In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. Jennifer C. Nash Black Lactation Aesthetics: Remaking the Natural in Lakisha Cohill’s Photographs In her 1992 essay “Selling Hot Pussy,” bell hooks recounts entering a “late night dessert place” with a group of colleagues who all began to laugh at a shelf of “gigantic chocolate breasts complete with nipples— huge edible tits.”1 For hooks, the chocolate Black (...) breasts are mammy imagery, a “displaced longing for a racist past when the bodies of black women were a commodity, available to anyone white who could pay the price.”2 For her white colleagues, the chocolate breasts are simply comical. Her colleagues’ response—their willingness to consume, laugh, and ignore racial, gendered, sexual violence—constitutes the racialized visual marketplace that hooks’s essay seeks to both describe and dismantle. The chocolate breasts become a rhetorical point of entry into hooks’s critical engagement with a visual marketplace where Black female bodies are delectable and disposable objects. hooks’s analysis has become part of a canon of Black feminist work exploring how Black breasts get taken up as signs of pathology, “excess flesh,” sexual deviance, hypersexuality, and alterity.3 From histories of the so-called Hottentot Venus and the preoccupation with her breasts, buttocks, and genitalia—including 1. bell hooks, “Selling Hot Pussy,” Black Looks: Race and Representation (Boston: South End Press, 1992), 61. 2. hooks, 61–62. 3. See Nicole R. Fleetwood, Troubling Vision: Performance, Visuality, and Blackness (Chicago: University of Chicago Press, 2010). Jennifer C. Nash 95 signature works by Zine Magubane, Janell Hobson, Samantha Pinto, and T. Denean Sharpley-Whiting4 —to scholarship on the construction of black women’s imagined corporeality as “social dead weight” by Sabrina Strings, Black feminists have given critical attention to the construction of Black breasts as the location of Black women’s imagined racial and sexual difference.5 If Black breasts have been culturally and scientifically constructed as deviant, excessive, pornographic, and desirous, they have largely been uncoupled from an identification with nutrition—from the capacity to sustain and feed babies—except their connection with wet nursing and their conscription into maternal labor for white children. In this imaginary, Black breasts provide nutrition only when recruited as white property, with their nurturance capacity oriented toward white health and futurity. We might understand the cultural inability to interpret Black breasts as nurturing Black life as part of what Andrea Freeman describes as the “unmothering” of Black women, the unseeing of Black maternity except to elevate it as a symbol of brokenness or pathology.6 But in recent years, as I argue in my forthcoming book Birthing Black Mothers, Black breasts have entered the US cultural imagination anew. Black breasts are increasingly viewed as in need of support through seemingly benign state interventions to encourage Black breastfeeding. Indeed, Black breasts are recruited by an array of actors who often find themselves strangely aligned to champion Black breastfeeding —including NGOs, public health campaigns, and reproductive justice efforts spearheaded by Black feminists—precisely because Black breastfeeding is thought to perform urgent political, emotional, and 4. See Zine Magubane, “Which Bodies Matter? Feminism, Poststructuralism, Race, and the Curious Theoretical Odyssey of the ‘Hottentot Venus,’” Gender & Society 15, no. 6 (2001): 816–834; Janell Hobson, Venus in the Dark: Blackness and Beauty in Popular Culture (New York: Routledge, 2005); Samantha Pinto, Infamous Bodies: Early Black Women’s Celebrity and the Afterlives of Rights (Durham, NC: Duke University Press, 2020); and T. Denean Sharpley-Whiting, Black Venus: Sexualized Savages, Primal Fears, and Primitive Narratives in French (Durham, NC: Duke University Press, 1999). 5. See Sabrina Strings, Fearing the Black Body: The Racial Origins of Fat Phobia (New York: NYU Press, 2019). 6. Andrea Freeman, “Unmothering Black Women: Formula Feeding as an Incident of Slavery,” Hastings Law Journal 69, no 1545 (2018): 1545–1606. 96 Jennifer C. Nash public health work. Black breastmilk is increasingly described as a crucial technology of Black life, one that supports Black infant life and inoculates it physically, psychically, and even spiritually against the array of anti-Black forces that wound and violate. The work that Black breast milk is thought to perform includes its posited... (shrink)

