This volume tells the story of the case study genre at a time when it became the genre par excellence for discussing human sexuality across the humanities and the life sciences. A History of the Case Study takes the reader on a transcontinental journey from the imperial world of fin-de-siècle Central Europe and the Austro-Hungarian Empire to the interwar metropolises of Weimar Germany, and to the United States of America in the post-war years. Foregrounding the figures of case study pioneers, and always alert to the radical implications of their engagement with the genre, the six chapters scrutinise the case writing practices of Sigmund Freud and his predecessor sexologist Richard von Krafft-Ebing; writers such as Leopold von Sacher-Masoch, Oskar Panizza and Alfred Döblin; Weimar intellectuals such as Erich Wulffen, and New York psychoanalyst Viola Bernard. There result important new insights into the continuing legacy of such writers, and into the agency increasingly claimed by the readerships that emerged with the development of modernity—from readers who self-identified as masochists, to conmen and female criminals. Where previous accounts of the case study have tended to consider the history of the genre from a single disciplinary perspective, this book is structured by the interdisciplinary approach most applicable to the ambivalent context of modernity. It focuses on key moments in the genre’s past, occasions when and where the conventions of the case study were contested as part of a more profound enquiry into the nature of the human subject.
Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.
This book demonstrates that incest was representative of a range of interests crucial to writers of the Gothic, often women or homosexual men who adopted a critical stance in relation to the heteronormative patriarchal world. In repositioning the Gothic, representations of incest are revealed as synonymous with the Gothic as a whole. The book argues that extending the traditional endpoint of the Gothic makes it possible to understand the full range of familial, legal, marital, sexual and class implications associated with the genre's deployment of incest. Gothic authors deploy the generic convention of incest to reveal as inadequate heteronormative ideologies of sexuality and desire in the patriarchal social structure that render its laws and requirements arbitrary. The book examines the various familial ties and incestuous relationships in the Gothic to show how they depict and disrupt contemporary definitions of gender, family and desire. Many of the methodologies adopted in Gothic scholarship and analyses of incest reveal ongoing continuities between their assumptions and those of the very ideologies Gothic authors strove to disrupt through their use of the incest trope. Methodologies such as Freudian psychoanalysis, as Botting argues, can be positioned as a product of Gothic monster-making, showing the effect of Gothic conventions on psychoanalytic theories that are still in wide use today.
This book attempts to convey the different sociological contexts for how contemporary anarchist theory and practice is to be understood. It concentrates on the issue of broadening the parameters of how anarchist theory and practice is conceptualized. The book compares the major philosophical differences and strategies between the classical period (what Dave Morland calls 'social anarchism') and the contemporary anti-capitalist movements which he regards as being poststructuralist in nature. It also documents the emergence of the now highly influential anti-technological and anti-civilisational strand in anarchist thought. This offers something of a challenge to anarchism as a political philosophy of the Enlightenment, as well as to other contemporary versions of ecological anarchism and, to some extent, anarcho-communism. The book further provides a snapshot of a number of debates and critical positions which inform contemporary anarchist practice. The specific areas covered offer unique perspectives on sexuality, education, addiction and mental health aspects of socialisation and how this can be challenged at a number of different levels. The fact that anarchism has largely premised its critique on a psychological dimension to power relations, not just a material one, has been an advantage in this respect. Ecological anarchism, which has been the driving force behind much contemporary anarchist theory and practice, has been committed to thinking about the relationships between people and 'nature' in new ways.
these questions are neither single nor simple, but they are worth seeking,
because they draw readers into an interrogation of post-feminist sexualities
that questions many of the shibboleths of both feminist and masculinist/patriarchal ideologies.
It is axiomatic that one of the deﬁning features of the late twentieth
century and early twentieth-ﬁrst century is the sexual liberation of women.
While less fully and less universally realised than some would have us
believe, this social, political and personal liberation has enabled among
women writers an
The following four chapters provide a snapshot of a number of debates and critical positions which inform contemporary anarchist practice. The specific areas
covered offer unique perspectives on aspects of socialisation – sexuality, education, addiction and mental health – and how this can be challenged at a number
of different levels. Each of the contributors comes from a specialist professional
or activist background (rather than an established academic one), and to varying
degrees the chapters bear out points made in Part I, ‘Thinking’ regarding
towards the discipline, and towards its traditionalist practitioners, was
critical and transformative. 1
To understand this important development in political theory,
however, we will need to examine the concepts of sex and sexuality as well.
Moreover, it will also be necessary to bear in mind that gender, woman and
women’s lives are all feminist concepts, but that within feminism
itself they are
incestuous capacity to her son in a scene that disrupts the gender
ideologies informing conventional representations of incest in which men
are the active abusers of women. Burney’s discomfort with the
‘dreadful’ and ‘atrocious’ work, typical of
reactions to the play, indicates a sense of how deeply it troubles
ideologies of gender and sexuality that implicitly inform readings of
mother–son incest as the
scholars such as George E. Haggerty in Queer Gothic ( 2006 ), Luce Irigaray in This Sex Which is Not
One ( 1977 ) and Michel Foucault in The
History of Sexuality (1976). Examining the intersections of
sexuality and power within the representations of mother–son
incest in the Gothic reveals the complexities of the radical
destabilisations of gender and heteronormativity occurring
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
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Tropes of yearning and dissent:
the inﬂection of desire in Yvonne Vera
and Tsitsi Dangarembga1
To build something new, you must be prepared to destroy the past.
(Yvonne Vera, Butterﬂy Burning)2
This chapter seeks to bring into juxtaposition two Zimbabwean women writers
and a question of same-sex sexuality: its conﬁgurations of desire, its vocabularies of aspiration. It thus extends this book’s overall concern with women’s
representation into the area of women