In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, ...affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write, In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self. Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said.
In Crush, a stunning collection of erotic poems and queer meditations delineating Stockton’ and Gilson’s mutual crushing on each other, but also all of the ways in which, sweetly and also sadly, ...affection ameliorates the anguishes that, despite our deepest devotions, are never constant, Stockton and Gilson write, In Aranye Fradenburg’s words, Shakespeare’s sonnets describe “the love you feel for inappropriate objects: for someone thirty years older, thirty years younger. The kind of love that makes a fool, a pervert, a stalker out of you.” Let’s start here, for much of this description applies to Petrarchan conventions as well. Let’s start here, with this affective entrance into the poems and the impossibility of dispossessing the other’s voice in the manufacture of one’s own machine. Let’s start here, with a vision of poems as indexes of crushes rendered inappropriate, unhealthy by some gradation of difference and level of intensity. With the question of what distinguishes a crush from love if both turn you into a different self. Under oak trees and sunlight, in coffee shops and locker rooms, steam rooms and seminar rooms, and in conversation with Milton, Shakespeare, Frank O’Hara, Narcissus, Allen Ginsberg, Jacques Derrida, Aranye Fradenburg, Mary Magdalene, Freud, Oscar Wilde, José Esteban Muñoz, Eve Kosofsky Sedgwick, Elton John, and Prince, among other poets, harlots, saints, and scholars, Stockton and Gilson explore the ways in which friendship, desire, falling, swerving, possession, holding, faggoting, falling, longing, poeming, and crushing open the self to queerly utopic, if also difficult, deflections — other, more improbable modes of being, as Foucault might have said.
This essay argues against two presumptions: first, that the psychoanalytic approach to sexuality is ahistorical; and second, that critics cannot speak of heterosexuality before its 19th‐century ...invention. Looking to Lacanian psychoanalysis, and particularly to Lacan’s theory of sexuation (or sexual difference), this essay develops a queer history of heterosexuality premised on the idea that ‘heterosexuality’ is simply the latest way of describing a structural relation between the sexes. Lacan calls this structure ‘the sexual relation’, and describes it as a fantasy that man and woman are two halves of the same whole. At the same time, he insists that ‘the sexual relation does not exist’: that neither sex can actually make the other whole. Lacan’s own reading of Shakespeare’s Hamlet– focused in part on Hamlet’s antagonism toward Ophelia following the prince’s discovery of his father’s ‘castration’– offers an example of how to queer heterosexuality in pre‐19th‐century texts. My reading of Measure for Measure offers a second example, one that likewise evokes Freud’s mytho‐historical account of the murder of the primordial father and the subsequent creation of a disinterested ‘law’ in the father’s name (Lacan’s Name of the Father). This essay concludes by suggesting that the fantasy of the sexual relation falters in both plays on the ‘obscene’ revelation of the law’s/the Father’s sinfulness.
This essay situates Chaucer's Pardoner within the context of modern cynicism, or what Peter Sloterdijk calls "enlightened false consciousness." Though he admits that his relics are fraudulent, the ...Pardoner encourages the pilgrims' belief in their power and is rebuked by the Host for doing so. I read the Host's scatological rebuke as a symptom of how the Pardoner's performance calls into question the orthodox faith in sublimation, or the correspondence of a material object with what Jacques Lacan terms the ineffable Thing (das Ding). Traditional psychoanalytic approaches to the Pardoner might relate the religious mysteries of sublimation to the mystery of his castration: both are mysteries of how material things undergo a transcendental turn to signify the respective "truths" of divinity and gender. I argue, however, that the Pardoner might be more usefully understood as an anal erotic who queerly debases a phallocentric reality and focuses a conversation that many of the other pilgrims are having about what I call "privy theology." I conclude by contextualizing this conversation within the social framework of the pilgrimage itself, arguing against the critical tendency to view the Pardoner as an antisocial queer hero, and for the pilgrimage as a model of queer sociality.
