Journal articles: 'Sedgwick, Eve Kosofsky'

1

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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Henderson, Bruce. "Eve Kosofsky Sedgwick and the development of gay literary studies." Text and Performance Quarterly 13, no. 4 (1993): 375–84. http://dx.doi.org/10.1080/10462939309366063.

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Martinussen, Maree, and Margaret Wetherell. "Affect, practice and contingency: critical discursive psychology and Eve Kosofsky Sedgwick." Subjectivity 12, no. 2 (2019): 101–16. http://dx.doi.org/10.1057/s41286-019-00071-y.

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Kollias, Hector. "Queering it Right, Getting it Wrong." Paragraph 35, no. 2 (2012): 144–63. http://dx.doi.org/10.3366/para.2012.0050.

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This article seeks to interrogate the moment of queer theory's ‘birth’ out of French influences, or what is designated by the umbrella term ‘French Theory’. It specifically points to the operations of transformation and dislocation, subversion and perversion of French theoretical influences at work in two distinctive ‘pairings’ of French ‘progenitor’ and American queer ‘offspring’: Jacques Derrida with Eve Kosofsky Sedgwick and Jacques Lacan with Judith Butler.

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Acevedo, Mariela Alejandra. "Construcción sígnica de masculinidad y lazos de homosociabilidad en las historietas." Revista História: Debates e Tendências 21, no. 2 (2021): 9–24. http://dx.doi.org/10.5335/hdtv.21n.2.12429.

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Este artículo explora la puesta en página de historietas en las que los personajes masculinos entablan ―como nudo central en los relatos― lazos de homosociabilidad. Exploramos este concepto desarrollado por Eve Kosofsky Sedgwick (1985) que resulta productivo para analizar cómo se construyen modelos de género a partir de los vínculos entre personajes masculinos en las narrativas y en nuestro caso en una selección de historietas.

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Edwards, Jason. "Eve Kosofsky Sedgwick: In the Bardo (2 May 1950—12 April 2009)." Sexualities 12, no. 6 (2009): 675–77. http://dx.doi.org/10.1177/1363460709346107.

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Malič, Tina. "The Evasiveness of Affect." Maska 33, no. 189 (2018): 118–20. http://dx.doi.org/10.1386/maska.33.189-190.118_5.

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The series Cuerpo de letra by the Institut del Teatre in Barcelona is dedicated to contemporary dance theory. The latest book in the series Ejercicios de ocupación is a collection of twelve different texts, which, each in its own way, consider affect, the way affect influences relations with others and the environment, etc. The collection includes texts by two key authors on affect, Brian Massumi and Eve Kosofsky Sedgwick. The chosen texts are reflections on affect in various forms of writing, from classic theoretical discourses to interviews and poetic diary entries.

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Jones, David. ""Something Unspeakable": James Baldwin and the "Closeted-ness" of American Power." James Baldwin Review 3, no. 1 (2017): 46–64. http://dx.doi.org/10.7227/jbr.3.4.

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This article reads the work of James Baldwin in dialogue with that of Eve Kosofsky Sedgwick. Taking its cue from Baldwin’s claim that Americans “live […] with something in [their] closet” that they “pretend […] is not there,” it explores his depiction of a United States characterized by the “closeted-ness” of its racial discourse. In doing so, the article draws on Sedgwick’s work concerning how the containment of discourses pertaining to sexuality hinges on the closeting of non-heteronormative sexual practices. Reconceptualizing Sedgwick’s ideas in the context of a black, queer writer like Baldwin, however, problematizes her own insistence on the “historical gay specificity” of the epistemology she traces. To this end, this article does not simply posit a racial counterpart to the homosexual closet. Rather, reflecting Baldwin’s insistence that “the sexual question and the racial question have always been entwined,” I highlight here the interpretive possibilities opened up by intersectional analyses that view race, sexuality, and national identity as coextensive, reciprocal epistemologies.

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Knust, Jennifer. "Who’s Afraid of Canaan’s Curse?" Biblical Interpretation 22, no. 4-5 (2014): 388–413. http://dx.doi.org/10.1163/15685152-02245p02.

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The story of Noah’s curse of his grandson Canaan (Gen. 9:18–29) is especially well suited to an interpretive style Eve Kosofsky Sedgwick has labeled “paranoid reading.” Oft exploited by those invested in xenophobia and racism, this passage appears to present an intrinsically identitarian plot that cannot be shaken off, either by historicizing or by other kinds of critical engagement. Indeed, historical critical analysis has tended to confirm rather than undermine the story’s determination to justify disinheritance on the basis of some vague form of sexual perversion. In her later work, however, Sedgwick began to call such paranoid readings into question, advocating a more open, descriptive, and anti-foundational approach to texts and histories. These “reparative reading” practices cede paranoia’s determination to be “in the know” to descriptive multiplicity and more limited acts of noticing. Inspired by Sedgwick’s insights, this essay considers the advantages of paranoid reading strategies, especially when it comes to this story, even as it acknowledges the serious limits of such readings, which have yet to succeed if the goal is to undermine the stickiness of sexualized and racialized blaming rooted in this difficult biblical text.

