By Eve Kosofsky Sedgwick
Novel staring at is the 1st selection of queer feedback at the background of the unconventional. The participants to this quantity navigate new territory in literary conception with essays that implicitly problem the "hermeneutic of suspicion" frequent in present severe idea. In a beautiful introductory essay, Eve Kosofsky Sedgwick delineates the chances for a feedback that will be "reparative" instead of cynical or paranoid. The startlingly imaginitive essays within the quantity discover new severe practices which may weave the pleasures and disorientations of studying into the cloth of queer analyses.Through discussions of a various array of British, French, and American novels—including significant canonical novels, best-sellers, children’s fiction, and technology fiction—these essays discover queer worlds of flavor, texture, pleasure, and ennui, targeting such matters as flogging, wizardry, exorcism, dance, Zionist hope, and net sexuality. reading the works of authors as varied as Benjamin consistent, Toni Morrison, T. H. White, and William Gibson, in addition to canonical queer modernists corresponding to James, Proust, Woolf, and Cather, members display the wealth of how during which selves and groups achieve extracting sustenance from the gadgets of a tradition whose avowed wish has frequently been to not maintain them. The dramatic reframing that those essays practice will make the importance of Novel staring at expand past the scope of queer reports to literary feedback in general.Contributors. Stephen Barber, Renu Bora, Anne Chandler, James Creech, Tyler Curtain, Jonathan Goldberg, Joseph Litvak, Michael Lucey, Jeff Nunokawa, Cindy Patton, Jacob Press, Robert F. Reid-Pharr, Eve Kosofsky Sedgwick, Melissa Solomon, Kathryn Bond Stockton, John Vincent, Maurice Wallace, Barry Weller
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Extra info for Novel Gazing: Queer Readings in Fiction (Series Q)
Example text
S communities even used general idiom to express their peculiar position; Meier, like many other people in Germany, had the reputation of being a Zwitter or hermaphrodite. Finon was called Finon because in the region of Lorraine masculine women were given the suffix ‘on’. Other hermaphrodites raised as females were described as ‘bearded’ or ‘viragos’. This indicates a structural space for people of ambiguous sex. I have found evidence for such tolerance mostly in stories from rural areas, among farmers and in villages.
As for her external appearance, the woman was a virago, around 5′5″ tall, broad-shouldered and of a muscular build; the breasts on her corpse were under-developed but not withered or flaccid. Her facial hair, particularly her moustache, was highly developed. According to everyone who knew her, Frau Holzheid was an enterprising, dauntless woman who managed and farmed her extremely large agricultural estate almost entirely without the help of her husband. I also heard that in school she had played more with the boys than with the girls.
These three elements are always present: the registration as male or female, the clothing and the occupation. They represent someone’s sex in the public arena after the first (and normally only) inspection of the genitals at birth. It is through ambiguities in outward appearance and occupation that doubt might be instilled in a local community concerning the sex which somebody had initially been inscribed with. Both were related to the sex of the body as well as to certain social and cultural assumptions about sex: to a woman’s physical strength and to the definition of men’s work, for example, or to the growth of facial hair and the habit of shaving, or to the ability of being able to urinate standing up and the custom of men wearing trousers.