The chapter explores the perceptual and epistemic structures of boomerang perception, as developed by María Lugones, by focusing on contemporary lived experiences of Latinas of commercialization and homogenization. Boomerang perception is the mechanism through which people of color are constructed through a white imaginary lens and denied subjectivity. The internalization of boomerang perception subsequently yields horizontal hostilities whereby people of color construct each other through white eyes and engender a fake/real dichotomy that polices the boundaries of communities. The commercialization of (...) Latina identity in the 21st century serves as one example that draws out the ways in which boomerang perception is internalized and plays on the production of the real/fake dichotomy. Drawing on Gloria Anzaldúa’s notion of conocimiento, the chapter subsequently considers the possibilities of resistance through the development of style politics that can transform embodied ways of knowing. In this capacity, the chapter takes up the project of chonga stylized politics as exemplifying practices of conocimiento. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: The Portrait of a Miniature Giant PAUL BAROLSKY There was a time when the art of the sixteenth -century Florentine painter Agnolo Bronzino was reviled for its aesthetic excesses. Writing in his classic “The Cicerone: An Art Guide to Painting in Italy,” the great nineteenth -century scholar Jacob Burckhardt wrote that “as an historical painter,” Bronzino must “be placed among the Mannerists,” a judgement equivalent to placing (...) him in an art historical hell. But, Burckhardt added, “as a portrait painter, he is inferior to none of his contemporaries, not even the Venetians.” Given the fact that among the Venetians, Titian is one of the great portrait painters, this is astonishingly high praise. Nowadays, it is not uncommon for art historians, appreciating Mannerism, to celebrate the elegance and preciosity of Bronzino’s exquisite portraits. Of all Bronzino’s portraits, that of the dwarf Morgante is one of the most beguiling. It is distinctive in so many ways. This picture is the subject of a remarkable book by the Israeli art historian Sefy Hendler, Gracious and Beautiful Monster : The Literary Universe of Bronzino’s Nano Morgante, which is an exceptional piece of scholarship. Different aspects of his book have influenced various scholars who have written about the picture and who have fruitfully exploited its various details. What needs to be appreciated, however, is the way in which this book brings out the extraordinary synthetic character of Bronzino’s strange painting and the diarion 28.3 winter 2021 Sefy Hendler, Gracious and Beautiful Monster: The Literary Universe of Bronzino’s Nano Morgante, Maschietto Editore, 2016. 158 the portrait of a miniature giant versity of ways in which it belongs to the courtly culture in which it was painted. The beauty of Hendler’s seemingly all-encompassing book is that it tells a fascinating and highly entertaining story with admirable brevity in just over seventy pages. Hendler, who packs a great deal of deeply absorbing information and insight into his slim and learned volume, is sensitive to the sentiment of Peter Whiffle’s well-known dictum: “You cannot begin not to tell until you know more than you are willing to impart.” Hendler’s exquisitely concise story concerns a favorite dwarf of Duke Cosimo de’ Medici, one Braccio di Bartolo in Poggio di Fornione, who flourished at the ducal court in the middle years of the sixteenth-century. Bronzino painted the dwarf for the Duke in 1552. His sometime rival, Giorgio Vasari, painter, architect, and biographer, described the picture as “beautiful and marvelous” in his Lives of the artists. The painting is double-sided, featuring a frontal view of the naked dwarf on the recto of the canvas (fig. 1) and a rear view of the dwarf, similarly exposed on the verso (fig. 2), where the dwarf’s backside dominates the composition. (We might well observe here that Bronzino specialized lasciviously in painting the culo (witness the coy Cupid in his famous Venus, Cupid, Folly, and Time). It is therefore not surprising that the anatomical backside rendered over and over again in Italian Renaissance art, with all its connotations, sexual and otherwise, has recently been the subject of a considerable body of scholarship. Hendler, himself writing on various writers of the period, offers little hints into the psycho-sexual dimension of Bronzino’s picture. Its depiction of so many birds leads inevitably to a consideration of the word “bird” in its sexual dimension. Enough said. If Morgante’s posterior is manifest on the verso, the recto of the painting has its own special interest. A butterfly flies by the dwarf directly and conveniently in front of his genitals—a coy if not teasing gesture of decorum. The portrait once hung in the Palazzo Vecchio, which had become a ducal residence. In recent years it has moved around quite a bit, settling in the Galleria Palatina of the Palazzo Pitti, once a ducal residence. Vasari’s description of the picture is not without a certain iro- Paul Barolsky 159 ny, since the beautiful form of the painting as painting stands in opposition to the less than beautiful dwarf. The writer Anton Francesco Grazzini captured this paradox in his poem on the occasion of the death... (shrink)

In this first full-length study of male homosexuality in Cather's short stories and novels, John P. Anders examines patterns of male friendship ranging on a continuum from the social to the sexual. He reveals how Cather's work assumes an unexpected depth and complexity by drawing on both the familiar tradition of friendship literature inspired by classical and Christian texts and a homosexual legacy that is part of, yet distinct from, established literary traditions. Anders argues that Cather's artistic achievement is (...) distinguished by her sexual aesthetics, an elusive literary style inextricably associated with homosexuality. His analysis demonstrates how a homosexual ethos and eros helped Cather develop a sensitivity to human variation and a style to accommodate it and thus became the objective correlative of her art, dramatizing the diversity of human nature as it deepens the mystery of her work. (shrink)

Open Access: This paper will connect literature on epistemic injustice with literature on victims and perpetrators, to argue that in addition to considering the credibility deficit suffered by many victims, we should also consider the credibility excess accorded to many perpetrators. Epistemic injustice, as discussed by Miranda Fricker, considers ways in which someone might be wronged in their capacity as a knower. Testimonial injustice occurs when there is a credibility deficit as a result of identity-prejudicial stereotypes. However, criticisms of (...) Fricker have pointed out that credibility is part of a more complex system that includes both deficits and excesses. I will use these points to argue that we should look closer at sources of credibility excess in cases of sexual assault. This means that in addition to considering sources of victim blaming by looking at ways in which “ideal” victims are constructed, we also need to consider ways in which “ideal” perpetrators are constructed. (shrink)

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic. By regarding our most cultured human accomplishments (...) as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, Félix Guattari, and Jakob von Uexküll, we are able to grasp art's deep animal lineage. Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change. (shrink)

