Relevant bibliographies by topics / Sedgwick, Eve Kosofsky

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  2. Dissertations / Theses
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Academic literature on the topic 'Sedgwick, Eve Kosofsky'

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Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Sedgwick, Eve Kosofsky"

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Williams, Sherwood. "Epistemology of the Closet. Eve Kosofsky Sedgwick." Modern Philology 90, no. 4 (1993): 580–84. http://dx.doi.org/10.1086/392117.

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Allan, Jonathan A. "Falling in Love with Eve Kosofsky Sedgwick." Mosaic: a journal for the interdisciplinary study of literature 48, no. 1 (2015): 1–16. http://dx.doi.org/10.1353/mos.2015.0010.

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Thorslev, Peter. ": Epistemology of the Closet. . Eve Kosofsky Sedgwick." Nineteenth-Century Literature 46, no. 4 (1992): 557–61. http://dx.doi.org/10.1525/ncl.1992.46.4.99p0417c.

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Trzeciak, Katarzyna. "Who is speaking? Queering autobiography in Eve Kosofsky Sedgwick’s writing." Autobiografia 10 (2018): 13–24. http://dx.doi.org/10.18276/au.2018.1.10-02.

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Freed-Thall, Hannah. "The Weather in Proust by Eve Kosofsky Sedgwick." MLN 128, no. 4 (2013): 964–65. http://dx.doi.org/10.1353/mln.2013.0060.

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Savoy, Eric. "Eve Kosofsky Sedgwick, Epistemology of the Closet (1990)." ESC: English Studies in Canada 41, no. 4 (2015): 15. http://dx.doi.org/10.1353/esc.2015.0062.

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Simonsen, Rasmus R. "Reconsidering Eve Kosofsky Sedgwick: Tex/xture and Design." Design and Culture 10, no. 2 (2018): 169–85. http://dx.doi.org/10.1080/17547075.2018.1469882.

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Seitz, David K. "Eve Kosofsky Sedgwick and the difference geography makes." Dialogues in Human Geography 11, no. 1 (2021): 117–21. http://dx.doi.org/10.1177/2043820621995628.

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Ruez and Cockayne point out that queer theorist Eve Sedgwick’s reflections on paranoid and reparative readings accompanying one another came directly out of her queer political as well as textual practice in the U.S. Wrongly dismissed as mundane, this crucial contextualizing work is something geographers do especially well. Indeed, understanding the context for Sedgwick’s theories of paranoid and reparative reading is vital as we reflect on how her concepts travel across time and space.
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Elfenbein, Andrew. "Novel Gazing: Queer Readings in Fiction. Eve Kosofsky Sedgwick." Modern Philology 97, no. 1 (1999): 165–68. http://dx.doi.org/10.1086/492831.

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Abelove, H. "The Bar and the Board: for Eve Kosofsky Sedgwick." GLQ: A Journal of Lesbian and Gay Studies 17, no. 4 (2011): 483–86. http://dx.doi.org/10.1215/10642684-1302325.

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Dissertations / Theses on the topic "Sedgwick, Eve Kosofsky"

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Mayo, Michael. "The well-disposed mind : Joyce, Loyola, and the psychoanalysis of ambivalence." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:13d9376a-2e20-45b5-87ac-0ca6012be6ef.

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This thesis examines the relationship between the fiction of James Joyce and the theological practices outlined by Ignatius of Loyola. By deliberately foregoing claims of direct or simple influence, the thesis illustrates the way in which Loyola's concepts of belief, irony, discernment, and indifference illuminate the operations of the Joycean text. These operations in both Loyola and Joyce are themselves best explicated through the use of Kleinian psychoanalytic theory. Klein and her followers analyze dynamics of belief, representation, and meaning as products of frustration. Loyola and Joyce both force the reader into symmetrical situations of frustration, and Kleinian analysis helps us see how Joyce uses his texts as a kind of exercise for the reader-an exercise of productive frustration, disappointment, and loss. I trace the way this loss can turn reading into a reparative act, one that moves through the Kleinian 'paranoid-schizoid' position into a more productive, contingent, depressive position. I thus address Eve Kosovsky Sedgwick's proposal for reparative reading. By examining both Loyola's and Joyce's engagement with (and invitations into) frustrating, paranoid reading, I show how this engagement might become reparative. The thesis begins with an analysis of Loyola's Spiritual Exercises, finding there a specific structure of 'earnest irony.' It continues with a close reading of 'The Dead,' discerning how this structure operates in the Joycean text at the levels of both content and narration. It then takes up Kleinian theory directly to see precisely what paranoid reading-of the kind both Joyce and Loyola demand-accomplishes, and what its failure achieves. Its final two chapters consider A Portrait of the Artist as a Young Man, where it finds the narrative apparatus forcing the reader into a particular form of productive frustration, and Ulysses, which requires the greatest form of 'earnest irony' from the reader.
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Heinkel, Polly Lynn. "12th NITE…WHATEVER: QUEERING AND (RE) GENDERING SHAKESPEARE’S PERFORMATVE SPACES, PLACES, AND BODIES IN TWELFTH NIGHT OR WHAT YOU WILL." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1352140404.

