In "Rethinking Sadomasochism," Patrick Hopkins challenges the "radical" feminist claim that sadomasochism is incompatible with feminism. He does so by appeal to the notion of "simulation." I argue that Hopkins's conclusions are generally right, but they cannot be inferred from his "simulation" argument. I replace Hopkins's "simulation" with Kendall Walton's more sophisticated theory of "make-believe." I use this theory to better argue that privately conducted sadomasochism is compatible with feminism.

In reexamining the "sex war" debates between radical feminists and lesbian feminist sadomasochists, I find that the actual practice of sadomasochism provides the basis for a philosophically more complex position than has been articulated. In response to the anti-SM radical perspective, I develop a distinction between simulation and replication of patriarchal dominant/submissive activities. In light of this important epistemological and ethical distinction, I claim that the radical feminist opposition to SM needs reassessment.

Should Lesbian and women's events have policies banning sadomasochists or sadomasochistic acts? This question is being heatedly debated in the Lesbian community. In this paper, I examine the moral and political problems with sadomasochism from a Lesbian-feminist perspective, concluding that sadomasochism is antifeminist and antiliberatory for many reasons. Then, given this conclusion, I explore how events such as women's music festivals should determine their policies about sadomasochism.

Work in body studies and theories of affect challenge the mind/body dualism where human action/behavior is shown to be an embodied, lived event. More specifically, bodily practices not only inform/shape human subjectivity but convey what language—words—often cannot. BDSM is one such practice that illuminates embodied subjectivities, where the flesh proves pivotal to one’s orientation to/with the world. In this article I explore women BDSMers who, as survivors of sexual violence, engage in BDSM rape play. BDSM rape play foregrounds the flesh, (...) exemplifying quite powerfully “bodily capacity,” one where bodily disintegration that occurred with the sexual assault is disrupted through bodily recuperation. This felt experience—the body as the source of insight—carries considerable weight, and should inform our thinking when it comes to feminist explorations of sexuality and those contentious and controversial practices such as BDSM. (shrink)

: Although many women experience harmful behaviors that fit the legal definition of sexual harassment, very few ever label their experiences as such. I explore how psychological ambivalence expressed as sadomasochism may account for some of this gap. Following Lynn Chancer, I argue that certain structural circumstances characteristic of highly stratified bureaucratic organizations may promote these psychological responses. After discussing two illustrations of this dynamic, I draw out the implications for sexual harassment theory and policy.

Although many women experience harmful behaviors that fit the legal definition of sexual harassment, very few ever label their experiences as such. I explore how psychological ambivalence expressed as sadomasochism may account for some of this gap. Following Lynn Chancer, I argue that certain structural circumstances characteristic of highly stratified bureaucratic organizations may promote these psychological responses. After discussing two illustrations of this dynamic, I draw out the implications for sexual harassment theory and policy.

Do representations of violence incite or quell violent desires and actions? This question--the question of the relation between mimesis and catharsis--is as old as Western Philosophy itself. In this essay, I attempt to think through how Kristeva might describe the difference between representations of violence that perpetuate violent desires and actions versus representations of violence that sublimate violent desires and thereby prevent violent actions.

This essay explores the work of “New York’s most famous unknown artist,” Ray Johnson, contending that his complex relationship to sadomasochism provides a key switch point for Pop’s sexual and racial imaginary. In the register of sex, Johnson’s sadomasochism contests the stability of the relationship between homosexuality and Pop, offering instead a queerer object that opens out new models of collaborative artistic production. In the register of race, sadomasochism enables Johnson to articulate a monochrome world, attempting to (...) void the binarized color-line’s fissuring force. While this strategy from our contemporary vantage feels politically suspect, I see it is part of a larger project of political and social reparation whereby the explicitly sadomasochistic themes of Johnson’s work imagine a rebuttal to and reconfiguration of the racist exclusionary forces of the art world. (shrink)

The impact of Foucault's work can still be felt across a range of academic disciplines. It is nevertheless important to remember that, for him, theoretical activity was intimately related to the concrete practices of self-transformation; as he acknowledged: `I write in order to change myself.' 1 This avowal is especially pertinent when considering Foucault's work on the relationship between sex and power. For Foucault not only theorized about this topic; he was also actively involved in the S&M subculture of the (...) 1970s. Although his explicit discussions of S&M are somewhat piecemeal, in this article I will show how they provide a useful point of access into his broader conception of power relations. Having first reconstructed Foucault's quasi-Sartrean account of creative self-transformation — specifically through one's sexuality — I will then explain why his defence of S&M (as embodying `strategic' power) is insufficiently sensitive to the inherent ambiguities of this `game'. Key Words: consent • desire • identity • limits • pleasure • power • role-play • subjectivity • trust. (shrink)

