of self and truth in Circumfession. This text paints a gruesome self-portrait depicting the inescapable violence of subjectivity. The self is born in blood. Derrida courageously confesses to being a casualty of this lovelessness. Similarly, exploring the depth of patriarchy's inscriptions requires facing the painful truth of my bleeding self. Investigating these wounds seems to reopen them, making me complicit in my own oppression. Drawing from the rich narrative of Ingeborg Bachmann's novel Malina, I allow feminists such as Helene Cixous, Luce Irigaray, Drucilla Cornell and bell hooks to engage Derrida's notions of the wounded and wounding self. Beginning in this bloody place, they attempt to write a way-out of the disempowering systems of subjectivity to which the female self seems confined. They write in order that love will bleed some light on the struggle for empowered female subjectivity, re-writing the self as a space of love rather than violence.