This article addresses a paradoxical stance taken by young straight men in three groups who identify aspects of themselves as “gay” to construct heterosexual masculine identities. By subjectively recognizing aspects of their identities as “gay,” these men discursively distance themselves from stereotypes of masculinity and privilege and/or frame themselves as politically progressive. Yet, both of these practices obscure the ways they benefit from and participate in gender and sexual inequality. I develop a theory of “sexual aesthetics” to account (...) for their behavior and its consequences, contributing to a growing body of theory regarding the hybridization of contemporary masculinities and complicating theories of sexual practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:34 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. James Bliss Defense, Redemption, Care: Black Feminist and Queer Studies Literary theory continues to be received by some as if it were an alien or antagonistic presence from whose leaden and reductive grasp it is imperative to keep literature protected. It is rare, however, that it is the literary, as such, that is being protected, rather than (...) a certain comfortable accommodation with it—not irreducible strangeness and surprise, but the security of knowing that one’s expectations will be fulfilled and one’s competence as a reader rewarded. The pleasures of accommodation and immediate assimilation are the first that theory asks us to forego—which may do as much to make it seem forbidding and “inhumane” as anything it actually proposes. —Elizabeth W. Bruss1 I. Theory Not for the first time, we find ourselves building new genres. Pursuing new writings. Not for the first time, the theoretical and the literary envelope, eclipse, and rearticulate one another. What’s more, the theoretical has been a mode of artistic practice for so long that every page is a palimpsest, a sedimentation of sedimentations of conceptual frames— swirled, spiraling genealogies. Fluent in invented tongues, in the idioms 1. Elizabeth W. Bruss, Beautiful Theories: The Spectacle of Discourse in Contemporary Criticism (Baltimore, MD: Johns Hopkins University Press, 1982), 483. 35 James Bliss Books Discussed in This Essay Black Feminism Reimagined: After Intersectionality. By Jennifer C. Nash. Durham, NC: Duke University Press, 2019. None Like Us: Blackness, Belonging, Aesthetic Life. By Stephen Best. Durham, NC: Duke University Press, 2018. Sensual Excess: Queer Femininity and Brown Jouissance. By Amber Jamilla Musser. New York: NYU Press, 2018. Queer Times, Black Futures. By Kara Keeling. New York: NYU Press, 2019. of invention, in the fluid looseness of disintegrated discourses, our works turn singular. The monograph as signature. The page promises to freeze the text, the object, the artwork, the lifeworld, the performance, and in that stillness to teach us its movements. New moves, secret passageways, lines of escape and gaps in the walls of institutions that die, dissolve, and ossify around and inside us. And here we are. The permanent apocalypse that racial capitalism has been for most life has reached the quadrangles of the college campus. What are we even doing anymore? In the great and dreadful remaking of higher education, as students face permanent indebtedness as the cost of entry into a world without work, what is the ethical impetus for our researches and the systems within which we publish? What are the ethics of critical cultural studies in a debt mine? By what arithmetic do we benefit the students we teach to “steal from the university ” when the university is so much more adroit at stealing from them (and us)? At the same time that the contours of our professional lives are, apparently, unraveling, we find ourselves in (another) new renaissance in Black studies and Black study. We find ourselves within (another) new moment of textual production around the trio of race/gender/sexuality— that is, around Blackness or around Black feminism. 36 James Bliss Or, Black invention—where the Black female, femme, feminine, and maternal operate as synecdochic figures for a species of poiēsis.2 In the 1980s, Jacques Derrida wryly called California the “state of theory” as a function of its tectonic instability.3 In the 2010s, Blackness became the state of theory as a function of its coincidence of death and life, ending and beginning, absence and excess, apocalypse and invention. Blackness, in this instance, is as material as it is metaphor, a projection of meaning across both the great ephemeral skin and the body as flesh. This piece emerges from a sense of the necessity and the hazards of an intellectual history of a moment during which, to take a suggestive phrase from Jared Sexton, “Blackness is theory itself, anti-blackness the resistance to theory.”4 But already language presents an issue. What is the relationship between Sexton’s “theory” and the “theory” found in the epigraph from Elizabeth Bruss? Or, between Sexton’s “theory” and Lewis R. Gordon’s “theory,” as Sexton borrows from Gordon’s “Theory in... (shrink)

Through a re-reading of Antigone, I offer a critique of Hegel's use of the story to illustrate the unity which emerges from the representation of sexual difference in ethical life. Using Hegel's own account of habits, as the mechanism by which the body becomes a sign of the self, I argue that the pretense of social unity assumes the proper construction and representation of one body only. This critique is brought to bear upon contemporary moves towards a post-Hegelian ethics (...) of difference. (shrink)

Surgeons who perform sex reassignment surgeries define their goals and evaluate their outcomes in terms of two kinds of results: aesthetic and functional. Since the neogenitals fashioned through sex reassignment surgeries do not enable reproductive function, surgeons must determine what the function of the genitals is or ought to be. A review of surgical literature demonstrates that questions of what constitute genital form and function, while putatively answered in the operating room, are not answerable in the discourses of clinical (...) evaluation used to define them. When the genitals—the word itself derived from the Latin genitas meaning to beget—are not reproductive, the question of their function shifts away from the biological and into other registers: pleasure, intimacy, sociality. As condensed sites of meaning and meaning-making around which selves, affects, resources, anxieties and futures are organized, the genitals signify in excess of the categories of “aesthetic” and “function” that surgeons use to assess them. Not reducible to either aesthetics or function, but constitutive of them both, this excess appears in surgical texts in the form of imagined futures of social and sexual engagement and demonstrates a powerful means by which properly sexed bodies are created. (shrink)