The article starts from the question of where the theses that we are ruled by sadists today come from, both in conspiracy theories and in explanations of the prevalence of violence and cruelty in modern society. The article first highlights some important recent changes in politics, economics, and society (the fall of the Berlin Wall; victimisation; the crisis of politics and the rise of neoliberalism; the changing dynamics of capitalism, which appropriates and valorises affect and favours the bizarre; the new (...) social media; the shift of obscenity from the margins to the centre; the paradoxes of the “end of history” and historical stagnation; the pandemic; the change in the general mood from anxiety to nightmare, in which the main problem is the enjoyment of the Other). The article then looks at the historical changes in the term “sadism”, which in the 19 th and 20 th centuries reduced Sade’s work to a clinical category, defined the meaning of “sadism” as the pleasure of torturing others, and constructed the term “sadomasochism” in Freud, the Freudians, and the Frankfurt School. The latter was used to analyse Nazism, and was later rightly criticised by Deleuze as something that had nothing to do with Sade and Masoch. War propaganda, clichés, and other processes play a special role in this process of forming the general conception of sadism; they are also responsible for the fact that “sadomasochism” as a sexual practice and as a fashion has recently become something socially acceptable, although, on the other hand, it has played a part in the “pornification” of society and in the recent enforcement of extremely violent forms of pornography. Notwithstanding all these distortions of sadism and notwithstanding the uselessness of sadomasochism in a concrete analysis of the functioning of modern social bonds, a certain form of sadism in general, especially in the face of all the social and political changes mentioned above (trolls, haters), retains its power over society. To analyse this in more detail, one must include the ubiquitous but little analysed phenomenon of _schadenfreude_, especially on the part of the public, and cruelty as a phenomenon to which society is both distanced and fascinated. The third step is to explain what _schadenfreude_ and cruelty are and how they relate to Lacan’s concept of _objet petit a_. (shrink)

This article deploys sadomasochism as a framework for understanding medical practice on an institutional level. By examining the case of the factitious illness Munchausen syndrome, this article analyzes the operations of power in the doctor-patient relationship through the trope of role-playing. Because Munchausen syndrome causes a disruption to the dyadic relationship between physicians and patients, a lens of sadomasochism highlights dynamics of power in medical practice that are often obscured in everyday practice. Specifically, this article illustrates how classification (...) and diagnosis are concrete manifestations of the mobilization of medical power. (shrink)

"This book is a succinct, pedagogically designed introduction. As classroom text, Sullivan's work is heady with vibrant debate and slim heuristics; her intellectual clarity is stunning." - Choice A Critical Introduction to Queer Theory explores the ways in which sexuality, subjectivity and sociality have been discursively produced in various historical and cultural contexts. The book begins by putting gay and lesbian sexuality and politics in historical context and demonstrates how and why queer theory emerged in the West in the late (...) twentieth century. Sullivan goes on to provide a detailed overview of the complex ways in which queer theory has been employed, covering a diversity of key topics including: race, sadomasochism, straight sex, fetishism, community, popular culture, transgender, and performativity. Each chapter focuses on a distinct issue or topic, provides a critical analysis of the specific ways in which it has been responded to by critics (including Freud, Foucault, Derrida, Judith Butler, Jean-Luc Nancy, Adrienne Rich and Laura Mulvey), introduces key terms, and uses contemporary cinematic texts as examples. (shrink)

In the long line of French Sade studies, Deleuze's essay Coldness and Cruelty marks out a special place. By discussing Masoch both in addition to and in contrast to Sade, Deleuze reveals the stakes of his book: he wants to unmask the concept of sadomasochism as a clinical nonentity. In their paper, the authors explain the arguments supporting this project and show their relation to Deleuze's reading of Bergson. They then argue that there is a second, similarly Bergsonian criticism (...) of Freudian psychoanalysis operating in the background of Coldness and Cruelty. This more wide-ranging criticism takes Freud to task for conceiving perversion, like neurosis, in Oedipal terms. This conception, Deleuze holds, forgets that perversion and neurosis represent two different worlds that essentially have nothing to do with each other despite crossing in clinical experience. (shrink)

The paper analyzes the ways in which Kenneth Anger’s Scorpio Rising (1963) and Steven Spielberg’s Duel (1971) draw on and challenge selected road movie conventions by adhering to the genre’s traditional reliance on cultural critique revolving around the themes of rebellion, transgression and roguery. In particular, the films seem to confront the classic road movie format through their adoption of nomadic narrative structure and engagement in a mockery of subversion where the focus on social critique is intertwined with a deep (...) sense of alienation and existential loss “laden with psychological confusion and wayward angst” (Laderman 83). Following this trend, Spielberg’s film simultaneously depoliticizes the genre and maintains the tension between rebellion and tradition where the former shifts away from the conflict with conformist society to masculine anxiety, represented by middle class, bourgeois and capitalist values, the protagonist’s loss of innocence in the film’s finale, and the act of roguery itself. Meanwhile, Anger’s poetic take on the outlaw biker culture, burgeoning homosexuality, myth and ritual, and violence and death culture approaches the question of roguery by undermining the image of a dominant hypermasculinity with an ironic commentary on sacrilegious and sadomasochistic practices and initiation rites in the gay community. Moreover, both Duel’s demonization of the truck, seen as “an indictment of machines” or the mechanization of life (Spielberg qtd. in Crawley 26), and Scorpio Rising’s (homo)eroticization of a motorcycle posit elements of social critique, disobedience and nonconformity within a cynical and existential framework, hence merging the road movie’s traditional discourse with auteurism and modernism. (shrink)