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Warkocki, Błażej. "Zbrodnia inkorporowana. O konwencji „paranoicznego gotyku” w Zbrodni z premedytacją Witolda Gombrowicza." Poznańskie Studia Polonistyczne. Seria Literacka, no. 30 (September 28, 2017): 237–58. http://dx.doi.org/10.14746/pspsl.2017.30.11.

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The article presents the analysis and interpretation (in the form of a close reading) of Witold Gombrowicz’s short story The Premeditated Crime from his debut collection Memoirs from a Time of Immaturity , 1933 (later published under the title Bakakaj or Bacacay in the English translation). The main theoretical framework is the concept of „paranoid Gothic” by Eve Kosofsky Sedgwick, which is based on the reinterpretation of Sigmund Freud’s classic essay Psychoanalytical comments on autobiographically described paranoia . From that perspective Gombrowicz’s narrative is interpreted as a paranoid homosexual narrative, and paranoia itself as a form of love.

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Jones, David. ""Something Unspeakable": James Baldwin and the "Closeted-ness" of American Power." James Baldwin Review 3, no. 1 (2017): 46. http://dx.doi.org/10.7227/jbr3.4.

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This article reads the work of James Baldwin in dialogue with that of Eve Kosofsky Sedgwick. Taking its cue from Baldwin’s claim that Americans “live […] with something in [their] closet” that they “pretend […] is not there,” it explores his depiction of a United States characterized by the “closeted-ness” of its racial discourse. In doing so, the article draws on Sedgwick’s work concerning how the containment of discourses pertaining to sexuality hinges on the closeting of non-heteronormative sexual practices. Reconceptualizing Sedgwick’s ideas in the context of a black, queer writer like Baldwin, however, problematizes her own insistence on the “historical gay specificity” of the epistemology she traces. To this end, this article does not simply posit a racial counterpart to the homosexual closet. Rather, reflecting Baldwin’s insistence that “the sexual question and the racial question have always been entwined,” I highlight here the interpretive possibilities opened up by intersectional analyses that view race, sexuality, and national identity as coextensive, reciprocal epistemologies.

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21

Jagose, Annamarie. "Thinkiest." PMLA/Publications of the Modern Language Association of America 125, no. 2 (2010): 378–81. http://dx.doi.org/10.1632/pmla.2010.125.2.378.

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All my feeling for Eve Kosofsky Sedgwick comes from her writing. I wasn't a friend. I never met her or even heard her give a public lecture or present a paper. The closest we came was being bound together, one after the other, in the same edited anthology, my essay on sequence and precedence in Daphne du Maurier's Rebecca and its various adaptations following an extract from her A Dialogue on Love. If Sedgwick's essay and mine can be said to speak to each other, to strike a conversational pose, as though the breadth of a page might be mistaken for the more sociable span of a bar or table, it is only to point up the spuriousness of this effect. For whatever weight of significance the closing section of Sedgwick's essay might seem to license my finding in this happenstance—“I don't resist … secretly fingering this enigmatic pebble. I can't quite figure out what makes its meaning for me” (“Dialogue” 351)—is made implausible with the page's turn by the brutalist facade of my first sentence: “Sequence is its own alibi” (352).

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Rachlin, N., R. Scullion, and K. Kopelson. "Sedgwick, Eve Kosofsky. The Weather in Proust. Ed. Jonathan Goldberg. Durham: Duke University Press, 2011." SubStance 43, no. 1 (2014): 191–97. http://dx.doi.org/10.1353/sub.2014.0008.

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23

Śmieja, Wojciech. "Kategoria traumy w Kai Silverman koncepcji „męskiej podmiotowości na marginesach”." Rana. Literatura - Doświadczenie - Tożsamość, no. 1 (June 29, 2020): 29–41. http://dx.doi.org/10.31261/rana.2020.1.02.

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W artykule autor przedstawia znaczenie pojęcia traumy w koncepcji męskiej podmiotowości rozwijanej przez Kaję Silverman w książce pt. "Male Subjectivity at the Margins". Rozprawa Silverman pochodzi z 1992 roku, a więc z czasów, gdy powstawały kluczowe dla współczesnych gender i queer studies rozprawy Judith Butler, Eve Kosofsky Sedgwick czy Pierre’a Bourdieu (nieco później, bo w 1995 roku, została opublikowana równie kluczowa praca Raewyn W. Connell). Koncepcja Silverman ma podobny rozmach co wspomniane koncepcje, lecz nigdy nie zyskała takiej popularności i nie stała się kluczowa dla badań genderowych początku XXI wieku. Autor nie rozważa w artykule przyczyn, dla których tak się stało, lecz stara się ukazać drzemiący w niej potencjał teoretyczny.

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Doan, Laura. "Forgetting Sedgwick." PMLA/Publications of the Modern Language Association of America 125, no. 2 (2010): 370–73. http://dx.doi.org/10.1632/pmla.2010.125.2.370.