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Frampton, Sara. "“I Bid My Hideous Progeny Go Forth and Prosper”: Frankenstein’s Homosocial Doubles and Twentieth Century American Literature." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24370.

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This dissertation explores the reoccurrence of Mary Shelley’s Frankenstein within twentieth-century American novels. While the inaccurate 1931 film version by James Whale remains the best known adaptation of Frankenstein, I argue that Willa Cather, Ralph Ellison, Toni Morrison, and Chuck Palahniuk return to Shelley’s 1818 novel to critique racist and misogynistic responses to anxieties about gender and racial power in the age of industrial consumer culture. In doing so, I extend existing scholarship on the American Gothic to demonstrate that The Professor’s House, Invisible Man, Beloved, and Fight Club represent a specifically Shelleyan Gothic tradition in twentieth-century American literature. My project draws upon influential feminist and postcolonial readings of Frankenstein and on the theoretical work of Eve Kosofsky Sedgwick and later critics who have developed her theory to show how the twentieth-century novels echo themes and motifs from Shelley’s novel to critique the destructive effects of male homosociality. Each novel contains a protagonist that resembles Victor Frankenstein and responds to historically specific anxieties about gender, race, and industrial technoscience by creating a doppelgänger who enables participation in a homosocial bond that is initially empowering but proves destructive to women, racial minorities, and eventually the creature and creator figures themselves. My reading reveals unexpected similarities between Cather’s The Professor’s House and Palahniuk’s Fight Club. Cather’s novel appears to glorify Tom Outland as the ideal masculine hero but ultimately reveals him to be a monstrous doppelgänger who acts out the Professor’s oppressive impulses; similarly, Fight Club seems to romanticize the male violence instigated by the doppelgänger figure Tyler Durden but actually echoes Shelley’s critique of male homosociality as monstrous. My reading also reveals previously overlooked similarities between Invisible Man and Beloved, both of which feature a black protagonist who surprisingly resembles Victor Frankenstein by creating a doppelgänger to challenge his or her disempowerment by the structures of white male homosociality but end up emulating the destructive homosocial structures they critique. My dissertation shows how all of these writers share Shelley’s critique yet move beyond it by offering alternatives to the destructive cycle of violence, embodied in each case by a female figure who resists or reclaims the position of the abject other in the homosocial triangle.
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Edwards, Darryn. "A World Into Which They Couldn't Follow Me: Arjie's Un-shameful Queer Awakening in Shyam Selvadurai's Funny Boy." University of Toledo Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1513339069627585.

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Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.

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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
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Nordgren, Sarah. "Ordlöv och barrbokstäver : Mening och materialitet i fyra bilderböcker från 00- och 10-tal." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-173541.

