Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

  .   The subversion of the gaze: Shérazade and other women in the work of Leïla Sebbar Of mixed Franco-Algerian parentage, Leïla Sebbar spans a variety of genres in her writing,including short stories,journalism,essays,children’s writing and contributions to collaborative works, including collections of visual material. She also has a number of major novels to her credit. In its thematic content, Sebbar’s work straddles the Mediterranean, focusing attention on the dynamics between the generations. She is not engaged in any mission of

in Women’s writing in contemporary France
Negotiating vanity
Faye Tudor

10 ‘Gazing in hir glasse of vaineglorie’: negotiating vanity Faye Tudor This chapter explores the problems that mirrors presented for women, at whom they were often directed, and discusses the potential for women to circumvent some of the mirror’s negative associations. This essay will present three self-portraits by Sofonisba Anguissola and Artemisia Gentileschi which will reveal the different approaches of these women to the problem of representing themselves. These women seek out a new method of either sidestepping the issues of self-representation, often

in The senses in early modern England, 1558–1660
A Session at the 2019 American Studies Association Conference
Magdalena J. Zaborowska, Nicholas F. Radel, Nigel Hatton, and Ernest L. Gibson III

“Rebranding James Baldwin and His Queer Others” was a session held at the annual meeting of the American Studies Association in November 2019 in Honolulu, Hawaii. The papers gathered here show how Baldwin’s writings and life story participate in dialogues with other authors and artists who probe issues of identity and identification, as well as with other types of texts and non-American stories, boldly addressing theoretical and political perspectives different from his own. Nick Radel’s temporal challenge to reading novels on homoerotic male desire asks of us a leap of faith, one that makes it possible to read race as not necessarily a synonym for “Black,” but as a powerful historical and sexual trope that resists “over-easy” binaries of Western masculinity. Ernest L. Gibson’s engagement with Beauford Delaney’s brilliant art and the ways in which it enabled the teenage Baldwin’s “dark rapture” of self-discovery as a writer reminds us that “something [has been missing] in our discussions of male relationships.” Finally, Nigel Hatton suggests “a relationship among Baldwin, Denmark, and Giovanni’s Room that adds another thread to the important scholarship on his groundbreaking work of fiction that has impacted African-American literature, Cold War studies, transnational American studies, feminist thought, and queer theory.” All three essays enlarge our assessment of Baldwin’s contribution to understanding the ways gender and sexuality always inflect racialized Western masculinities. Thus, they help us work to better gauge the extent of Baldwin’s influence right here and right now.

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
Open Access (free)
Reading Beckett’s negativity
Peter Boxall

– it is as if Beckett’s writing 34 Beckett and nothing reads one back, demonstrating the vanishing point of one’s own reading practices whilst refusing to yield itself to interpretation. It is perhaps this quality, this kind of reverse interpretation, that leads to Derrida’s famous reluctance to read Beckett, to expose deconstruction to Beckett’s deconstructive gaze. Beckett is an author, Derrida says in an interview with Derek Attridge, ‘to whom I feel very close, or to whom I would like to feel myself very close; but also too close’,22 and it is precisely this

in Beckett and nothing
Open Access (free)
Blasons d’un corps masculin, L’Ecrivaillon and La Ligne âpre by Régine Detambel
Marie-Claire Barnet

writer? The discussion which follows will offer potential answers and raise further questions on this subject. It is evident from Germaine Greer’s The Whole Woman or Michel Serres’s Variations sur le corps, or indeed from the exhibition ‘Spectacular Bodies’ (London, Hayward Gallery, ), that the body, the battlefield and old war-horse of feminist theory, is also on the current philosophical and cultural agenda.10 Like Susan Faludi in Stiffed: The Betrayal of the Modern Man, Detambel turns her gaze in Blasons d’un corps masculin (blazons of a male body) to the

in Women’s writing in contemporary France
Olivier Thomas Kramsch

borderland life within its totalising gaze. This intuition, I argue, is what makes possible a politics ‘of’ the border, stretching the borderline into an affective-political ‘constellation’ suturing the past and present into a future-oriented time-space capable of revealing ‘hidden’ connections and affinities between a multiplicity of borderland contexts in ways not permitted by two-dimensional cartography. But now it is time to get up from our Wyler deckchairs, stretch our legs, go for a stroll, and in the process pick up some real and imagined fellow-travellers. Re

in Migrating borders and moving times
Open Access (free)
Bonnie Evans

on the idea of infantile hallucination. However, this foundational work for the autism concept was conducted in a unique historical climate in Britain where a population of children were hidden from the gaze of important early child psychology researchers. Psychologists such as Melanie Klein, Susan Isaacs and John Bowlby were influencing government policy towards children as recipients of welfare

in The metamorphosis of autism
Open Access (free)
Jenny Edkins

. And I filed the photograph. I’m not sure it meant that much to me in the end. I wonder now why I had never asked before – at home, as a child – to see his photograph. Of course, there was no such photograph, but I do wonder what would have been the outcome had I asked the question and been told the answer, before my father’s death. Family photographs are brutally torn from their context and displayed for all to gaze on when tragedy strikes. When someone is missing, or when they are the victim of a crime, a family snapshot will be reproduced in newspapers or on

in Change and the politics of certainty
Paul Salzman

’s utopia of Bensalem, More’s male gaze of desire is replaced by a scientific elaboration of the value of male potency and procreation as a kind of state enterprise (in Bensalem a friend of each party views the naked potential partner). Bacon’s vision does seem to me to be a deliberate counter to More’s, in so far as it offers a world in which scientific knowledge structures society, as opposed to More’s vision of a society structured by humanist ethics. I will argue later in this essay that Bruce’s reading is particularly suggestive if we take into account the way that a

in Francis Bacon’s <i>New Atlantis</i>