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Eve Kosofsky Sedgwick was not a historian of sexuality, but she was keenly aware of the historicity of sexuality and erotic desire in ways unlike other major figures in queer theory. This fact has gone largely unnoticed in queer studies, a field dominated by literary and cultural critics that has an uneasy relation with academic history. An example of the historicity of Sedgwick's theories of sexuality can be seen in her famous critique of Foucault's Great Paradigm Shift—that imaginary moment in the late nineteenth century when the category of the modern homosexual was thought to displace the category of the sodomite (Epistemology 44). The formulation of axiom 5 in Epistemology of the Closet—“the historical search for a Great Paradigm Shift may obscure the present conditions of sexual identity” (44)—reveals a deep consciousness of the “irreducible historicity of all things … discerning the time-and-place specificity of a thing, identifying the ways in which it relates to its context or milieu, and determining the extent to which it is both enabled and hamstrung by this relationship,” to cite the historian Hayden White's description of history as critique (224). If Foucauldian genealogy (or a “history of the present”) “begins with an analysis of blind spots in our current understanding, or with a problematization of what passes for ‘given’ in contemporary thought” (Halperin 13), it is vital, as Sedgwick puts it, to “denaturalize the present, rather than the past” (Epistemology 48). Sedgwick's vantage point on a queer past pivots around “homosexuality as we conceive of it today” (45), a phrase as resonant now in sexuality studies as was Foucault's reference to the homosexual as a species (Foucault 43). So entrenched are the modern categories of identity that Sedgwick repeats the phrase over and over in her cogent analysis of our current conceptions of sexuality. Such insistent differentiation between an alien past and an equally—if not more—alien present, the distinction between “them” and “us,” reverberates across the history of homosexuality. Consider, for instance, Matt Houlbrook's discussion of men who refrain from using “‘gay’ in the way we would use the term today” (xiii) or Jonathan Ned Katz's understanding of the presentness of our present standpoint—“what we today recognize as erotic feelings and acts” (6).

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Kidd, Kenneth. "Queer Theory's Child and Children's Literature Studies." PMLA/Publications of the Modern Language Association of America 126, no. 1 (2011): 182–88. http://dx.doi.org/10.1632/pmla.2011.126.1.182.

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In 2002 Karín Lesnik-Oberstein and Stephen Thomson published an essay entitled “what is queer theory doing with the child?,” addressing work in the 1990s by Michael Moon and the late, great Eve Kosofsky Sedgwick on the “protogay” child. Something inappropriate, even scandalous, was their answer, as one might surmise from the accusatory shape of the question. In their reading, Moon and Sedgwick essentialize rather than interrogate the protogay child, such that said child becomes “an anti-theoretical moment, resistant to analysis, itself the figure deployed as resistance” (36). For Lesnik-Oberstein and Thomson, queer theory is insufficiently alert to the lessons of poststructuralist theory and especially to the ongoing interrogation of “child” and “childhood.” Lesnik-Oberstein and Thomson specialize in childhood studies, and Lesnik-Oberstein is a well-known scholar of children's literature. Her 1994 Children's Literature: Criticism and the Fictional Child extends and takes inspiration from Jacqueline Rose's The Case of Peter Pan; or, The Impossibility of Children's Fiction (1984), which ushered into children's literature studies a powerful and lasting skepticism about “childhood” and “children's literature.”

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Herring, Scott. "Djuna Barnes and the Geriatric Avant-Garde." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 69–91. http://dx.doi.org/10.1632/pmla.2015.130.1.69.

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Though her publications were slight after she permanently moved to Greenwich Village, in New York City, in 1940, Djuna Barnes labored over scores of literary and nonliterary typescript drafts from the 1940s to the 1980s. This unpublished artwork constitutes a geriatric avant-garde that deepened her earlier investments in modernist aesthetics. Archived documents record the elderly writer performing the principles of high modernism—innovation, experimentalism, and novelty—across an unprecedented array of genres, such as the poem, the pharmacy order, the grocery list, the medicine regimen, the memo, and personal correspondence. This article reassesses gerontophobic depictions of Barnes as an aged recluse who lived a creatively fruitless late life. The underex-plored works of her senior years are a unique version of what Eve Kosofsky Sedgwick calls “a senile sublime.”

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Chinn, Sarah E. "Heroic Desire: Lesbian Identity and Cultural Space. Sally R. MuntNovel Gazing: Queer Readings in Fiction. Eve Kosofsky Sedgwick." Signs: Journal of Women in Culture and Society 26, no. 2 (2001): 558–60. http://dx.doi.org/10.1086/495607.

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Baer, Brian James. "Engendering Suspicion: Homosexual Panic in the Post-Soviet Detektiv." Slavic Review 64, no. 1 (2005): 24–42. http://dx.doi.org/10.2307/3650065.

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This article examines the workings of the sexual closet within the enormously popular genre of the Russian detektiv, or detective story. Informed by the work of Eve Kosofsky Sedgwick and D. A. Miller, the article focuses on the dramatization of homosexual panic among various male characters in Aleksandra Marinina's Stilist (1996) and Boris Akunin's Koronatsiia (2001) in order to explore the experience of masculine subjectivity in post-Soviet culture. In both novels, a perceived crisis in patriarchal authority unleashes suspicions and anxieties regarding the experience of being and becoming a man, which is defined against the feminine and the homosexual. Figured both as an effect of and as a threat to male-male bonds, homosexual panic testifies to the interiorization of sexual and gender norms, which makes being male a highly self-conscious enterprise and fuels nostalgia for a mythic time before the appearance of homosexuality.