… Pound’s Imagist economy often mixes metaphors of capitalization with metaphors of expenditure. Words, he writes in an early essay, are like cones filled with energy, laden with the accumulated “power of tradition.” When correctly juxtaposed, these words “radiate” or “discharge” or spend this energy , just as the Image releases “an intellectual and emotional complex in an instant of time” . The precise relation of accumulation to expenditure in Pound’s Imagism is never really elaborated. For clarification one would probably (...) have to look toward his theories of sexuality, which hint at a proportion between spermatic retention and intensity of ejaculation. “The liquid solution [of sperm and/or thought],” he writes in his 1921 “Postscript” to Gourmont’s Natural Philosophy of Love, “must be kept at right consistency; one would say the due proportion of liquid to viscous particles, a good circulation; the actual quality of the sieve or separator, counting perhaps most of all; the balance of ejector and retentive media” .13 Similar physiological metaphors will shape Pound’s later economic writings of the thirties and forties. Money will function as a kind of “sieve” or “separator” , and usury will be described as malevolent form of retention, an “obstruction” to the proper circulation of money and goods. Economic justice will therefore involve the institution of a correct “balance” or “measure” between accumulation and expenditure, between “ejector” and “retentive media.” From Pound’s later Confucian perspective, excess in either direction—whether it take the form of “smeary hoarding” or extravagant squandering—always leads to evil and disorder.14Excess is of course what Pound’s Imagist economy most militantly seeks to eliminate from contemporary poetry. Pound writes in 1912, “As to Twentieth-century poetry … it will be harder and saner … ‘nearer the bone.’ It will be as much like granite as it can be … It will not try to seem forcible by rhetorical din, and luxurious riot. We will have fewer painted adjectives impeding the shock and stroke of it…. I want it austere, direct, free from emotional slither” . The vocabulary of this passage combines a discernibly American, puritanical suspicion of ornament with a functionalist asceticism that we have come to recognize as a characteristic feature of the international style of high modernism.15 From a postmodernist vantage point, however, we might well question just why the category of excess or surplus represented by “rhetorical din,” “luxurious riot,” or “emotional slither” should be so inevitably construed as negative or uneconomic. Georges Bataille, for one, provides a provocative refutation of this ideology in La Part maudite. The economics he there seeks to define would instead be based on the valorization of excess, or of what he terms “la dépense improductive,” nonproductive expenditure. Bataille’s “economy of excess” turns on “la perte du proper,” that is, the loss of the literal to the figurative, the loss of purity to scatological defilement, and the loss of personal identity to a sacred expropriation by the Other. 13. See also Kevin Oderman’s comments on the importance of delay and deferral to Pound’s troubadour “eroticism of dalliance” in “ ‘Cavalcanti’: That the Body Is Not Evil,” Paideuma 11 : 257-79. If, according to Pound, the “classic aesthetic” involves “plastic to coitus, plastic plus immediate satisfaction,” Cavalcanti’s cult of Amor instead privileges mental reterntion, “the fine thing held in the mind,” that is, erotic or mnemonic capitalization. See LE, pp. 150-53.14. Rabaté, Language, Sexuality, and Ideology, pp. 217-23, similarly links Pound’s “Postscript” to Gourmont to his later economics.15. Herbert Schneidau, Ezra Pound: The Image and the Real , pp. 177-78. Richard Sieburth is associate professor of French at New York University. He is the author of Instigations: Ezra Pound and Remy de Gourmont and translator of Friedrich Hölderlin’s Hymns and Fragments . He is currently preparing an edition of Pound’s writings on France. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Queer Defamiliarisation: Writing, Mattering, Making Strange by Helen PalmerTrevor Norris (bio)Helen Palmer, Queer Defamiliarisation: Writing, Mattering, Making Strange Edinburgh: Edinburgh University Press, 2020, 214 pp. ISBN 978-1-4744-3414-0Helen palmer is senior lecturer in English literature and creative writing at Kingston University in London and the author of Deleuze and Futurism: A Manifesto for Nonsense (2014). Her research examines queer theory, performance, literary modernism, gender, aesthetics, and feminist and Afrofuturist (...) fiction. Queer Defamiliarisation explores these ideas and also includes part of Palmer’s literary creative response to James Joyce. The project here is an inquiry into reading, thinking, writing, and pleasure and considers how language can change us when we experience the relationship between naming and the performance of identity as a material boundary: the places where our bodies, behavior, and language are subject to violence in gendered, sexualized, and racialized forms. Palmer also suggests how our own and others’ experiences of violence might be bound up with an aesthetics of linguistic and formal complexity, and she reimagines the difficulty of naming for violently excluded identities by reviewing a range of complex experimental and avant-garde literary works in which new identities can emerge. Showing us how we might understand the materiality of bodies, sense making, and desire in emancipa-tory ways, Palmer attunes us to a phenomenology of reading in which we [End Page 217] recognize how argument undergoes metamorphosis by always being a hybrid of theory, criticism, cultural history, appropriation, memoir, and experimental form. Palmer’s wide-ranging arguments speak about the porosity and mutual embeddedness of our selves, our language, our bodies and environments, and the queer processes of world creation that act on and emerge from these things. Placing her work with other texts that rethink gender, personhood and ecology through new materialisms is productive, therefore, and readers might find value in looking at Queer Defamiliarisation alongside Donna Haraway’s (2016) Staying with the Trouble, Timothy Morton’s (2019)Humankind, and Rebecca Tamás’s (2020) Strangers inasmuch as they think through the ethics and emergence of relatedness and examine what it means to play, be alongside, care for, and nurture other beings and their worlds. Palmer’s project stays with the kind of “serious and... lively” trouble that allows “unexpected collaborations and combinations, in hot compost piles” (Haraway 2016, 4).The fertile landscape is mapped out in three introductions whose themes are explored in four chapters. Palmer transforms the early-twentieth-century Russian formalist concept of defamiliarization as literary and aesthetic device, the “paradoxical process that... restores sensations to things through a [linguistic] distancing that is also a re-proximation, an approximation, a touching” (9), by reading early- to mid-twentieth-century literary and cultural theorists such as Shklovsky, Brecht, and Jakobson through the ideas of contemporary queer, feminist, and decolonial scholars such as Sara Ahmed, Rosi Braidotti, and Vicki Kirby. She questions how the estrangement of naming operates for those whose bodies are not normatively gendered, racialized, and sexualized in relation to dominant forms of representation and power and explores concerns with and for queer, trans, decolonial, and feminist aesthetics. Throughout, she encourages us to think of the strangeness of language in relation to an ethics and an erotics of radical sympathy with the stranger because it is in the “continuous movement and continual transformation” (13) of naming, and categories of naming, that an emancipatory ethics can be found. This is a timely intervention by Palmer given current anxieties around naming gender and sex, and her argument seeks to move beyond “unhelpful binaries” to acknowledge the “infinite variations and permutations of existence and experience” (14).Palmer productively combines Sara Ahmed’s concept of disorientation from Queer Phenomenology (2006) with the psycholinguistic registers of Jakobson’s “contiguity and displacement” to suggest that queer defamiliarization is a performance of language and naming that “cleaves through and between sameness and difference,” “knocking signifiers loose and ungrounding bodies,” leading to “perceptual shifts and corporeal responses” that can “materially en-gender newness” (Palmer 17). From the start of the section “Spectaxa” (152), Palmer foregrounds the materiality of her text in increasingly modernistic excess to illustrate what we have been reading and... (shrink)