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This essay aims to understand how meaning and materiality work in four picture books from the 00s and 10s; Gittan och gråvargarna by Pija Lindenbaum, I skogen by Eva Lindström, Vem ser Dim? by Maria Nilsson Thore and Vi blåste bort ibland by Viveka Sjögren. The essay uses two theoretical works about picture books: Bilderbokens pusselbitar by Maria Nikolajeva and Modernismens bilder – Den moderna bilderboken i Norden by Elina Druker. Questions to lead the analysis are: How can text and picture be understood as materiality? How can meaning be understood as a material-discursive phenomenon? How can reading and meaning be understood as performative processes? The chapter “Diffractions: Differences, Contingencies, and Entanglements That Matter” from Karen Barad’s book Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning provides help to understand diffraction as a metaphor and methodological attitude. Eve Kosofsky Sedgwick’s understanding of knowledge as performative in the book Touching Feeling – Affect, Pedagogy, Performativity is used to understand the picture book as an act of knowledge and meaning, and reading as a performative process where human involvement cannot be overlooked. The essay problematizes the theoretical texts about picture books by taking on different parts of the picture book’s form and drawing examples from the four chosen picture books. Parts that are examined are divisions of signs in semiotics (and in the picture book theory), the picture book’s limits between for instance framework and content, fiction and reality, and book and reader, mimesis and the analytical problems with looking for truth, the impact of the picture book’s size and shape, and lastly illustration techniques and the influence that illustrator, materiality and reader have on the book. The essay shows how different involvements affect the meaning that is created in the picture book, how solid delimitations of different kinds can be problematic, and how words such as picture, text, paratext and content should be treated gently and consciously. Different ways of breaking with methods and thoughts of habit are presented, for instance by using Barad’s concept of diffraction. The essay ends by emphasizing the complexity that follows meaning, materiality and reading, the responsibility it demands of us and how picture book theory sometimes simplifies analysis. This essay stresses the importance of questioning how the methods and words we use affect what is possible to understand, but not in the sense that we should read in a paranoid and closed way, but rather open minded and with room for failures, reconsiderations and other ways forward.<br>Syftet med denna uppsats är att förstå hur mening och materialitet hänger ihop i fyra bilderböcker från 00- och 10-tal; Gittan och gråvargarna av Pija Lindenbaum, I skogen av Eva Lindström, Vem ser Dim? av Maria Nilsson Thore och Vi blåste bort ibland av Viveka Sjögren. Uppsatsen går i dialog med de bilderboksteoretiska verken Bilderbokens pusselbitar av Maria Nikolajeva och Modernismens bilder – Den moderna bilderboken i Norden av Elina Druker. Frågor för att leda undersökningen är som följer: På vilket sätt är text och bild materialitet? Hur kan mening förstås som materiellt-diskursivt fenomen i bilderböckerna? Hur kan läsning och mening förstås som performativa processer? Avsnittet ”Diffractions: Differences, Contingencies, and Entanglements That Matter” ur Karen Barads verk Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning fungerar som hjälp för att förstå diffraktion som metafor och metodologisk hållning. Eve Kosofsky Sedgwicks förståelse av kunskap som performativ i verket Touching Feeling – Affect, Pedagogy, Performativity används för att förstå bilderboken som ett görande, och läsningen som en performativ process där mänsklig inblandning inte kan förbises. Uppsatsen problematiserar de bilderboksteoretiska verken genom att ta sig an olika aspekter av bilderbokens form samt exemplifiera detta med hjälp av det skönlitterära materialet. Områden som vidrörs är semiotikens (och bilderboksteoretikernas) indelning av tecken, bilderbokens gränser mellan bland annat ramar och innehåll, fiktion och verklighet samt verk och läsare, mimesis och sanningssökandets analytiska problem, bilderbokens påverkan av storlek och format, samt slutligen illustrationstekniker och den inverkan illustratör, materialitet och läsare har på verket. Uppsatsen visar på hur olika inblandningar påverkar den mening som skapas i bilderboken, hur fasta gränsdragningar av olika slag kan anses problematiska, samt hur begrepp som till exempel bild, text, paratext och innehåll bör behandlas varsamt och medvetet. Olika sätt att komma runt upptrampade metodologiska tillvägagångssätt och tankespår presenteras, bland annat med hjälp av Barads diffraktionsbegrepp. Uppsatsen avslutas med att betona den komplexitet som följer med mening, materialitet och läsning, det ansvar detta avkräver oss och hur bilderboksteorin ibland fungerar förenklande i analyser. Denna uppsats lyfter vikten av att ifrågasätta vad de metoder och ord vi använder egentligen gör med vad som är möjligt att förstå, men inte i den mening att vi bör läsa misstänksamt och stängt, utan snarare öppensinnat och med utrymme för misslyckanden, omprövningar och andra vägar vidare.
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CAVALCANTE, Laís Medeiros. ""Quero deixar de ser um menino dependente para ser uma mulher autônoma": os casos transgêneros nas tirinhas de Laerte Coutinho." Universidade Federal de Campina Grande, 2014. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/1948.