Love and sex provide a fertile ground for philosophical inquiry, both conceptual analysis of the nature of love and sex and discussion of the many ethical issues that they raise. Moral issues arising from love include the permissibility of romantically loving more than one person at the same time and the moral value of romantic love and friendship. Moral issues arising from sex vary from the most fundamental question—the one addressed by Alan Soble in his paper in this issue—of whether (...) sex can be reconciled with respect for persons, to questions about the permissibility of sex in particular circumstances. Much current work in philosophy of love and sex concerns precisely such issues in applied ethics, for instance the topics addressed by the authors of four more papers in this collection—homosexuality, prostitution, relationships that cross power lines in academia, and the wrongness of rape and other sexual misdeeds. Other ethical issues about sex include the morality of casual sex, adultery and open marriage, sadomasochism, and pornography. (shrink)

In what arrived belatedly as an announced, but delayed, preface to Marquis de Sade’s Philosophy in the Bedroom, Jacques Lacan interrogates the relations Sade could be said to have had with, on the one hand, Sigmund Freud, and, on the other, Immanuel Kant.1 Despite the presuppositions at the time of its writing, the text was first published as “Kant avec Sade” in the journal Critique in 1963 and only later reappeared as the preface it had been conceived as: announcing the (...) dogma of de Sade as an introduction to one of his key works. What had happened in the meantime, Lacan cryptically suggests, is that his – Lacan’s – collection of lectures and essays, Écrits, had arrived with a certain acclaim on the French cultural scene, and what had at first appeared to the publisher as inconsequential ravings had morphed into a profound and potentially significant enframing of de Sade’s “philosophy.” -/- What is it we find here? It is stupid, says Lacan, to pronounce – as too many “literary types” do – that de Sade’s perversions prefigured Freud’s interrogation of sexual mores. True, they both have the appearance of schooling, and so serve to prepare, Lacan informs us, the way for a new science. To understand the difference between them we need to arrive at some conception of Freud’s ethics of pleasure. -/- With what is known as the pleasure principle – announced in 1911 – Freud ordained a mechanism whereby pleasure is maintained at the lowest possible level.2 Lacan elsewhere referred to this principle as a homeostatic device, since it seeks to secure the functioning of the organism with as little excitement as possible. -/- Freud’s principle is different from traditional ethics in that it doesn’t disallow some sexual practices that had hitherto been condemned as wrong. However, such a realization doesn’t relieve us from approaching the principle as ethical. To Lacan, Freud’s homeostatic device is what “preordains the creature to its good.” In other words, it is by indulging in just enough pleasure to avoid unpleasure, either by becoming abstinent or consumptive, that we maintain our experience of goodwill. -/- What is remarkable, Lacan notes in his foreword to de Sade, is that Freud did not find it necessary to explicitly refer to this principle as an ethical prerogative. The only reason we can find for this, Lacan claims, is the 19th century obsession with the theme of “happiness in evil.” -/- The “happiness in evil” – or, as we should say, happiness in the will – has its precursor in Kant’s Critique of Practical Reason, which was published eight years prior to de Sade’s Philosophy in the Bedroom.3 To Lacan, de Sade subverts the Enlightenment directive inaugurated by Kant, and it is as such that it is possible to say that de Sade offers the truth of Kant’s Critique. -/- This “happiness in evil” becomes de Sade’s Being-Supreme-in-Wickedness. Recall that this is quite a different notion of perversion – of which the Marquis figures as the first and predominant example in Lacan – from that which reigned in the “literary” epoch, i.e., prior to Freud, as well as from Freud’s own inflection of the term. Perversion is no longer reducible to a catalogue of abominations – whipping, homosexuality, you name it – such as was the case prior to Freud, nor to a more select line of such – Freud famously excluded homosexual love from the list, while retaining sadomasochism. Lacan would draw the conclusion of Freud’s tentative first step by positing that perversion is a position, and specifically a location in relation to the phallus. -/- The novelty and force of this perspective should become clear to those who study the present volume. It is not a clinical attempt, nor the final word on a philosophy of mind without psychoanalysis. Rather, it should be regarded as situated in between these two domains, and with eyes to both. (shrink)