Due to the complexity of aesthetic ideas and the lack of a determinate concept that is adequate to the experience, we search for the words to describe our encounters with art. Sometimes, that search is in vain, and we have difficulty expressing ourselves. In such cases, we are so taken aback by the sheer amount of cognitive activity spurred by our aesthetic experience that we are silenced by art. Instead of viewing what happens in judgments of taste as (...) “discursively mute,” as does Joseph Cannon in his essay, “The Intentionality of Judgments of Taste in Kant’s Critique of Judgment,” I will show how the excess of aesthetic experience has the potential to foster sociability, communication, and ultimately, community. .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking at Love an Ethics of VisionMieke Bal (bio)Kaja Silverman. The Threshold Of The Visible World. New York: Routledge, 1996.“The eye can confer the active gift of love upon bodies which have long been accustomed to neglect and disdain,” writes Kaja Silverman in her most recent book, The Threshold of the Visible World. The sentence neatly summarizes her project. “The active gift of love” is the central concept of (...) this book and indicative of the utopian dimension of the theory of love she develops.With Lacan as her primary interlocutor, she sets out to answer a question of one of her students: “does psychoanalysis have a theory of love?” Strange as it might seem, psychoanalysis, so often associated with an excessive interest in sexuality, has not seemed to believe in love. Within the rigorous framework of a discipline that has no use for love and theorizes a bleak view of human nature, Silverman sets out to think through the questions that every parent is at a loss, yet needs, to address: what is love, how can choices in love be culturally encouraged, reoriented, or discouraged? Lacan’s texts on the imaginary order and the visual field, and the imaginary’s stubborn presence within the symbolic order, remain a key resource for those who, like Silverman, wish to understand and analyze, critique and refocus contemporary culture with an eye open to contradictions and complexities. 1The ground for love, the ability to love, is idealization, Silverman claims. Without idealization life would be unbearable, but idealizing is influenced by cultural norms and values that we internalize from early childhood on. Silverman’s project—”to articulate the psychic and aesthetic conditions under which we might be carried away from both ideality and the self, and situated in an identificatory relation to [culturally] despised bodies” [2]—is an attempt to put pressure on two elements of this interaction, “idealization” and “self,” but as she does so she acknowledges the force of the transhistorical, heavy, thick structure of the psyche that is hard, if not impossible, to change.This project, the development of an “ethics of vision,” forms a key part within the larger framework of Silverman’s work. In her first book, The Subject of Semiotics, she argues for and explains the semiotic status of psychoanalysis and the indispensable contribution of psychoanalysis to semiotics. The book remains a valuable handbook for an understanding of the importance of such divergent theorists as De Saussure and Benveniste, Kristeva and Peirce, Freud and Lacan, and the theorists of suture for a coherent and comprehensive theory of culture. One example that will speak to many a cultural analyst is the way Silverman disentangles, and then connects again, the often conflated conceptual pairs of metaphor and metonymy, condensation and displacement, and paradigm and syntagma, showing that the first pair is situated on the level of interactions between the signifier and [End Page 59] the signified, the second on the level of the signified, and the third on the level of the structuration of the signifier. 2With this book, then, Silverman lays the foundation for a psychoanalytical semiotic that is nevertheless radically cultural in orientation: no conflation or confusion of psyche and culture, no flattening of the one through the other, but an integration that demonstrates convincingly that what happens within a psyche is irrevocably cultural and that every cultural expression entertains a relationship with one or more psyches. The structural similarities and interactions between the two then seem self-evident. But how these interactions work is explained in a manner that renders them analyzable.Silverman is in the habit of raising questions that remain unanswered, and devoting her next book to them. The Subject devoted much attention and analytical energy to filmic images, notably through suture theory, in which the technique of “shot-reverse shot” is central. This technique consists of successive images: first of a character looking at something, and then of what that character presumably sees. This would be the cinematic equivalent of what narratology calls transitions of focalization, likewise a technique used to “suture” image to diegetic character in order to stimulate identification. As in narratology, the question then arises: what exactly... (shrink)

Darwin hypothesized that some animals, when selecting sexual partners, possess a genuine “sense of beauty” that cannot be accounted for by the logic of natural selection. This hypothesis has been notoriously controversial. In this chapter I propose that the concept of agency can be useful to operationalize the “sense of beauty”, and can help identify the conditions under which one can infer that animals are acting as (aesthetic) agents. Focusing on a case study of the behavior of the (...) Pavo cristatus, I identify the types of evidence that would allow for the inference of agency through aesthetic choice. (shrink)

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression (e.g., racism, misogyny, heteronormativity) are relevant topics in and for philosophical aesthetics: (i) the role of the aesthetic in privilege and oppression, and (ii) the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression (i.e., white heteropatriarchy). (...) The first part addresses how systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and (hetero) sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

Possession Trance and Dramatic Perversity Dionysus arrives as a stranger, enigmatic, disquieting, contagious, spreading an epidemic of mania leading to ...

The aim of our paper is to question the problem of artistic creation as a transfiguration of suffering. We will point out that health is always a state to be looked at with the eyes of a convalescent, and how in particular there can be no artistic creation that is not accompanied by a condition of suffering. Our interpretive key will be the faculty of perceiving nuances, a topic that often appears in Nietzsche’s later writings, and the relationship between the (...) nuance and the affirmative power of art. Finally, we will consider whether the taste for nuance is not itself a sign of a profoundly suffering nature, aristocratically devoted to detachment from all that is grossly general. (shrink)

This essay builds on Jacques Rancière's exploration of the relationship between aesthetics and politics to analyse queer sexuality in Don Siegel's prison film Escape from Alcatraz. The film both illustrates and embodies what Rancière refers to as a redistribution of the sensible, an opening up of a new way of making sense of the world. In Escape from Alcatraz this sense-making is bound up with same-sex desire. Rancière is usually concerned with aesthetic practices linked to class struggle. This essay, (...) however, examines how Rancière's ideas are also illuminating in relation to subjugated sexual experiences. (shrink)