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Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-10T18:07:42Z No. of bitstreams: 1 LAÍS MEDEIROS CAVALCANTE - DISSERTAÇÃO PPGH 2014..pdf: 8311281 bytes, checksum: c886c9fd1b03a87baa8b0c93c853395c (MD5)<br>Made available in DSpace on 2018-10-10T18:07:42Z (GMT). No. of bitstreams: 1 LAÍS MEDEIROS CAVALCANTE - DISSERTAÇÃO PPGH 2014..pdf: 8311281 bytes, checksum: c886c9fd1b03a87baa8b0c93c853395c (MD5) Previous issue date: 2014-03<br>O texto, objetiva analisar, como as identidades transgêneras foram produzidas, significadas e ressignificadas pela cartunista Laerte Coutinho na primeira década do século XXI, mais especificamente no período entre os anos de 2009 e 2013. Para tanto, a pesquisa foi desenvolvida através das tirinhas que tal cartunista produz e publica em seu site chamado Muriel Total. Se lançará mão, ainda, de entrevistas que a mesma cedeu a programas de televisão, cruzando as falas de suas experiências com as tramas desenvolvidas por seus personagens. Nesse sentido, se pensou analisar como as categorias de gênero, corpo, sexualidades e identificações sofrem mutações ao longo do tempo e em determinados espaços, transformando assim as subjetivações dos sujeitos trabalhados, os transgêneros. Desta maneira, problematizo como Laerte Coutinho subjetiva as transformações identitárias e corporais as quais os sujeitos trans são submetidos e se submetem, assim como, quê condições foram necessárias, além de quê barreiras foram encontradas, para que tais processos acontecessem. Assim, realizou-se um diálogo com o arcabouço teórico da Teoria Queer, com destaque para Judith Butler, para pensar as questões de gênero e a abjeção de tais sujeitos. Ainda se trabalhou com Stuart Hall para a análise do que se refere aos processos de identificação, Guacira Lopes Louro, dentre outros. Me apropriei ainda do entendimento do conceito de fronteira utilizado por Deleuze e o de armário da epistemologia produzida por Eve Kosofsky Sedgwick.<br>The paper aims to analyze , how transgender identities were produced , expressed and re-signified by cartoonist Laertes Coutinho in the first decade of this century , more specifically in the period between the years 2009 and 2013 . Therefore, the research was developed through such strips cartoonist produces and publishes on its website called Total Muriel . It will attack also interviews that yielded the same television programs , crossing the lines of his experiences with the plots developed by its characters . Accordingly, it was thought to analyze the categories of gender, body , sexuality and IDs mutate over time and in certain areas, thereby transforming subjectifications the subjects worked , transgender . Thus , as Laertes Coutinho problematized the subjective identity and bodily transformations which trans subjects are submitted and submit , as well as what conditions were necessary , and what barriers were found to make these processes happen . Thus , there was a dialogue with the theoretical framework of Queer Theory , especially Judith Butler , to think gender issues and abjection of such subjects . Still worked with Stuart Hall for the analysis of the relation to the processes of identification, Guacira Lopes Blonde , among others . Yet appropriated the understanding of the concept of the frontier used by Deleuze and the epistemology of Eve Kosofsky Sedgwick produced by cabinet.
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Lee, Wing Chi. "Desire between male friends in Latin poems : in search of a sub-genre of homosocial erotic poetry." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3434.

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Latin erotic poetry is an important genre recording surviving examples of male friendship. This report argues that a specific group of poems involving the poet and his powerful friend should be identified and studied separately as a sub-genre. Drawing examples largely from Horace, Catullus and Propertius, I argue that homosocial erotic poetry exploits the same repertoire of generic conventions as erotic poetry, but reshapes some of them for different functions. To articulate the erotic emphasis and the generic concern of this report, Eve Sedgwick’s notion of “homosocial desire” (1985) is introduced. The concept of homosociality is useful in revealing how male desire in our sub-genre has an erotic tinge and functions to foster the social bond of male friendship, but precludes the homoerotic possibility. Chapter One introduces the important terms and methodology chosen for this study, while Chapters Two to Four define and describe three distinctive features of the sub-genre. Chapter Two is devoted to showing that sermo amatorius, the “love speech” often featured in romantic relationships, can be assimilable to the structure of male homosocial relations. Chapters Three and Four examine how the sub-genre reshapes the recusatio and the topos of wealth to negotiate the tension of desire between the poets and their powerful friends. Ultimately, this report argues that male homosocial desire motivates the sub-generic conventions and thereby the seemingly disparate poems constitute a coherent sub-generic classification.<br>text
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Books on the topic "Sedgwick, Eve Kosofsky"

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Edwards, Jason. Eve Kosofsky Sedgwick. Routledge, 2008.