Although many people find fault with Freud, the horse that they flog is not yet dead. I should in fact maintain that we are all still under Freud's long shadow. Last autumn the American press reported a dreadful crime: a young man, egged on by his mother, murdered his father. The newspapers helpfully explained that the young man had a very prominent Oedipus complex. If we dismiss this as just a journalistic excess, we would do well to remember how hard (...) it is to open our own mouths without registering the effect of Freud upon the language. We converse casually about the sexual proclivities of infants, about sibling rivalries, about dependency upon the mother, about sadomasochistic impulses. When we forget things, we suspect ourselves of having wanted to forget them. We may shun the technical vocabulary of Freud, words such as ego, superego, id, the pleasure principle and the reality principle, the anal, oral, and genital stages, yet we are hardly likely to do without such words as aggression, anxiety, compulsion, the unconscious, defense mechanism, narcissism, death wish, erogenous zones, fixation, guilt feeling, sublimation, wish fulfillment. Freud may not have invented most of these words, yet he connected them together and he gave them a special color and shape. And quite apart from terminology, Freud has given us the conviction that a secret life is going on within us that is only partly under our control. (shrink)

Humor and cruelty can be the best of friends. Many cruel domains have facilitated hilarity of all kinds, whether experienced directly or vicariously, stretching from the torture chamber to the living room—or wherever else a screen is to be found. Conversely, many jests have provided the vehicle with which to dispense cruelty, whether callously or gleefully, in myriad settings, from public events to intimate family dinners. Combining the sources and resources of the humanities and social sciences, this book investigates the (...) mutually supportive liaisons of humor and cruelty. We unearth the brutal, aggressive, and/or sadomasochistic roots of mockery and self-mockery, sarcasm and satire, whilst addressing contemporary debates in humor studies focusing on the thorny ethics and existential challenges arising from the acceptance of the much-appreciated yet seldom innocent channel for human interaction called "humor.". (shrink)

This article combines in-depth interviews and Karen Barad's work on materiality to think about the ways in which the materiality of blood might be understood in relation to sociality and blood-borne virus prevention among BDSM (bondage and domination, dominance and submission and sadomasochism) body modification practitioners in Sydney, Australia. In doing so, it confronts questions of how the materiality of blood can be theorized in ways that neither presume a fixed, a priori ontological status or essence, nor exclude it (...) from an active role in the production of realities. In taking account of both its co-constitutive role in practice, and its figurative power (as flow) in understanding the mind/body, discourse/materiality conjunctions at work in BDSM body modification practice, we aim to illuminate further the imbrication of materiality and meaning, and generate a more complex and fruitful account of blood for the purposes of blood-borne virus prevention and education. (shrink)

Ending the influence which politicalparties exercised over judicial appointmentswas a prominent aim of the project of reformingthe Belgian criminal justice system in the1990s. However, focusing on various highprofile scandals affecting public confidence inthe judiciary, this paper questions whether thepolitical nature of the judiciary is capable ofbeing eradicated. Drawing on the work ofChantal Mouffe, this analysis starts with aconsideration of the discursive element inpolitical identity, which is furthercorroborated by the semiotics of Saussure andGreimas. Applying this perspective to theBelgian situation in the (...) 1990s, it is arguedthat a redefinition of politics in terms of an``us/them'' divide between citizens andinstitutions took place. In this process,judges were targeted as part of theestablishment and cast as the constitutiveoutside buttressing the collectiveidentification between the media, victims ofcrime and the general public. In explaining theinstitutional gap, individual traits of judgesconstituted a significant focus, as can beshown through the extraordinary visibility ofone judge who courted media attention when hewas tried for sadomasochistic activities in1997. (shrink)

The Marquis de Sade has been labeled everything from a sadomasochistic pornographer to the fiction writer responsible for the ideas that led to the Nazi death camps. Must We Burn Sade? peels away the negative legacy that has shrouded Sade for too long. Deepak Narang Sawhney points out that "Sade's legacy has been neglected, recreated, fictionalized, and venerated by medical guilds, literary hacks, religious detractors, and intellectual movements. In the past two centuries, Sade has come to represent many things for (...) many people.... It is unclear whether we know Sade the writer or the apparatus which has been set up to either condemn or to sanctify his life and work." By contrast, this intriguing collection of essays seeks to examine Sade for what he was—a writer of novels and letters, a creator of plays and stories, and an author of essays and political manifestos. The contributors examine the literary, theatrical, political, social, and philosophical aspects of Sade's work, acquitting him of the false accusations and trials that have plagued his name by revealing his influences and motivations, and by providing an understanding of society's fear of Sade. What is so alarming about Sade's books that civilized society has felt compelled to disassociate itself from his works? This volume forces us to rethink Sade. Included are essays by Kathy Acker, David Allison, Georges Bataille, Catherine Cusset, Lucienne Frappier-Mazur, Annie Le Brun, Alphonso Lingis, Stephen Pfohl, Deepak Narang Sawhney, Philippe Sollers, and Alistair Welchman. (shrink)