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Worthen, W. B. "Drama, Performativity, and Performance." PMLA/Publications of the Modern Language Association of America 113, no. 5 (1998): 1093–107. http://dx.doi.org/10.2307/463244.

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There is a crisis in drama studies that is reflected in the ways different disciplines understand dramatic texts and performance. Literary studies, absorbed with the functioning of language, often betrays a desire to locate the meanings of the stage in the dramatic text. Performance studies has developed a vivid account of nondramatic performance, which appears to depart from textual authority. Both disciplines, however, view drama as a species of performance driven by its text; as a result, drama appears as an unduly authorized mode of performance. Here, I read a range of critics (Andrew Parker. Eve Kosofsky Sedgwick, and Judith Butler on J. L. Austin; Dwight Conquergood on ethnography; Joseph Roach on surrogation) to suggest ways of rethinking the relations of authority that inform texts and performances. I conclude with a glance at the representation of the text in Baz Luhrmann's recent film William Shakespeare's Romeo and Juliet.

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Marchal, Joseph A. "“‘Making History’ Queerly: Touches across Time through a Biblical Behind”." Biblical Interpretation 19, no. 4-5 (2011): 373–95. http://dx.doi.org/10.1163/156851511x595558.

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Historical approaches to sexuality, in and outside of biblical studies, have tended to stress either continuities or ruptures. Yet, such approaches set a series of limits for tracing and assessing dynamics of gender, sexuality, and embodiment, where one might tap into a more resistant or disruptive strain in queer theory. A more thorough engagement with thinkers (queer and feminist) like Eve Kosofsky Sedgwick and Judith Butler will indicate that there might be a third way to explore issues of origin, continuity, and difference in biblical argumentation. With help from queer thinkers reflecting on other eras, then, this third kind of approach can explore the many senses of “making history” by remaining invested in, but not particularly bound to historiography. The utility of such methodological reflections will be briefly demonstrated by suggesting different interpretive strategies and results for interpreting passionately-cited biblical literature like Paul’s letter to the Romans.

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Stein, Jordan Alexander. "How to Undo the History of Sexuality: Editing Edward Taylor’s Meditations." American Literature 90, no. 4 (2018): 753–84. http://dx.doi.org/10.1215/00029831-7208536.

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Abstract This essay establishes how the scholarly labors that brought Edward Taylor’s works to light in the 1930s foreclosed any understanding of them as queer. The absence of a queer critical reception history is this essay’s subject, and to trace that absence, it focuses on the material and intellectual terms of Taylor’s initial critical reception and on the political forces and critical assumptions that bear on those terms. Taylor’s devotional Meditations offer an exemplary case for understanding how many of the ordinary labors associated with recovery and publication—the scholarly acts that stand, ultimately, behind nearly any interpretation of any literary text, including genre classification, editorial presentation, and genealogical authentication—have often been versions of what Eve Kosofsky Sedgwick described in the late 1980s as “the extremely elusive and maddeningly plural ways in which cultures and their various institutions efface and alter sexual meaning.”

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Da Silva, Claudimar Pereira. "O HOMEM NO ARMÁRIO: REPRESENTAÇÕES DAS MASCULINIDADES NO ROMANCE CLORO, DE ALEXANDRE VIDAL PORTO | THE MAN IN THE CLOSET: REPRESENTATIONS OF MASCULINITIES IN THE NOVEL CLORO, BY ALEXANDRE VIDAL PORTO." Estudos Linguísticos e Literários, no. 62 (June 26, 2019): 105. http://dx.doi.org/10.9771/ell.v0i62.29294.

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Resumo: O presente artigo objetiva a análise das representações das masculinidades no romance Cloro, do escritor paulista Alexandre Vidal Porto. Publicado em 2018, Cloro narra a trajetória de Constantino Curtis, advogado casado e pai de família, às voltas com sua homossexualidade reprimida. Desse modo, partindo dos pressupostos teóricos de Raewyn Connell (2013), Michael Kimmel (1998) e Eve Kosofsky Sedgwick (2007), pretende-se analisar a (s) subjetividade (s) masculina (s) que porejam do enunciado narrativo de Constantino, além das relações assimétricas entre os gêneros e entre homens estabelecidas na narrativa, articuladas ao dispositivo do armário gay. Palavras-chave: Narrador; Gênero; Masculinidades; Homossexualidade; Literatura brasileira contemporânea.

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ffytche, Matt. "Throwing the case open: The impossible subject of Luisa Passerini’s Autobiography of a Generation." History of the Human Sciences 33, no. 3-4 (2020): 33–46. http://dx.doi.org/10.1177/0952695119888400.