이 논문은 인류의 진화사에서 과거 조상들이 미적 감각과 미적 감성을 획득하게 된 데에 성선택sexual selection과의 관련이 작용했을 가능성을 살펴보려는 목적을 갖는다. 이를 위해 찰스 다윈과 데이비드 버스 및 제프리 밀러를 참조하는데, 다윈은 성선택 이론을 정초하였고 데이비드 버스와 제프리 밀러는 다윈 이후 성선택 이론을 정교하게 다듬은 동시대의 진화심리학자들이다. 다윈은 『종의 기원』을 통해 제출했던 자연선택 이론으로 잘 설명되지 않는 문제들, 곧 번식의 문제와 성의 진화 문제를 성선택 이론으로 다루었다. 어떤 수컷이 다른 수컷에게는 없는 어떤 감각기관과 같은 구조를 획득하고 있는 것은 생존경쟁에 적합하기 (...) 때문이 아니라 번식과 생식에서 다른 수컷보다 유리한 이점이 그들의 수컷 새끼들에게 전달되었기 때문이며, 이러한 경우가 자연선택이 아닌 성선택이 작용한 결과라는 것이 다윈의 설명이다. 데이비드 버스는 남녀 간의 짝짓기 전략을 중심으로 성의 진화와 관련한 인간의 심리 메커니즘을 실증적으로 밝혀내고 있는데, 건강과 헌신성에 대한 선호와 함께 신체의 적정한 비율과 대칭적 얼굴에 대한 선호 성향들이 성선택에서 배우자에 대한 미적 선호의 기준이 되었음을 보여준다. 데이비드 버스는 인간의 미적 감각이 후천적으로 습득되기 전에 선천적으로 타고나는 형질이라는 점에도 주목하고 있다. 제프리 밀러는 자연선택과 관련한 생존주의 가설로는 인간 문화의 유희적인 측면들과 장식적인 요소들, 그리고 음악, 미슬, 스포츠, 드라마, 코미디, 정치적 이상 등에 대해서 납득할 만한 설명을 내놓지 못한다는 점을 말하면서, 인간의 마음에서 가장 독특한 측면의 대부분이 우리 조상들의 짝 고르기를 통해 진화해왔음을 강조한다. 미적 감성과 같은 인간 마음은 성선택을 통한 번식이익 추구의 기능을 면밀히 들여다보아야만 마음의 진화를 제대로 파악할 수 있다는 입장이다. 논문의 검토를 통하여 성선택 이론을 중심으로 한 이들의 논의가 인간이 갖는 풍부한 미적 감성과 미적 소양에 대한 충분한 설명이 되지는 않는다 하더라도, 인류가 지닌 특유의 미적 감각이 형성되고 획득된 계기와 배경에 대한 설명으로는 유효한 것임을 확인하였다. (shrink)

This book offers a compelling account of the evolution of sensibility, weaving together Darwinian and biosemiotic theory. It works along non-anthropomorphic aesthetics of the appreciation and creation of beauty in nature as an end in itself which has practical benefit.

The pioneering work of Johann Winckelmann (1717-1768) identified a homoerotic appreciation of male beauty in classical Greek sculpture, a fascination that had endured in Western art since the Greeks. Yet after Winckelmann, the value (even the possibility) of art's queer beauty was often denied. Several theorists, notably the philosopher Immanuel Kant, broke sexual attraction and aesthetic appreciation into separate or dueling domains. In turn, sexual desire and aesthetic pleasure had to be profoundly rethought by later writers. (...) Whitney Davis follows how such innovative thinkers as John Addington Symonds, Michel Foucault, and Richard Wollheim rejoined these two domains, reclaiming earlier insights about the mutual implication of sexuality and aesthetics. Addressing texts by Arthur Schopenhauer, Charles Darwin, Oscar Wilde, Vernon Lee, and Sigmund Freud, among many others, Davis criticizes modern approaches, such as Kantian idealism, Darwinism, psychoanalysis, and analytic aesthetics, for either reducing aesthetics to a question of sexuality or for removing sexuality from the aesthetic field altogether. Despite these schematic reductions, sexuality always returns to aesthetics, and aesthetic considerations always recur in sexuality. Davis particularly emphasizes the way in which philosophies of art since the late eighteenth century have responded to nonstandard sexuality, especially homoeroticism, and how theories of nonstandard sexuality have drawn on aesthetics in significant ways. Many imaginative and penetrating critics have wrestled productively, though often inconclusively and "against themselves," with the aesthetic making of sexual life and new forms of art made from reconstituted sexualities. Through a critique that confronts history, philosophy, science, psychology, and dominant theories of art and sexuality, Davis challenges privileged types of sexual and aesthetic creation imagined in modern culture-and assumed today. (shrink)

This article employs a thumbs and thumbnails analysis to analyze the 85 most viewed Asian online porn thumbnails, videos, and their audiences’ comments to argue that cyberspace functions as a space of “affective simulation,” rather than simply as a space of representation. For these online viewers, the performativity of pain by Asian women porn stars functions as an entry point to access and externalize their affective excess.

The Deleuzian model and the masochistic contract -- Masochism, feminine "goodness" and sacrifice -- Self-mutilation and (a)signification -- Transgressive reconfigurations -- Heterocosms, spectres and the world remade -- Postscrip.