This paper engages in a critical examination of Michel Henry’s (1922-2002) phenomenological study of the erotic relation. I argue that while Henry’s analysis sheds light on the nature of eros and how it might be renewed from the obscene objectivism to which it has largely been reduced in Western society today, his analysis of eros undermines his account of the phenomenological life of the subject as a radically immanent mode of appearing and calls for revision. I contend that it is (...) by acknowledging life as a movement of transcendence toward the world that we can resolve this issue and further refine Henry’s insights into the nature of eros and how it might once again be renewed in contemporary Western civilization. I begin by laying out Henry’s account of how the forgetting of life results in a reduction of the erotic (i.e., inter-subjective) relation to a merely sexual (i.e., inter-objective) one, and how this lays the groundwork for what he regards as the destructive sadomasochistic practices of voyeurism and pornography. Following this, I outline Henry’s account of the nature and limits of the erotic relation, and I demonstrate how Henry’s work harbours the latent suggestion that the failure of eros can serve as a step toward a higher union with others in a love of God. In the closing section, I show how Henry’s analysis of the erotic relation calls for a re-conception of life as a movement of transcendence. I outline how this re-conception better accounts for the complex exchanges between the non-objectifying drives of life and the objectifying acts of consciousness, and I show how this allows us to retain some of Henry’s insights into eros and its renewal while forcing us to modify others. (shrink)

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...) 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)

Our aim in this paper is to explicate some unexpected and striking similarities and equally important differences, which have not been discussed in the literature, between Wittgenstein's methodology and the approach of Chinese Chan or Japanese Zen Buddhism. We say ?unexpected? similarities because it is not a common practice, especially in the analytic tradition, to invest very much in comparative philosophy. The peculiarity of this study will be further accentuated in the view of those of the ?old school? who see (...) Wittgenstein as a logical positivist, and Zen as a religious excuse for militarism or sadomasochism. If the second claim were true, the following investigation would not only be futile but also impossible. That the first claim, concerning the ?old school? perspective on Wittgenstein, is incorrect, we will demonstrate in the ensuing discussion. By now more experts have come to accept this claim and we hope that our comparative perspective will add even more momentum. (shrink)

This paper is dedicated to a discussion of Gilles Deleuze’s Coldness and Cruelty and its special place in French Sade studies. In this text, Deleuze famously argues against the notion of ‘sadomasochism’ as a unity. Sadism and masochism are, on his view, two entirely separate and incompatible ways of making use of pain and suffering in perversion. What is less known about Deleuze’s text is that he argues, against the current in French philosophy, psychiatry, and even intuition, that the (...) essence of sadism is a kind of thinking rather than a pleasure in causing pain to others. In this essay, we try to make sense of the idea that the sadist, at heart, is a metaphysician who thinks by means of suffering and indifference. Our paper also addresses the related concern about how to account for the properly sexual nature of this metaphysical perversion. We argue that the sexuality of thinking is rooted in pre-genital sexual life as described by Freud in his Three Essays on the Theory of Sexuality. (shrink)

The first sexual encounter between Dominique Francon and Howard Roark in The Fountainhead is known as the “rape scene.” From the time of the novel's publication, some readers have found a contradiction between Rand's views on freedom and the violence within the novel. The ambiguity arises from the way in which the scenes leading up to the event are constructed, the sadomasochistic context of the novel, and Rand's views of gender and romantic relationships. Although Rand repeatedly denied that any rape (...) occurred, this article concludes that a rape did occur and that Rand fully intended it to be so. (shrink)

Lars von Trier’s Antichrist (2009) has often been described as a ‘gothic’, if not straightforwardly ‘horror’ movie. While this claim could easily be challenged with regard to strict genre definitions, it is doubtless the case that the film deals very explicitly with fear, first and foremost the female protagonist’s fear of herself, which is placed at the top of the so-called ‘pyramid of fear’ drawn by her therapist/wanna-be-Saviour partner. My opinion is that Antichrist perfectly displays the horrific effects of the (...) direct embodiment, following a true love encounter, of the symbolic positions which Lacan associated with male and female sexuation. If human sexuality relies on the logic for which there is only one mythical man who is truly whole while every real woman is not wholly whole, what happens when He and She (the nameless protagonists of the movie) fully identify with such irreducible asymmetry between the sexes, its fundamental derailment from nature? They short-circuit the material singularity of a specific human animal with the abstract universality of gender. With the same move, they cannot overcome (or sublimate) the realisation that, in the female protagonist’s own words, woman is ‘evil’ – as long as she feels guilty of what man accuses her – and man is a ‘bastard’ – haunted by the phantasm of unifying purity which woman disrupts. Gynocide as male totalizing extermination of universal difference and genital self-mutilation as female reflexive hatred for the supposedly exceptional man mark the sadomasochistic extremes of the scene of the not-two, the frightening ob-scenity ( o-skené ), or off-representation, of human sexuality. (shrink)