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For John Forrester, the ‘case’, particularly in its psychoanalytic version, makes possible a science of the particular – knowledge open to the differences of individuals and situations. This article takes up that aspect of Forrester’s account that linked the psychoanalytic case with forms of autobiography – new narrations of that particular self. After Freud, many authors – literary and psychoanalytic – have taken up the challenge of narrating subjectivity in new forms, engaging a quasi-psychoanalytic framework (H. D., Walter Benjamin, Frantz Fanon, Eve Kosofsky Sedgwick are examples). Focusing on Luisa Passerini’s text Autobiography of a Generation, which deals with the Italian experience of 1968, the article examines some of the features of such hybrid texts, and argues that psychoanalysis makes a contribution not just to the forms of self-investigation they pursue, but more significantly to the search for a radically new methodology of narration. Such models end up as ‘impossible’ cases, but in so doing they explore new interdisciplinary means for understanding the historical shaping of subjectivity.

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Caselli, Daniela. "Kindergarten theory: Childhood, affect, critical thought." Feminist Theory 11, no. 3 (2010): 241–54. http://dx.doi.org/10.1177/1464700110376276.

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Current notions of affect are often underpinned by unacknowledged assumptions about spontaneity, materiality and immediacy. Childhood, which has traditionally been associated with these concepts (and for this reason has not been much debated within critical theory), helps us reconsider the political impact of affect theory. This is both because feminist theory has recently reconceptualized childhood and because positing affect as moments of intensity immanent to matter raises a number of problems from a feminist point of view. A passage from Mrs. Dalloway (illustrating how childhood works as a mimetic break within the project of literary modernism) will introduce an analysis of excerpts from Lisa Cartwright and Eve Kosofsky Sedgwick, two feminist case studies in which affect and childhood are linked. Referring to past psychoanalytical and political debates (especially by Jacqueline Rose, Juliet Mitchell and Walter Benjamin) that have anticipated some of the problems we are currently facing within feminist theory, the article investigates through childhood the politically problematic role of affect as ‘the new’ in critical theory.

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Silva, Eliane Santos da, and Rosana Cássia dos Santos. "“Vocês estão sozinhas?” A resposta está na pergunta." Anuário de Literatura 25, no. 1 (2020): 77–86. http://dx.doi.org/10.5007/2175-7917.2020v25n1p77.

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As narrativas onde apareciam personagens lésbicas na literatura brasileira, até recentemente, eram quase que exclusivamente de autoria de escritores e na maioria delas traziam estereótipos que reproduziam os elementos do heterocentrismo e androcentrismo fazendo com que a manutenção de uma imagem estereotipada da lésbica se perpetuasse no ambiente social. Este texto é resultado de uma leitura e posterior análise do conto “Duas mulheres sozinhas” de Diedra Roiz (2017) que faz parte da coletânea de contos “Incontadas- Aquelas que não podem falar dizendo o que não deve ser dito” lançada pela Editora Vira Letra em 2017, com o objetivo localizar no decorrer da narrativa as ocorrências evidenciando os conceitos de performatividade de Judith Butler (2013a), tecnologia de gênero de Teresa de Lauretis (1994), heteronormatividade compulsória de Adrienne Rich (2010) e epistemologia do armário de Eve Kosofsky Sedgwick (2007) e de como estas ocorrências influenciam na experiência individual de cada personagem do conto fazendo um paralelo do desenrolar das cenas com as teorias apresentadas como corpus teórico.

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Shevtsova, Maria. "Andrew Parker and Eve Kosofsky Sedgwick, eds. Performativity and PerformanceLondon; New York: Routledge, 1995. 239p. ISBN 0-415-91055-2." New Theatre Quarterly 12, no. 48 (1996): 399. http://dx.doi.org/10.1017/s0266464x00010691.

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Hollis, C. Carroll. "Krieg, Joann P. ed., Walt Whitman: Here and Now; and Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire [review]." Walt Whitman Quarterly Review 3, no. 4 (1986): 31–38. http://dx.doi.org/10.13008/2153-3695.1120.

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Reef, Anne M. "MIND YOUR P(EDERAST)S AND Q(UEER)S: THE SCHOOL AS PHALLIC PARENT IN MARK BEHRâ€™S EMBRACE." Gender Questions 3, no. 1 (2016): 79–96. http://dx.doi.org/10.25159/2412-8457/821.

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This study examines the role of the school in Mark Behrâ€™s Embrace , and situates the institutionâ€™s location at the nexus of gender studies, childrenâ€™s literature scholarship and Lacanian psychoanalytic theory. The article argues that in the novel, the school is a phallic parent in locoÂ and an agent of the apartheid state, eager to enforce white male and heterosexual hegemony in psychologically and physically violent ways. Behr focuses on the vicious abuse of queer boys particularly. The article applies contemporary scholarship in childrenâ€™s literature to what is unquestionably a novel for and by an adult, precisely so because of the bookâ€™s bold grappling with the questions of what is a child, what constitutes sex, who or what is the phallus, and what constitutes violence; it also situates Behrâ€™s thinly veiled autobiography in a (queer) school story tradition. Specific thinkers on whose work the article draws include Antonio Gramsci, Louis Althusser and Michel Foucault; gender theorists Judith Butler and Eve Kosofsky Sedgwick; psychoanalyst Jacques Lacan; and childrenâ€™s literature scholars Karen Coats, Kenneth Kidd and others.