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Edwards, Jason. Bathroom Songs: Eve Kosofsky Sedgwick as a Poet. punctum books, 2017.

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Edwards, Jason. EVE KOSOFSKY SEDGWICK. Routledge, 2008.

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EVE KOSOFSKY SEDGWICK. Routledge, 2008.

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Edwards, Jason. Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623.

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Jagose, Ann Cvetkovich; Annemarie. Eve Kosofsky Sedgwick: A Special Section. Duke University Press, 2011.

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Bathroom Songs: Eve Kosofsky Sedgwick as a Poet. Punctum Books, 2017.

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Bathroom Songs: Eve Kosofsky Sedgwick as a Poet. Punctum Books, 2018. http://dx.doi.org/10.1353/book.66797.

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Come As You Are, After Eve Kosofsky Sedgwick. Punctum Books, 2018. http://dx.doi.org/10.1353/book.83545.

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Halley, Janet. Paranoia, Feminism, Law. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0008.

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In this chapter, Halley reflects on her friendship with Eve Kosofsky Sedgwick, focusing on the ways in which it provided a conduit between queer theory in the humanities and legal studies. She compares the roles of paranoia, feminism, and law in Sedgwick’s work and her own, particularly as her friendship with Sedgwick turned on cohering and conflicting emotional and political orientations to these key elements of their shared conversation. Because Sedgwick profoundly altered the conditions of possibility in the humanities, while Halley moved into legal studies, this remembrance is also a reflection on the possibilities for interdisciplinary love and longing.
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Book chapters on the topic "Sedgwick, Eve Kosofsky"

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Warkocki, Błażej. "What Really Happened Aboard the Banbury? Reading Gombrowicz with Eve Kosofsky Sedgwick." In Gombrowicz in Transnational Context. Routledge, 2019. http://dx.doi.org/10.4324/9780429287152-10.

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Haschemi Yekani, Elahe. "Conclusion: Queer Modes of Empathy as an Ethics of the Archive." In Familial Feeling. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_6.

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AbstractAddressing the boom of memorial events and special exhibitions as well as the establishment of the International Slavery Museum in Liverpool celebrating the bicentennial of the abolition of the slave trade in 2007, the conclusion of Familial Feeling returns to the question of ethics in dealing with the archive of slavery. Reflecting on methodology in literary studies by contrasting surface reading with approaches that foreground negative affects, Haschemi Yekani, via a recourse to Eve Kosofsky Sedgwick’s “reparative” reading, proposes a queering of empathy that should not rest on a celebratory understanding of the past, as trauma overcome, but serve as a foundation of ongoing tension in contemporary narratives of familial feeling and national belonging. For this purpose, Haschemi Yekani examines the 2007 installation Swallow Hard: The Lancaster Dinner Service by artist Lubaina Himid. The author proposes that by engaging with the messy entanglements of marginalised and hegemonic voices in the establishment of Britishness as familial feeling, one can arrive at more complex reading strategies of the literary sources from the historical archive of the early Black Atlantic and the British novel as well as a less congratulatory contemporary memorial culture that seeks British “Greatness” in the past.
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"Eve Kosofsky Sedgwick." In Modern Criticism and Theory. Routledge, 2014. http://dx.doi.org/10.4324/9781315835488-39.

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"WHY SEDGWICK?" In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-7.

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"HOMOSOCIALITIES." In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-10.

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"EPISTEMOLOGIES OF THE CLOSET." In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-11.

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"QUEER TAXONOMIES." In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-12.

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"QUEER PERFORMATIVITIES." In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-13.

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"QUEER CUSPS." In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-14.

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"AFFECTS." In Eve Kosofsky Sedgwick. Routledge, 2008. http://dx.doi.org/10.4324/9780203004623-15.

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