Reprenant les principales dimensions psychopathologiques participant à la compréhension des conduites addictives alimentaires, et les articulant avec les mécanismes neurobiologiques générant et entretenant une véritable addiction, nous privilégions une approche psychosomatique qui permette d’éclairer certaines données cliniques, d’affiner nos attitudes thérapeutiques et d’ouvrir notre réflexion à des perspectives de recherche nouvelle. Dans une approche étiopathogénique, transnosographique, intégrant l’impact de l’environnement socioculturel et des dimensions transgénérationnelles, nous avons évoqué, dans le dysfonctionnement des interrelations précoces et ses conséquences sur le développement de (...) l’enfant et le processus d’adolescence, une hypothèse centrale dans les conduites addictives alimentaires : la défaillance du maternel chez les mères des patientes, en particulier dans l’investissement du corps autonome, vivant et érotique de l’enfant. Cette défaillance ne favoriserait pas une bonne intégration du féminin chez le sujet et participerait à l’avènement d’une organisation sadomasochiste qui le fixe à ses objets infantiles. Sur la base de ces modalités de construction identitaire, nous avons abordé la génèse de ces conduites en soulignant successivement le développement, du fait du défaut de contenant maternel (pare-excitant, organisateur et liant des motions pulsionnelles de l’enfant), d’une organisation dépressiveantidépressive (dépressivité), témoin d’une rupture du développement; celui d’une inactivation partielle, et dans certains domaines, des processus de mentalisation défensive du rapproché relationnel vécu comme emprise (alexithymie). L’organisation symptomatique évolue, selon nous, vers une modalité corporelle et comportementale de régulation de l’équilibre du sujet afin de parer à un risque dépressif ou de désorganisation. Ce processus de régulation touche le système plaisir-déplaisir avec la génèse d’un autosadisme et d’un masochisme moral, source d’une jouissance endogène « à défaut ». Ces dimensions ouvrent la voie à un frayage psychosomatique d’autant que les « solutions » névrotiques et perverses sont en échec, et qu’une pathologie organique secondaire à la conduite constitue un point d’appel de substitution d’une invalidité physique à une invalidité psychique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 409 Ariane Cruz Beyond Black and Blue: BDSM, Internet Pornography, and Black Female Sexuality I have been the meaning of rape I have been the problem everyone seeks to eliminate by forced penetration with or without the evidence of slime and/ but let this be unmistakable in this poem is not consent I do not consent —June Jordan, (...) Poem about My Rights Introduction: The Evidence of Slime Slavery, itself a kind of “slime,” remains an active marketplace for the production of Black female sexuality and its representations.1 The impact of chattel slavery and the pervasive rape of Black female slaves on modern 1. In using the term “Black women,” I am referring to African American women for whom the history of chattel slavery in the Americas has produced the socio-historical conditions that uniquely inform Black female subjectivity and sexual politics. My use of this term is not to essentialize Black American womanhood; rather, like Black feminist scholar Patricia Hill Collins, I use the term to gesture to a Black women’s standpoint influenced by the condition and experience of gendered and racialized abjection, a “common experience of being Black women in a society that denigrates women of African descent.” Patricia Hill Collins, Black Feminist Thought: Knowledge, Consciousness and the Politics of Empowerment (London: Routledge, 1990), 22. In this essay, I focus on Black women who practice BDSM, a small but nonetheless heterogeneous group of women in the already-marginalized larger kink community. 410 Ariane Cruz constructions and representations of Black women has been well theorized, in particular by a number of Black feminist scholars who have worked to rupture what Darlene Clark Hine terms the “culture of dissemblance,” the politics of silence shrouding expressions of Black female sexuality.2 While the antebellum legacy of sexual violence on Black women is substantive, what has not been effectively considered is how Black women deliberately employ the shadows of slavery in the deliverance and/or receiving of sexual pleasure. That is, how the “slime”—a staining sludge of pain and violence—becomes a type of lubricant to stimulate sexual fantasies, access sexual pleasure, and heighten sexual desire. In this paper, I explore how Black women facilitate a complex and contradictory negotiation of pain, pleasure, and power in their performances in the fetish realm of BDSM.3 Situating my analysis in the context of hardcore BDSM Internet pornography and the controversial praxis of race play, I argue that BDSM is a critical site from which to reimagine the formative links between Black female sexuality and violence. Race play is a BDSM practice that explicitly uses race to script power exchange and the dynamics of domination and submission. Most commonly an interracial erotic play, race play employs racism, often involving the exchange of racist language, role-playing, and the construction of racist scenes. Eroticizing not just racism, but the miscegenation taboo, racial difference, and (hyper) 2. See Darlene Clark Hine, “Rape and the Inner Lives of Black Women in the Middle West,” Signs 14, no. 4 (1989): 912–920. For more on Black female slave sexual assault and its aftermath, see Hazel V. Carby, Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist (Oxford: Oxford University Press, 1987); Ann duCille, “‘Othered’ Matters: Reconceptualizing Dominance and Difference in the History of Sexuality in America,” Journal of the History of Sexuality 1, no. 1 (1990): 102–27; Elsa Barkley Brown, “Imaging Lynching: African American Women, Communities of Struggle, and Collective Memory,” in African American Women Speak Out on Anita Hill-Clarence Thomas, ed. Geneva Smitherman (Detroit, MI: Wayne State University Press, 1995), 100–24; and Cheryl Harris, “Whiteness As Property,” Harvard Law Review 106, no. 8 (June 1993): 1707–91. 