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Meagher, Michelle, and Roxanne Loree Runyon. "Backward glances: Feminism, nostalgia and Joan Braderman’s The Heretics (2009)." Feminist Theory 18, no. 3 (2017): 343–56. http://dx.doi.org/10.1177/1464700117721883.

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Although nostalgia is a much-maligned orientation to the world, feminist scholars including Heather Hillsburg (2013) and Kate Eichhorn (2015) have argued that it might be recuperated for feminist ends. This article mobilises the call to rethink nostalgia through an analysis of the feminist stories and storytelling in Joan Braderman’s 2009 film, The Heretics. A documentary about a feminist collective founded in New York City in the 1970s, The Heretics sets up a way of thinking about feminism’s past that is steeped in nostalgia. Throughout the film, Braderman maintains that the 1970s were ‘a time when everything seemed possible’. By contrast, she assesses the moment in which she makes the film as a time in which ‘fear corrodes even the young’. As feminist viewers of the film who did not (indeed by virtue of age could not) experience feminism in the 1970s, we initially read the nostalgic narrative of loss framing the film with suspicion. By drawing on feminist scholarship on nostalgia and feminist storytelling, however, we argue that nostalgia can function in what Eve Kosofsky Sedgwick (2003) would call a reparative mode that enriches the relationships that feminist scholars, activists and cultural workers bear to feminisms’ pasts.

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Hale, Dorothy. "Introduktion til Social Formalism (1998)." K&K - Kultur og Klasse 35, no. 104 (2007): 16–33. http://dx.doi.org/10.7146/kok.v35i104.22280.

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Introduction to Social Formalism (1998)In this introductory chapter to her book Social Formalism: The Novel in Theory from Henry James to the Present (1998), Dorothy Hale is engaging a double polemic against the dominating tradition within cultural studies and argues that not only does this tradition, which claims to have more interest in the ‘world’ than in the ‘work’, base its studies in classical literary works; it has also lost sight of the relevant theoretical approaches. To Hale, a reactualization of ‘novel theory’ is therefore emergent, and it is the aim of her study to show that the critique that has been raised against formalistic-oriented novel theory for not having any other interest in the novel than the description of its ‘literariness’ is wrong. Literary theorists like Henry James, Percy Lubbock, Wayne Booth, Gérard Genette and Michail Bachtin have shared the conviction that the novel, through its formal aspects, embodies the author’s vision of both social identity and social reality – no matter whether this is formulated as Lubbock’s ‘vision’, Genette’s ‘voice’ or Bachtin’s ‘dialogicity’. In this respect, these theorists are not as far from the sociocultural approaches of Eve Kosofsky Sedgwick, Barbara Johnson and Henry Louis Gates as is claimed. They are connected insofar as they share a social formalistic interest, i.e. they consider the formal aspects of the text as an expression for and a result of a specific and historically variable social formation.

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Hale, Dorothy. "Introduktion til Social Formalism (1998)." K&K - Kultur og Klasse 35, no. 104 (2007): 16–33. http://dx.doi.org/10.7146/kok.v35i104.22281.

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Introduction to Social Formalism (1998)In this introductory chapter to her book Social Formalism: The Novel in Theory from Henry James to the Present (1998), Dorothy Hale is engaging a double polemic against the dominating tradition within cultural studies and argues that not only does this tradition, which claims to have more interest in the ‘world’ than in the ‘work’, base its studies in classical literary works; it has also lost sight of the relevant theoretical approaches. To Hale, a reactualization of ‘novel theory’ is therefore emergent, and it is the aim of her study to show that the critique that has been raised against formalistic-oriented novel theory for not having any other interest in the novel than the description of its ‘literariness’ is wrong. Literary theorists like Henry James, Percy Lubbock, Wayne Booth, Gérard Genette and Michail Bachtin have shared the conviction that the novel, through its formal aspects, embodies the author’s vision of both social identity and social reality – no matter whether this is formulated as Lubbock’s ‘vision’, Genette’s ‘voice’ or Bachtin’s ‘dialogicity’. In this respect, these theorists are not as far from the sociocultural approaches of Eve Kosofsky Sedgwick, Barbara Johnson and Henry Louis Gates as is claimed. They are connected insofar as they share a social formalistic interest, i.e. they consider the formal aspects of the text as an expression for and a result of a specific and historically variable social formation.

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McDonald, Rónán. "‘Lovely beyond Words’: Beckett, Value, Critique." Journal of Beckett Studies 26, no. 1 (2017): 118–33. http://dx.doi.org/10.3366/jobs.2017.0191.

