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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
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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
Open Access (free)
Beckett and anxiety
Russell Smith

) cognitive interpretation of affect, and ‘feeling’ as ‘a capacious term that connotes both physiological sensations (affects) and psychological states (emotions)’.25 While recent approaches to affect and emotion differ widely, what they share is the hunch that paying attention to affect as a critical object has the capacity to disturb poststructuralist orthodoxies. For example, Eve Kosofsky Sedgwick and Adam Frank draw on Silvan Tomkins’s massive study Affect, Imagery, Consciousness to challenge what they see as the routine critical habits of post-structuralist theory: its

in Beckett and nothing
Open Access (free)
Troubling race, ethnicity, and masculinity in Beowulf
Catalin Taranu

For discussions on the ways in which anxiety recombines with shame, and on how crucial shame is to the experience of homosociality, see Adam Frank and Eve Kosofsky Sedgwick (eds), Shame and its sisters: a Silvan Tomkins reader (Durham, NC: Duke University Press, 1995), pp. 6, 147–60; and Eve Kosofsky Sedgwick, Touching feeling: affect, pedagogy, performativity (Durham, NC: Duke University Press, 2003), pp. 35–121. I am grateful to Daniel Remein for pointing me towards this illuminating work

in Dating Beowulf
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Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

dominated scholarly accounts of incest in the Gothic is the psychoanalytic approach, upon which I have already touched. Freudian theory underpins the works of Gilbert and Gubar, DeLamotte, Hoeveler, Eve Kosofsky Sedgwick, Michelle A. Masse and Pamela Kaufman. 85 Psychoanalysis is also the theoretical framework for Anne Williams’s Art of Darkness: A Poetics of Gothic ( 1995 ), in which she argues that

in Gothic incest
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Antipodean life as a comparative exercise
Sarah Comyn

confirms disbelief in the southern continent even as it directs its gaze toward it’. 18 Figure 2.1 Beato de Liebana Burgo de Osma, 1086 Contemplating the corporeality of antipodality, Goldie similarly argues that the concept of the Antipodes can be embodied and performed. Using Eve Kosofsky Sedgwick’s term ‘beside’, Goldie considers how the encounters between ‘British and Pacific cultures’ in the nineteenth century can perform a ‘wide range of desiring, identifying, representing, repelling, paralleling, differentiating, rivalling, leaning, twisting

in Worlding the south
Open Access (free)
Daniel C. Remein and Erica Weaver

excellence if there ever was one – speaks of the ‘intimacy’ of ‘us’ and the field of the visible ‘as though there were between it and us an intimacy as close as between the sea and the strand’. 17 Meanwhile, Eve Kosofsky Sedgwick explores ‘the intuition that a particular intimacy seems to subsist between textures and emotions’, 18 with a particular instance of such an intimacy, around shame and anal eroticism in Henry James's The art

in Dating Beowulf
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

culture and we can’t force it on our people. We don’t want to import it to our country, we have our own culture, our own people’. Mugabe is also on record for having said that God created Adam and Eve not Adam and Steve. See Rory Carroll, ‘Two views from the pulpit’, p. 4. BOEHMER Makeup 186 3/22/05 2:55 PM Page 186 John's G5:Users:john:Public:John's Mac: John's Job Stories of women 21 See Eve Kosofsky Sedgwick’s introduction, ‘Paranoid reading and reparative reading’, to Sedgwick (ed.), Novel Gazing: Queer Readings in Fiction (Durham, NC and London: Duke

in Stories of women
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Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Open Access (free)
Convergence, emergence and divergence
Simon Parry

trajectory located in the work of scholars in science studies, notably Isabelle Stengers and Bruno Latour, and also in the work of the US queer theorist Eve Kosofsky Sedgwick. Sedgwick argued for a practice of ‘reparative reading’ to replace or at least counter-balance what she called ‘paranoid reading’. As important as demystification might be both in terms of the social and physical substrates of matter, being in such a demystified state does not inherently enable ethical action or the production of a just social order. As Sedgwick admits, it may seem like a common

in Science in performance