3. BDSM is an umbrella term that stands in for bondage/discipline (B/D), domination /submission (D/S), and sadism/masochism or sadomasochism (S/M). For the purposes of this paper I exchange S/M, S&M, and/or SM with the more contemporary label BDSM. For more about the terminology of BDSM, see Margot Weiss, Techniques of Pleasure: BDSM and the Circuits of Sexuality (Durham, NC: Duke University Press, 2011). Ariane Cruz 411 racialization itself... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionCarolyn J. Dean (bio)... even since he [Nietzsche] became famous has he ever been anything but an occasion for misunderstanding?—Georges Bataille, The Accursed ShareAt the current juncture in the history of studies “on Bataille,” admiration and indebtedness have given way to admiration constrained by ambivalence and indebtedness complicated by a desire for accountability. This special issue provides an opportunity to work through these inevitable critical shifts, symptoms of an (...) immeasurable debt to a writer from whom we have necessarily taken distance. It is also an occasion to ask about our own investments in the renewed production of Bataille.During his lifetime (1897–1962), Georges Bataille was called many names, including a “pornographer” and a fascist, and when he died he became a cult figure among some intellectuals, for whom he represented an eclectic and unappreciated thinker. Since his untimely death, Bataille has become very famous. Now, according to Jürgen Habermas, this former librarian at the Bibliothèque Nationale, editor of Critique, author of covertly circulated erotic books and other works that did not sell well, stands first in a line of French intellectuals leading from “Bataille via Michel Foucault to Jacques Derrida” [Habermas 14]. 1 Bataille’s remains are located in the posthumanist pantheon: his work is joined to the giants of the French philosophical, psychoanalytic, and literary heritage, including Jean-Paul Sartre, Jacques Lacan, and Maurice Blanchot; he has been the subject of countless literary exegeses and even of a prizewinning biography [see Surya]. Bataille no longer has the merit of being unknown.But who is the Bataille we pretend to know? He is the one with whom many critics identify, yet his work is necessarily misunderstood, sometimes (but not always) in the interests of preserving its insights. Critical work on Bataille naturally emphasizes his theory of dépense (expenditure), his mysticism, his attraction to the sacrificial, sadomasochistic erotics of fascist politics, and tends, viscerally if implicitly, to identify with Bataille’s refusal to be hard in the conventional sense—his repudiation of impermeable, phallic masculinity and its association with moral resolve. In 1945, Bataille wrote that he was the “contrary of him who tranquilly watches the dismasted vessels from the shore, because in fact... I cannot imagine anyone so cruel that he could notice the one who is dismasted with such carefree laughter. Sinking is something altogether different, one can have it to one’s heart’s content...” [OC 6:358]. In 1966, a sensitive critic wrote: “Bataille’s cogito, thus, reads: ‘I sink therefore I am’” [Hollier 138]. In other words, Bataille was no proponent of a sink-or-swim philosophy, but of “the hard desire to endure”—words he wrote to describe Vincent Van Gogh, whose self-mutilation was, from Bataille’s perspective, the necessary precondition of his art. This hard desire is paradoxically the hard labor of unbinding the self, a project that entails yet moves beyond empathizing with those caught in the storm: Bataille insisted that creation required symbolic castration rather than the phallic virtue of the moral man or the swollen pride of those who volunteer heroically for the rescue mission (“Heroism,” he said, “is an [End Page 3] attitude of flight” [OC 5: 347]). As countless critics have demonstrated, even Bataille’s most relentlessly hard-core texts use sexuality as an allegory for the self-shattering of the phallic body.The sacrificial constitution of the man who would sink—for this Bataille was giddily embraced after his death. By 1990, when Yale French Studies devoted a special issue to him, the embrace was equally enthusiastic, but giddiness had given way to some defensiveness. Those theorists who did not admire Bataille equated his repudiation of phallic virtue with the ego-dissolving sublimity of fascism. After all, some of his friends and intellectual heirs had been subjected to public scrutiny for their anti-Semitic, often fascist sympathies. Implicitly defending Bataille, the editor of that special issue insisted on Bataille’s “ethics” of sacrifice. He claimed that Bataille held “onto the possibility of an ethics” through a paradoxically “incessant repositing of the ethical” [Stoekl 2, 5]. This account of Bataille’s ethics avoids the problem that the ethics of sacrifice in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionCarolyn J. Dean (bio)... even since he [Nietzsche] became famous has he ever been anything but an occasion for misunderstanding?