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays (...) by contributors in philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

This article argues that political injustices can arise from the distribution and character of our sexual desires and that we can be held responsible for correcting these injustices. It draws on a conception of structural injustice to diagnose unjust patterns of sexual attraction, which are taken to arise when socio-structural processes shaping the formation of sexual desire compound systemic domination and capacity-deprivation for the occupants of a social position. Individualistic and structural solutions to the problem of unjust (...) patterns of sexual attraction are assessed in the context of racialised sexual aversion, racial fetishism, and the desexualisation of people with disabilities. While both forms of intervention can help in principle, some of the advantages of structural approaches are laid out. A schema for assigning political responsibilities for addressing this injustice is proposed, with some limits identified to the kinds of state and social responses that are justified. Finally, the status of the merely aesthetically unappealing is considered, with a relational egalitarian approach concluding that they are subject to structurally unjust patterns of sexual desire only when exposed to oppression or second-class citizenship as a result. (shrink)

In this article we try to give a philosophically reflected introductory overview of the current theoretical developments in the field of evolutionary aesthetics. Our aim is not completeness. Rather, we try to depict some of the central assumptions and explanatory tools frequently used in evolutionary accounts of human aesthetical preferences and address a number of currently debated, open research questions.

“Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (...) (Section IV). Finally (Section V), I consider a “paradox” of oversinging involving the role of skill in artistic performance. My discussion touches on the aesthetics of performance, aesthetic judgment, virtuosity, and taste. (shrink)

This paper redirects some of the philosophical discussion of sexual objectification. Rather than contributing further to debates over what constitutes objectification and whether it is harmful, I argue that aesthetic experience is a useful tool for resisting objectification. Attending to our embodied experiences provides immediate evidence that we are subjects; aesthetically attending to that evidence is a way of valuing it. I consider the human body as an aesthetic site, then as an ethico-aesthetic site, and finally (...) as a site of resistance. In addition to deepening accounts of body aesthetic experience, this paper helps frame human bodies as integral to moral agency, rather than impediments to it. (shrink)

In this paper, I present a new reading of Simone de Beauvoir’s first major work, L’Invitée ( She Came to Stay ), in order to reveal the text as a vital place of origin for feminist phenomenological philosophy. My reading of L’Invitée departs from most scholarly interpretations of the text in three notable respects: (1) it is inclusive of the “two unpublished chapters” that were excised from the original manuscript at the publisher’s request, (2) it takes seriously Beauvoir’s claim that (...) phenomenological philosophy is often better expressed in novels than essays or treatises, and (3) it views the novel’s main characters, Françoise and Xavière, as one woman who has multiple, contradictory, excessive selves. Thus approached, L’Invitée provides us with a thick description of one woman’s embodied consciousness and thereby shows us with specificity what a consciousness whose underlying structures reflect sexual difference looks like. This consciousness not only experiences itself as being both gendered, categorized, disciplined, and defined and in excess of these genders, categories, disciplines, and definitions at the same time, but also experiences its own self-relation through the presence of multiple selves who are each simultaneously attracted to and negating of the other. As such, the defining features of this consciousness involve experiences that I have respectively labeled “ontological multiplicity” and “auto-jealousy.”. (shrink)

In the street life of the Mission District in San Francisco, two opposite ways of understanding the female ownership of the body circulate among women who are drug-using sex workers: sexual slavery and women's liberation. This article analyzes how both models obfuscate the manner in which lack and scarcity govern the economy of needs and desires when drug abuse intersects with sex work. Lack and scarcity are shown to pervade not only economic resources but also drug-related gratification, bodily well-being, (...) sexual desire and body commitment during sexual practices. Even though both women and men are involved in this economy, there is an `artificial scarcity' of drug-related gratification for women. Controlling women's ability to close this circuit, men reinstate and reproduce the gender stereotypes that dominate in the street culture. (shrink)

Chemicals have penetrated everyday lives of men who have sex with men as never before, along with new online and mobile technologies used to seek pleasures and connections. Poststructuralist (including queer) explorations of these new intensities show how bodies exist in the form of (political) surfaces able to connect with other bodies and with other objects where they may find/create a function (e.g., reproduce or disrupt hegemonies). This federally funded netnographic study explored how a variety of chemicals such as recreational (...) drugs, pharmaceuticals and steroids are contributing to the construction of gay, bisexual and other men having sex with men (GBMSM) communities and their interactions with idealized masculinities in the age of increasing technology. Five major thematic categories emerged from our analysis: (1) assembling bodies and technologies, (2) becoming orgiastic, (3) experiencing stigma, (4) becoming machinic and (5) negotiating practices. Our analysis explores how and why GBMSM pursue excesses of pleasure and connection through the assemblages they make with sexualized drug use, online platforms and other men. (shrink)

"A first-rate introduction to the field, accessible to scholars working from a variety of disciplinary and theoretical perspectives. Highly recommended... " —Choice "... offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors.... [an] outstanding volume."—Philosophy and Literature "... this volume represents an eloquent and enlightened attempt to reconceptualize the field of aesthetic theory by encouraging its tendencies toward openness, self-reflexivity and plurality." —Discourse & Society "All of the authors (...) challenge the traditional notion of a pure and disinterested observer that does not allow for questions of race/ethnicity, class, sexual preference, or gender." —Signs These essays examine the intellectual traditions of the philosophy of art and aesthetics. Containing essays by scholars and by the writer Marilyn French, the collection ranges from the history of aesthetic theory to a philosophical reflection on fashion. The contributions are unified by a sustained scrutiny of the nature of "feminist," "feminine," or "female" art, creativity, and interpretation. (shrink)

_The Continental Aesthetics Reader_ brings together classic and contemporary writings on art and aesthetics from the major figures in continental thought. The second edition is clearly divided into seven sections: Nineteenth-Century German Aesthetics Phenomenology and Hermeneutics Marxism and Critical Theory Excess and Affect Embodiment and Technology Poststructuralism and Postmodernism Aesthetic Ontologies. Each section is clearly placed in its historical and philosophical context, and each philosopher has an introduction by Clive Cazeaux. An updated list of readings for this edition (...) includes selections from Agamben, Butler, Guattari, Nancy, Virilio, and Žižek. Suggestions for further reading are given, and there is a glossary of over fifty key terms. Ideal for introductory courses in aesthetics, continental philosophy, art, and visual studies, _The Continental Aesthetics Reader_ provides a thorough introduction to some of the most influential writings on art and aesthetics from Kant and Hegel to Badiou and Rancière. (shrink)

