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Working at the intersection of psychoanalytic, queer, and transgender theories, this book argues for the need to read Lacanian psychoanalysis through a queer and trans-positive framework. In so doing, it challenges the dimensions of fantasy at play in efforts to insist on the continued validity of the binary gender system. Targeting the Lacanian concept of “sexual difference” - that desire is structured through the difference between masculine and feminine - it argues that this idea is not transhistorical, as orthodox Lacanians claim, but rather a historically contingent fantasy. As such, it argues that psychoanalytic queer theorists need to go beyond this fantasy to register truly the full range of sexualities and modes of embodiment. Examining texts as diverse as films such as Hedwig and the Angry Inch and literary texts such as Paul takes the Form of a Mortal Girl, the book enables a queer and trans- inclusive model of theorizing subjectivity in psychoanalysis, psychosocial studies and cultural studies.
During the interwar years in France, modernist literature challenged norms around sex and sexuality through daring portrayals of homosexuality and queerness. The same moment, however, witnessed the crystallization of the Western gender binary and its stark lines of division between male and female. Bringing together trans theory with French literary studies, Mat Fournier offers a new understanding of how the gender binary emerged in the modernist era. Dysphoric Modernism considers gender deviance in works by a broad range of French authors, both writers who are canonical for queer theory, such as Marcel Proust, André Gide, Jean Genet, and Colette, and lesser-known figures, including René Crevel, Raymond Radiguet, Maurice Sachs, and Maurice Rostand. Its trans readings track the dysphoria inherent to modern gender and the many ways these texts both disrupt and reinforce it. Examining the complex entanglements of gender and sexuality with the colonial project, Fournier argues that modernist writers’ representations of sexual dissidence came at the cost of their enforcement of racial and gendered discrimination. A groundbreaking transgender analysis of French modernist literature, this book also demonstrates the significance of the concept of dysphoria for a number of fields.
"Within the realm of U.S. culture and its construction of its citizenry, geography, and ideology, who are Southerners and who are queers, and what is the South and what is queerness? Queering the South on Screen addresses these questions by examining "the intersections of queerness, regionalism, and identity" depicted in film, television, and other visual media about the South during the twentieth century. From portrayals of slavery to gothic horror films, the contributors show that queer southerners have always expressed desires for distinctiveness in the making and consumption of visual media. Read together, the introduction and twelve chapters deconstruct premeditated labels of identity such as queer and southern. In doing so, they expose the reflexive nature of these labels to construct fantasies based on southerner's self-identification based on what they were not"--
At the end of the twentieth century, the questions raised and issues explored in Woolf studies prove to be sufficient themes of inquiry for a new century. Can there exist common ground between queer theorists and lesbian-feminists, or are their causes not connected and must they go their separate ways? Virginia Woolf belongs simultaneously to her time and to ours: What allusions would her contemporaries have taken for granted that must now be recovered through meticulous scholarship? What codes whose meanings are apparent to readers now would have been available to very few in her own time? What was popular film culture like and what connections might we find between Woolf's art and British film of the 1920s? How can Woolf help us think through the dangers of nationalism? What does Three Guineas contribute to a discussion of corporate globalism? And how does it illuminate what has happened for women in the academy and in the professions in the sixty years since it was published? Contributors to Virginia Woolf: Turning The Centuries who pose and suggest answers to these and many other questions include Julia Briggs, Suzette Henke, Sally Greene, Alison Booth, Pamela Caughie, Judith Roof, Diane Gillespie, Melba Cuddy-Keane, and Jane Lilienfeld.
Hypertext is now commonplace: links and linking structure nearly all of our experiences online. Yet the literary, as opposed to commercial, potential of hypertext has receded. One of the few tools still focused on hypertext as a means for digital storytelling is Twine, a platform for building choice-driven stories without relying heavily on code. In Twining, Anastasia Salter and Stuart Moulthrop lead readers on a journey at once technical, critical, contextual, and personal. The book’s chapters alternate careful, stepwise discussion of adaptable Twine projects, offer commentary on exemplary Twine works, and discuss Twine’s technological and cultural background. Beyond telling the story of Twine and how to make Twine stories, Twining reflects on the ongoing process of making. "While there have certainly been attempts to study Twine historically and theoretically... no single publication has provided such a detailed account of it. And no publication has even attempted to situate Twine amongst its many different conversations and traditions, something this book does masterfully." —James Brown, Rutgers University, Camden
Sue-Ellen Case is arguably the most influential and significant scholar in feminist and queer theatre studies. This collection brings together her most important writing. Framing this with new introductory material, Sue-Ellen Case will contextualise her work within broader developments in critical theory and feminist / lesbian studies.
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Water is the element that, more than any other, ties human beings in to the world around them – from the oceans that surround us to the water that makes up most of our bodies. Exploring the cultural and philosophical implications of this fact, Bodies of Water develops an innovative new mode of posthuman feminist phenomenology that understands our bodies as being fundamentally part of the natural world and not separate from or privileged to it. Building on the works by Luce Irigaray, Maurice Merleau-Ponty and Gilles Deleuze, Astrida Neimanis's book is a landmark study that brings a new feminist perspective to bear on ideas of embodiment and ecological ethics in the posthuman critical moment.