Clinical Encounters in Sexuality makes an intervention into the fields of clinical psychoanalysis and sexuality studies, in an effort to think about a range of issues relating to sexuality from a ...clinical psychoanalytic perspective. This book concentrates on a number of concepts, namely identity, desire, pleasure, perversion, ethics and discourse. The editors, Noreen Giffney and Eve Watson, have chosen queer theory, a sub-field of sexuality studies, as an interlocutor for the clinical contributors, because it is at the forefront of theoretical considerations of sexuality, as well as being both reliant upon and suspicious of psychoanalysis as a clinical practice and discourse. The book brings together a number of psychoanalytic schools of thought and clinical approaches, which are sometimes at odds with one another and thus tend not to engage in dialogue about divisive theoretical concepts and matters of clinical technique. Traditions represented here include: Freudian, Kleinian, Independent, Lacanian, Jungian, and Relational. The volume also stages, for the first time, a sustained clinical psychoanalytic engagement with queer theory. By virtue of its editorial design, this book aims to foster a self-reflective attitude in clinical readers about sexuality which historically has tended toward reification
Does the Lady in Milton’sComusfantasize about being raped? A qualified yet nonetheless affirmative answer to this question may help resolve the heated debate about the masque that took place between ...John Leonard and William Kerrigan in the early 1990s; but one would likely never know from reading most criticism onComus, before or after, that the Lady is doing anything of the sort. The debate began when Leonard objected to Kerrigan’s Freudian interpretation of the Lady’s resistance to Comus as a case in which meaning “exudes its own adversary” or where “no” means “yes.”¹ This interpretation had allowed
... Gail Kern Paster, discerning a comic scatological imperative in A Midsummer Night's Dream footnotes the OED's claim that a pun on bottom/ass ... is not present in Elizabethan locution, yet she ...proceeds to argue for a somatic troping on Bottom's name by tracing the logic of purgation that structures the ass-headed Bottom's love affair with Titania.2 Likewise, in her essay on Shakespeare's use of the ass motif in Midsummer and The Comedy of Errors, Deborah Baker Wyrick allows the pun as a consequence of Renaissance pronunciation; for her, as for Paster, the pun is purely homonymic.3 Perhaps the most emphatic assertion of the pun's presence in Shakespeare belongs to Frankie Rubenstein, who boldly proclaims in her Dictionary of Shakespeare's Sexual Puns and Their Significance, Shakespeare never used 'arse'; like his contemporaries, he used 'ass' to pun on the ass that gets beaten with a stick and the arse that gets thumped sexually, the ass that bears a burden and the arse that bears or carries in intercourse. All three words, overcoding one another, I ultimately put to the service of the following idea: that insofar as the butt of a joke figures, in Susan Purdie's words, as the locus of "semantic excess," this excess is also somatically troped via the ass motif in Shakespeare's play.10 Moreover, as Falstaff becomes the ass, I argue that he also becomes the anal foundation, or fundament, upon which Windsor's diverse polity-fractured by gender, class, and national differences-can cohere.11 My reconsideration of Falstaff as the butt of Windsor's body politic might therefore be said to engage the scatological, comic politics of "ass-making," drawing attention to the fundamental role of the ass in Merry Wives and, potentially, other early modern comedies as well.
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Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK, ZRSKP
20.
Disciplines, Institutions—and Desires Stockton, Will; Digangi, Mario; Karras, Ruth Mazo ...
Journal for early modern cultural studies,
04/2016, Letnik:
16, Številka:
2
Journal Article
Recenzirano
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The tendency among historians of society and culture can be to treat literature (and, mutatis mutandis, visual art) as a mirror of society and the behaviors of fictional characters as historical ...evidence. Chaucers Wife of Bath, who appears widely in textbooks, sourcebooks and courses on the history of medieval women, is a good example of the misuse of literary representation as evidence.1 The flip side of this historical use of literature is a literary use of history that can be equally unsophisticated. The demand for scrupulous historical accuracy that can be substantiated by empirical evidence can limit our perception of the strangeness and variety of past eroticism by allowing only observations that conform to what we already "know" to count as truth. ...it has not been work on the history of sexuality that has demanded conformity to a narrow empiricism in the name of accuracy.