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In recent years there have been numerous pronouncements by diverse figures in the humanities, including Bruno Latour, Rita Felski and Eve Kosofsky Sedgwick, that critique and ‘paranoid reading’ has run out of steam. There has been renewed attention to form, the ‘literary’, affect and the phenomenology of reading. What are the implications of this new turn for Beckett studies? Is it possible to articulate a positive value for a writer that undoes value, without simply recuperating him or her into the cultural economy? This essay is in two parts, counterpointed but complementary. The first takes a metacritical approach, elaborating synergies in Beckett and wider developments in academic literary studies. The second offers a close reading of Beckett's late prose text ‘All Strange Away’, from which I derive my titular quotation. This late work is both deeply engaged with and explicitly resistant to the Western aesthetic tradition, especially Romanticism. It deploys cultural and literary traces of aesthetic tradition, but only to parody and deface them, leaving for instance the imagination/fancy distinction blurred and suggestive, and the whole equipment for judgment uncomfortably residual and remaindered. Yet for all the play on auto-critique and self-cancellation, the text keeps the imagination flickering, precisely in the self-reflexive domain. The imagined death of the imagination, endures as the remainder, preventing the actual death and thereby keeping the possibility of valuation in process. We begin to find it in the percussive accompaniment enacted by the language: the unmistakable cadences and symmetries of Beckett's own prose. Ultimately a close reading of Beckett reveals the patterns and shapes of the prose and the drama, which as Adorno pointed out, gesture towards emancipatory possibilities without naming them. The pleasure of reading Beckett emerges from the dialectic of estrangement and recognition, mixing the uncanny and patterned linguistic markers. These signposts are found in the language, in the rhythms, patterns, repetitions and variations highlighted by a formalist criticism attentive to the phenomenology of reading.

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Goldberg, Jonathan. "On the Eve of the Future." PMLA/Publications of the Modern Language Association of America 125, no. 2 (2010): 374–77. http://dx.doi.org/10.1632/pmla.2010.125.2.374.

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Just a few days after Eve Kosofsky Sedgwick's death last April 12, I received an e-mail from Lee Edelman. “I sometimes think,” he wrote, “that Eve was the only person who really thought this day would come.” Lee's “really” resonates with a talk Eve gave a decade ago. I don't recall that she shared it with me at the time she wrote it, or I may have forgotten, not wanting to take in what she was saying. The piece was made available to me as Eve's literary executor, a task I agreed to several years ago in something of the same state of mind: not wanting to accept what I knew I was agreeing to, not wanting to believe what Eve realized would come. I'm aiming now to put together a volume of Eve's writing that represents her work since Touching Feeling appeared in 2003. Thanks to David Kosofsky, I have on one of those mass storage devices the contents of Eve's computers; there I found “Reality and Realization,” the 1999 talk to which I refer. It was “learning that a cancer I had thought was in remission had in fact become incurable,” Eve wrote, that made “inescapably vivid in repeated mental shuttle-passes the considerable distance between knowing that one will die and realizing it.” Just this shuttle, I would suggest, colors much of the work Eve was doing toward the book on Proust she was writing in the last several years.

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Clintberg, Mark. "Sticky: The Vazaleen Posters." Papers of The Bibliographical Society of Canada 57 (May 21, 2020): 67–84. http://dx.doi.org/10.33137/pbsc.v57i0.32901.

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Vazaleen was a monthly serial queer party in Toronto founded by artist and promoter Will Munro (1975-2010) in 2000. Munro commissioned Toronto-based artist Michael Comeau (1975-) to create many silkscreen poster advertisements for these parties. His designs include an array of typographic treatments, references to popular culture and queer icons, and vibrant colour schemes. This article discusses these posters in relationship to Michel Foucault’s theory of the heterotopia, Roland Barthes’ semiotic analysis of advertising, and Eve Kosofsky Sedgwick’s writing on camp.

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Watt, Adam. "Proust Between Print Culture and Visual Art: Eve Kosofsky Sedgwick’s “Works in Fiber, Paper and Proust”." Fudan Journal of the Humanities and Social Sciences 8, no. 2 (2015): 179–91. http://dx.doi.org/10.1007/s40647-015-0071-1.

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Robles, Francisco E. "Jean Toomer’s Cane and the Borderlands of Encounter and Contradiction." MELUS 45, no. 1 (2020): 27–48. http://dx.doi.org/10.1093/melus/mlz064.

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Abstract This article looks at Jean Toomer’s Cane (1923) through the theoretical framework of Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987) and Eve Kosofsky Sedgwick’s Touching Feeling: Affect, Pedagogy, Performativity (2003), arguing that Cane might best be understood as a text focused on borders. In doing so, the article puts forth the claim that the ideas of “contradiction” and “beside” offer important insights into understanding the formal innovations and thematic qualities of Cane. Specifically, by focusing on the text’s use of migration as a meaningful aesthetic category, the essay unsettles recent literary historical questions about Toomer’s personal identifications, instead looking at how contradiction and paradox generate a text whose flows, moves, and shifts insist on multiplicity and movement.

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Lorig, Josette. "“Just a Couple of Queer Fish”: The Queer Possibilities of Rita Mae Brown’s Rubyfruit Jungle." Contemporary Women's Writing 14, no. 2-3 (2020): 315–32. http://dx.doi.org/10.1093/cww/vpab001.

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Abstract Rita Mae Brown’s Rubyfruit Jungle (1973) is a foundational work of lesbian literature and has been characterized as a queer text. This essay begins with resistance to reading the novel as a wholly celebratory queer text because of how it positions a form of essentialized lesbianism against queer sexualities that are coded as deviant and abnormal. Nonetheless, Rubyfruit Jungle brims with queer narratives, queer scenes, and queer characters. In the essay’s second half, I draw on Eve Kosofsky Sedgwick’s model of reparative reading to engage with potential queer readings the novel affords. I show how readers can recuperate the queer sexualities the novel documents in ways that the novel – with its specific historical and political positionality – did not or could not account for.