Combining aesthetic theory with gender analysis opens a large and diverse territory to explore. Both familiar issues in the philosophy of art and new, expanded questions about the influence of culture on imagination and identity have become subjects of feminist research. Film, literature, graphic arts, advertising, and the legacies of history all contribute to the forces that shape self-image, desire, behavior, and social role – as well as the ability to imagine possibilities for change. This issue brings together an (...) international group of scholars from several disciplines who explore gender and femininity, sexuality and its several iterations, and the politics of everyday life and culture. (shrink)

This root-and-branch reevaluation of Darwin's concept of sexual selection tackles the subject from historical, epistemological and theoretical perspectives. Contributions from a wealth of disciplines have been marshaled for this volume, with key figures in behavioural ecology, philosophy, and the history of science adding to its wide-ranging relevance. Updating the reader on the debate currently live in behavioural ecology itself on the centrality of sexual selection, and with coverage of developments in the field of animal aesthetics, the book details (...) the current state of play, while other chapters trace the history of sexual selection from Darwin to today and inquire into the neurobiological bases for partner choices and the comparisons between the hedonic brain in human and non-human animals. Welcome space is given to the social aspects of sexual selection, particularly where Darwin drew distinctions between eager males and coy females and rationalized this as evolutionary strategy. Also explored are the current definition of sexual selection (as opposed to natural selection) and its importance in today's biological research, and the impending critique of the theory from the nascent field of animal aesthetics. As a comprehensive assessment of the current health, or otherwise, of Darwin's theory, 140 years after the publication of his Descent of Man, the book offers a uniquely rounded view that asks whether 'sexual selection' is in itself a progressive or reactionary notion, even as it explores its theoretical relevance in the technical biological study of the twenty-first century. (shrink)

As a category, poiesis can be extended beyond the standard anthropocentric use and applied across three radically different scales: auto-poiesis in everyday self-organization of every living creature, phylo-poiesis in the shaping of a species by sexual selection across various generations and onto-poiesis as an individual's development of formal skills and creative modification of its environment. In this paper, I apply these distinctions and argue, following Darwin and Sebeok, for the possibility of considering poietic and aesthetic manifestations among various (...) animal species in their ability of both appreciating and expressing rhythm, visual decorative patterns, and chromatic qualities. In music we can find song and equivalents to instrumental playing (cicadas and crickets), theater in representing fictitious situations (killdeer's broken wing act and playing), acrobatic skills (various types of woodcocks and paradise birds) and dancing (cranes and eleonora cockatoo). I do not claim there is animal art, since the very concept of the “artistic” is a result of convention. What I do assert, however, is that human aesthetic appreciation did not emerge ex nihilo nor was granted by God to humans only (as Wallace believed) but has evolutionary relevance and is preceded by the zoo-aesthetics in many other species. (shrink)

Perniola takes his inspiration from ancient Roman religion and its demystification of myth as ritual without myth. This demystification of ritual does not entail a process of secularization nor does it compromise the sacred character of myth. Instead, it is an attempt to establish a link or a transit between the sacred and the profane. The repetitive nature of ritual thinking is an attempt to relate the individual to the hard nuts of experience-sexuality, death, and the vast complexity of the (...) world.These realities are opaque and impenetrable, indifferent and extraneous to subjective purpose and good intentions. They appear to be 'things' that are irreducible to the life of the spirit and to its ideal aspirations. Where philosophy breaks down in coping with these actualities, ritual thinking provides a symbolic means. Today we witness the global dissemination of behaviors that have lost their original meaning. These behaviors and patterns of thought have become the modern rituals through which we cope with reality.This composite of two works-Transits and The Society of Simulcra-by one of Italy's most innovative thinkers, here translated into English for the first time, will be invaluable to philosophers with an interest in continental philosophy.Mario Perniola is professor of aesthetics at the University of Rome Tor Vergata and is the author of many books on aesthetics including Disgusti: New Trends in Aesthetics and Nineteenth Century Aesthetics. (shrink)

Continuing on the value of givenness, Dennis Vanden Auweele argues that a modern project for absolutized autonomy cannot do but dread silence, which signals a hiccup or momentary lapse in the project of logos. And yet, Vanden Auweele shows that silence can be a convalescence that renders human beings receptive to something in excess of finite determination, which can in turn inspire self-determination to new heights.

These three papers present a quite diverse and complementary set of answers to the question, “Why Sexuality Matters to Philosophy.” They show the ways in which sexuality as an issue may be of interest to philosophers working on a wide range of questions. The theme of sexuality appears as both subject matter and context for the development of scientific theories of human behavior, as a pervasive dimension of the representation of everyday life, and as a social phenomenon raising important questions (...) bearing on the implications of equal citizenship for persons of different genders and sexualities. Sexuality reveals itself as implicated in epistemology and philosophy of science, aesthetics and ethics, political philosophy and jurisprudence. Sexuality as a subject matter provides rich examples for extending the treatment of quite traditional problems. At the same time, by identifying sexuality as a fundamental human phenomenon, fraught with normative implications and closely linked to emotional and bodily life, these papers show how thinking about sexuality may also act to unsettle and redefine certain important areas of philosophical inquiry. (shrink)

This essay theorizes the fashion photographic image as a privileged site for queer sensory experience. It takes the stance that the aesthetic engagement with the fashion image occurs through sensation, and more precisely, through a haptic and periperformative experience that activates desires, meanings, and fantasies. Through the circulation of feelings sparked via the sensorial experiencing of the photo, queer subjects can sense belongings and form affiliations that bind them in an egalitarian community of sense exceeding sexual and social (...) differences. A queer theory of fashion photography does not posit that the photographic image may foster propositional knowledge in the viewers, but rather that it moves them to engage corporeally with the image and triggers their imagination to configure new affective modes of being in the world. (shrink)