Search results

You are looking at 1 - 10 of 20 items for :

  • "Eve Kosofsky Sedgwick" x
  • Film, Media and Music x
  • Refine by access: All content x
Clear All
Open Access (free)
James Baldwin and the "Closeted-ness" of American Power
David Jones

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.  

James Baldwin Review
Open Access (free)
Intimacy, Shame, and the Closet in James Baldwin’s Giovanni’s Room
Monica B. Pearl

This essay’s close interrogation of James Baldwin’s 1956 novel Giovanni’s Room allows us to see one aspect of how sexual shame functions: it shows how shame exposes anxiety not only about the feminizing force of homosexuality, but about how being the object of the gaze is feminizing—and therefore shameful. It also shows that the paradigm of the closet is not the metaphor of privacy and enclosure on one hand and openness and liberation on the other that it is commonly thought to be, but instead is a site of illusory control over whether one is available to be seen and therefore humiliated by being feminized. Further, the essay reveals the paradox of denial, where one must first know the thing that is at the same time being disavowed or denied. The narrative requirements of fictions such as Giovanni’s Room demonstrate this, as it requires that the narrator both know, in order to narrate, and not know something at the same time.

James Baldwin Review
Serena Trowbridge

appropriation of corpses and revenants, but as Eve Kosofsky Sedgwick discusses in The Coherence of Gothic Conventions ( 1986 : 140–67), the aesthetics on which the genre depends for its atmosphere are also indicative of what lies beneath. We ignore the aesthetics at a cost, because they are all a writer can offer; the ‘meaning’ depends on a complex

in The Gothic and death
Resisting fascism through the oneiric unconscious
Emily-Rose Baker

straightforwardly reflected the reality of the Third Reich is therefore less important than the extent to which the very processing of waking life within them signified an experience just as valuable as conscious thinking. Approaching The Third Reich and Broken Glass in this way constitutes what Eve Kosofsky Sedgwick might describe as a ‘reparative’ intervention within the ‘paranoid’ reading of Beradt (and

in Dreams and atrocity
Abstract only
Sue Vice

he wants to be the inspector’s ‘mate’, Delilah demands, ‘You mean, marry me?’ Delilah is blind to the men’s real concern, which is to ensure he is sufficiently content not to give them a hard time at work. Indeed, the important relationships represented in The Dustbinmen are all ‘between men’ and follow the pattern of homosocial desire identified in Eve Kosofsky Sedgwick’s eponymous book. Winston is more Vice_04_Chap 3.indd 63 20/10/08 13:59:18 64  Jack Rosenthal emotionally engaged with football and other male fans than with his girlfriend Naomi, while Cheese

in Jack Rosenthal
Abstract only
Julia M. Wright

masculine types serves to call attention to the conventionality – as narrative convention, as cultural construction – of masculinity. Moreover, both film noir and romance stress the relativism that determines masculinity, not just in terms of homosociality, as defined by Eve Kosofsky Sedgwick, but also in terms of dominance and what James Eli Adams terms “styles of masculinity.” 23 Patriarchy might

in Men with stakes
The battle for consensus in A Very British Coup (Channel 4, 1988)
Joseph Oldham

British Coup. Perkins exposes the conspiracy and calls a General Election at the climax of the serial. public reaction may prove the most productive force for affecting positive change. Paranoia, as Eve Kosofsky Sedgwick writes, ‘acts as though its work would be accomplished if only it could finally, this time, somehow get its story truly known. That a fully initiated listener could still remain indifferent or inimical, or might have no help to offer, is hardly treated as a possibility.’34 The narrative of the Watergate scandal is hugely influential in this regard

in Paranoid visions
The queer plays of actors, auteurs and machines
Brad Epps

one and that, in its very instability, contradictorily stabilises itself as a figure devoid of essence, that is to say, as a figure of process, in process. As Eve Kosofsky Sedgwick rather famously put it in a text published in the early 1990s, ‘queer’ constitutes ‘a continuing moment, movement, motive –​recurrent, eddying, troublant … “queer” itself means across –​ it comes from the Indo-​European root -​twerkw, which also yields the German quer (transverse), Latin torquere (to twist), English athwart’ (1993: xii). Intensely implicated in the history of sexuality

in Performance and Spanish film
Author:

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Abstract only
body and sexuality in reverse motion
James S. Williams

finger play in reverse-motion photography – the rows of disembodied male arms hoisting candelabra that become suspended and allow fingers to point the way, the Poet’s restoration of the hibiscus flower next to the open rim of a flowerpot, his drawing of the portrait by means of a rag, etc. – might we not also view these primary pleasures as a filmic version of ‘fisting-as-écriture’, Eve Kosofsky Sedgwick’s term

in Jean Cocteau