This article arranges a dialogue between Gide’s Lafcadio’s Adventures and Agamben’s The Adventure, prompting a foray into Lacanian theory. Gide emerges as the bridge between Lacan and Agamben, enabling us to observe a transformation of what psychoanalysis deems pathology—perversion—into a political stance: perversion involves play with the law. Gide and Agamben promote a life of adventure composed of gestures that elude the law’s ability to stamp one’s behavior as crimen. For Gide and Agamben, life is not, or should not be, (...) a law court pronouncing judgments or a psychoanalytic session intent upon detecting pathology—not a trial but a dance. (shrink)

Between the Psyche and the Social is the first collection that specifically features the field of psychoanalytic social theory emerging in and between psychoanalysis, feminism, postcolonial studies, and queer theory, and across the disciplines of philosophy, literary, film, and cultural studies. This collection of essays takes the psychoanalytic study of social oppression in some new directions by engaging—indeed, stirring up—unconscious fantasies and ethical tensions at the heart of social subjectivity.

This paper offers a Kristevan reading of Antoon's The Corpse Washer. Although this text focuses specifically on Arab/Muslim culture, which cannot be translated into a racial category, this reading is meant to show the pertinence of Kristevan psychoanalytic theory in a non-Western context. One might go about linking such psychoanalytic work on non-Western writing to “race” in two ways. Insofar as The Corpse Washer demonstrates the validity of Kristevan psychoanalytic theory for non-Western art/artists, it implies the universality of that theory, (...) despite ethnicity, race, religion, etc. Or if we presuppose the universality of Kristevan psychoanalytic theory, we may think of such work as testing the assumption that psychoanalysis can traverse all such culturally constructed boundaries. (shrink)

This article engages Agamben’s view that philosophy and poetry need to remarry, to heal a fracture that springs from the origin of Western culture between knowing and having the (inaccessible) object. While Agamben would like philosophy to wax more poetic (to have the object) and poetry to show more awareness of its philosophical implications (to know the object), he also encourages direct interventions between these two arenas. This essay thus stages an interpenetration of poetic writing and philosophy (Agamben with a (...) little Derrida). James’s embodiment of Agamben’s theory of melancholia in The Aspern Papers set alongside Brodsky’s reflection of Agamben’s notions of nudity, the specter, and the messianic in Watermark—in relation to depictions of Venice—leads to the realization that Agamben’s messianic renders melancholia inoperative. Agamben’s messianic vision that finds salvation in loss cancels the desirability of clinging to the lost object by showing the redemption of its passage. (shrink)

This article engages Agamben’s view that philosophy and poetry need to remarry, to heal a fracture that springs from the origin of Western culture between knowing and having the object. While Agamben would like philosophy to wax more poetic and poetry to show more awareness of its philosophical implications, he also encourages direct interventions between these two arenas. This essay thus stages an interpenetration of poetic writing and philosophy. James’s embodiment of Agamben’s theory of melancholia in The Aspern Papers set (...) alongside Brodsky’s reflection of Agamben’s notions of nudity, the specter, and the messianic in Watermark—in relation to depictions of Venice—leads to the realization that Agamben’s messianic renders melancholia inoperative. Agamben’s messianic vision that finds salvation in loss cancels the desirability of clinging to the lost object by showing the redemption of its passage. (shrink)

On self-mutilation, fetishism and Kristeva.