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Camargo, Fábio Figueiredo. "Corpo, culpa e vergonha em Mundos mortos, de Octávio de Faria / Body, Guilt and Shame in Octávio de Faria’s Mundos Mortos." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 2 (2020): 235. http://dx.doi.org/10.17851/2358-9787.29.2.235-251.

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Resumo: O presente artigo analisa o romance Mundos mortos, de Octávio de Faria, publicado em 1937, rotulado pela crítica como literatura intimista, abordando personagens adolescentes e seus dilemas sobre sexualidade em torno de um local de homossociabilidade, o colégio de padres católicos. O que chama atenção na produção desse autor, e está expresso nos textos ficcionais, nos dilemas de seus personagens, em seu diário e em suas correspondências, é o conflito constante entre o fato deste ser católico fervoroso e, ao mesmo tempo, haver a presença marcante de um homoerotismo, o qual está diretamente ligado à produção dos corpos dos personagens. Esses corpos dóceis, ou rebeldes, estranhos, diferentes colocam-se em posições negativas com relação ao padrão heteronormativo de seu tempo, deparando-se com os sentimentos de culpa e vergonha constantes, instituídos pelo catolicismo. Analisa-se de que modo o escritor representou o corpo diante dos dogmas católicos, a representação da homossexualidade e como isso transparece em seu romance, lançando mão de teóricos como Eve Kosofski Sedgwick, Michel Foucault e Judith Butler.Palavras-chave: literatura brasileira; Octávio de Faria; corpo; homoerotismo; catolicismo.Abstract: This article analyzes Octávio de Faria’s novel Mundos mortos, published in 1937, critically labeled as intimate literature, about adolescent characters and their dilemmas around sexuality at a homosocial place, the college of Catholic priests. What draws attention in this author’s production, and is expressed in the fictional texts, the dilemmas of his characters, his diary and his correspondences, is the constant conflict between him being a fervent Catholic and, at the same time, having the presence striking feature of homoerotism, which is directly linked to the production of the bodies of the characters. These docile, or rebellious, strange, different bodies put themselves in negative positions with respect to the heteronormative pattern of their time, encountering the constant feelings of guilt and shame instituted by Catholicism. Analyzes how the writer represented the body in the face of Catholic dogma, the representation of homosexuality, and how this shows in his novel, using theorists such as Eve Kosofski Sedgwick, Michel Foucault and Judith Butler.Keywords: Brazilian literature; Octávio de Faria; body; homoeroticism; catholicism.

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Dow, Nardeen. "Homosocial or homoerotic: A re-reading of gender and sexuality in Harry Potter through fanfiction." Queer Studies in Media & Popular Culture 5, no. 1 (2020): 27–47. http://dx.doi.org/10.1386/qsmpc_00023_1.

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The Harry Potter novels present their readers with traditional views of masculinity, male dominance and, by extension, female subjugation. Although the books may appear to portray female characters as strong and independent, the text focuses on outmoded ideas of male heroism. While many critics have discussed related topics like female power and sexuality in Rowling’s novels, this article focuses on the power structure at play and on the underlying homoerotic subtexts in the source text by making use of Eve Kosofsky Sedgwick’s concept of homosociality. In addition, the article relies on fanfiction stories to shed light on the hidden homoerotic subtexts in the novels and examines the ways in which fanfiction allows and promotes a fluidity between homosocial and homosexual bonds between men. This article attempts to find answers to how fanfiction enables the readers to imagine male intimacy and what premises these stories consider. The article claims that fanfiction stories broaden Sedgwick’s term by combining male homosocial relationships with intimacy and non-homophobia and exposing the homosexual continuum in already written texts. The article further suggests that fanfiction can be considered a utopian place/space where male intimacy can be imagined.

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Bjering, Jens, and Mikkel Krause Frantzen. "Depression og/eller apokalypse." K&K - Kultur og Klasse 43, no. 120 (2015): 165–84. http://dx.doi.org/10.7146/kok.v43i120.22987.

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The article sets out by investigating how depression is represented in Lars von Trier’s disaster movie Melancholia with the specific intent to detach mental illness from classic, somewhat romantic notions of metaphoric and epistemological connections between psychopathology and deeper “truths” about the world. Employing what one could call a symptomatological view on the depression of the main protagonist Justine, the article concludes that her depression should be seen as a temporal disorder in the sense that she lacks the ability to project and plan a future. From here, the article turns to Eve Kosofsky Sedgwick’s concept of a “reparative praxis” as a possible ethico-practical way out of the depressive situation, arguing that such a reparative praxis is exactly what ends up pulling Justine out of her depression and enabling her to act. In a concluding step, the article relates depression and the reparative praxis to more general questions about temporality, imagination, and disaster based on Jean-Pierre Dupuy’s concept of “loop time”.

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Journal articles on the topic 'Sedgwick, Eve Kosofsky'

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