Come As You Are, After Eve Kosofsky Sedgwick

"This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it. “Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores.

Come As You Are, After Eve Kosofsky Sedgwick

"This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it. “Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores.

Paranoid reading and reparative reading, or, You're so paranoid, you probably think this introduction is about you

Aineisto on Opiskelijakirjaston digitoimaa ja Opiskelijakirjasto vastaa aineiston käyttöluvist

Leitura paranoica e leitura reparadora, ou, você é tão paranoico que provavelmente pensa que este ensaio é sobre você

Tradução do texto "Paranoid Reading and Reparative Reading, or, You’re So Paranoid, You Probably Think This Essay Is About You", de Eve Sedgwick Kosofsky

Nostalgic Masculinity: Homosocial Desire and Homosexual Panic in James Ellroy's This Storm

The second volume in James Ellroy's ‘Second LA Quartet’, This Storm (2019), offers a complex miscellany of war profiteering, fifth column sabotage, and institutional corruption, all of which is starkly projected against the sobering backdrop of the internment of Japanese-Americans. Whilst presenting Ellroy's most diverse assemblage of characters to date, the narrative is, nonetheless, principally centred on the intersecting bonds between men. Although the prevalence of destructive masculine authority in Ellroy's works has been widely discussed, what has often been overlooked are the specifically ‘homosocial’ dimensions of these relationships. Whilst these homosocial bonds are frequently energised and solidified by homophobic violence (both physical and rhetorical), this paper will argue that they are simultaneously wrought by ‘homosexual panic’; the anxiety deriving for the indeterminate boundaries between homosocial and homosexual desire. This panic is expressed most profoundly in This Storm in the form of corrupt policeman Dudley Smith. Haunted by a repressed homosexual encounter, Smith's paranoid behaviour and increasingly punitive violence derives from his inability to establish clear boundaries between his intense homosocial bonds and latent homosexual desires. Thus, whilst Ellroy's ‘nostalgic masculinity’ attempts to circumscribe the dimensions and inviolability of male identity, the paranoia and violence that underscores the various machinations of Ellroy's crooked cops ultimately exposes the fragility of such constructions

Katie Mitchell: feminist director as pedagogue

An Actor Prepares relates the reciprocal dialogue between teacher–director and actor to offer a pedagogical enquiry that moves beyond methodology to focus on the learning exchange. In the first decades of the twentieth century teacher–directors, predominantly male, were responsible for developing theatrical pedagogies. In the twenty-first century, it is rare to focus on the director as pedagogue or attend to the complex learning exchange between director and actor. Furthermore, curriculums continue to be dominated by predominantly male lineages. Yet a focus on pedagogical approaches allows us to look behind methodologies, what an actor does, to consider how an actor learns. What might a gendered consideration of rehearsal practices reveal about the particular features of acting pedagogy? How do feminist interventions reconsider aspects of Stanislavski’s approach? I turn to the developed pedagogy of Katie Mitchell to examine her work as a form of écriture féminine which creates a post-Stanislavski schooling for actors. Applying a methodology for observing pedagogic practice in the rehearsal room that has been developed over four years of research I consider her approach, drawing upon two extended interviews, observations across four rehearsal processes and interviews with the actors involved. I reflect on her process through a gendered lens as an evolved form of method of physical action, which I re-orientate as a method of feminist action. The particular features of this pedagogy map Mitchell’s contribution to developing twenty-first century actor training from a feminist position

Unknowable bodies, unthinkable sexualities: lesbian and transgender legal invisibility in the Toronto women's bathhouse raid

Although litigation involving sexual orientation and gender identity discrimination claims has generated considerable public attention in recent years, lesbian and transgender bodies and sexualities still remain largely invisible in Anglo-American courts. While such invisibility is generally attributed to social norms that fail to recognize lesbian and transgender experiences, the capacity to 'not see' or 'not know' queer bodies and sexualities also involves wilful acts of ignorance. Drawing from R. v Hornick (2002) a Canadian case involving the police raid of a women's bathhouse, this article explores how lesbian and transgender bodies and sexualities are actively rendered invisible via legal knowledge practices, norms and rationalities. It argues that limited knowledge and limited thinking not only regulate the borders of visibility and belonging, but play an active part in shaping identities, governing conduct and producing subjectivity

Violence and affective states in contemporary Latin America

This special issue brings together scholars interested in the analysis of the social, cultural and affective dimensions of violence. The contributions explore the connections between situated experiences of violence and shifting affective states, relations, sensations and contingencies in contemporary Latin America. The articles consider how violence might constitute a nexus for the production of subjectivities and forms of identification, relationality and community, alterity and belonging, in a range of Latin American contexts including Argentina, Brazil, Guatemala, Mexico and in the Mexican diaspora in Spain

Troublesome Masculinities: Masculinity in Trouble

This article explores the notion of troublesome' masculinities that characterise much of the policy discourse and programme thinking on problems of young men and gender. It critiques the dimorphism that shapes this view of young men's gender trouble, and the ‘culturalism’ that constrains the perception of the troubled times in which many young men live. The article argues that young men can be enlisted in the feminist struggle to transform ideologies and institutions of male power, but only by troubling both the notions of masculinity that underpin them as well as the structural inequalities within which they are enmeshed