—Georges Bataille, The Accursed ShareAt the current juncture in the history of studies “on Bataille,” admiration and indebtedness have given way to admiration constrained by ambivalence and indebtedness complicated by a desire for accountability. This special issue provides an opportunity to work through these inevitable critical shifts, symptoms of an (...) immeasurable debt to a writer from whom we have necessarily taken distance. It is also an occasion to ask about our own investments in the renewed production of Bataille.During his lifetime (1897–1962), Georges Bataille was called many names, including a “pornographer” and a fascist, and when he died he became a cult figure among some intellectuals, for whom he represented an eclectic and unappreciated thinker. Since his untimely death, Bataille has become very famous. Now, according to Jürgen Habermas, this former librarian at the Bibliothèque Nationale, editor of Critique, author of covertly circulated erotic books and other works that did not sell well, stands first in a line of French intellectuals leading from “Bataille via Michel Foucault to Jacques Derrida” [Habermas 14]. 1 Bataille’s remains are located in the posthumanist pantheon: his work is joined to the giants of the French philosophical, psychoanalytic, and literary heritage, including Jean-Paul Sartre, Jacques Lacan, and Maurice Blanchot; he has been the subject of countless literary exegeses and even of a prizewinning biography [see Surya]. Bataille no longer has the merit of being unknown.But who is the Bataille we pretend to know? He is the one with whom many critics identify, yet his work is necessarily misunderstood, sometimes (but not always) in the interests of preserving its insights. Critical work on Bataille naturally emphasizes his theory of dépense (expenditure), his mysticism, his attraction to the sacrificial, sadomasochistic erotics of fascist politics, and tends, viscerally if implicitly, to identify with Bataille’s refusal to be hard in the conventional sense—his repudiation of impermeable, phallic masculinity and its association with moral resolve. In 1945, Bataille wrote that he was the “contrary of him who tranquilly watches the dismasted vessels from the shore, because in fact... I cannot imagine anyone so cruel that he could notice the one who is dismasted with such carefree laughter. Sinking is something altogether different, one can have it to one’s heart’s content...” [OC 6:358]. In 1966, a sensitive critic wrote: “Bataille’s cogito, thus, reads: ‘I sink therefore I am’” [Hollier 138]. In other words, Bataille was no proponent of a sink-or-swim philosophy, but of “the hard desire to endure”—words he wrote to describe Vincent Van Gogh, whose self-mutilation was, from Bataille’s perspective, the necessary precondition of his art. This hard desire is paradoxically the hard labor of unbinding the self, a project that entails yet moves beyond empathizing with those caught in the storm: Bataille insisted that creation required symbolic castration rather than the phallic virtue of the moral man or the swollen pride of those who volunteer heroically for the rescue mission (“Heroism,” he said, “is an [End Page 3] attitude of flight” [OC 5: 347]). As countless critics have demonstrated, even Bataille’s most relentlessly hard-core texts use sexuality as an allegory for the self-shattering of the phallic body.The sacrificial constitution of the man who would sink—for this Bataille was giddily embraced after his death. By 1990, when Yale French Studies devoted a special issue to him, the embrace was equally enthusiastic, but giddiness had given way to some defensiveness. Those theorists who did not admire Bataille equated his repudiation of phallic virtue with the ego-dissolving sublimity of fascism. After all, some of his friends and intellectual heirs had been subjected to public scrutiny for their anti-Semitic, often fascist sympathies. Implicitly defending Bataille, the editor of that special issue insisted on Bataille’s “ethics” of sacrifice. He claimed that Bataille held “onto the possibility of an ethics” through a paradoxically “incessant repositing of the ethical” [Stoekl 2, 5]. This account of Bataille’s ethics avoids the problem that the ethics of sacrifice in... (shrink)

In this article, I sketch out something of a manifesto for the writing of queer theology. Beginning with a glimpse of the ways that anxieties about non-normative bodies and sexualities implicate all queer identity and practice, I then suggest ways that an awareness of the values and practices of the bondage, discipline, dominance and submission, sadomasochism community can illuminate the indecency of theological reflection. I believe that kink represents a valuable approach to meaning-making which holds great possibilities for the (...) theological discipline, particularly its unique relationship to social and interpersonal power dynamics, as well as its willingness to ‘dig around in the dirt’ of those things which are scary or taboo and find satisfying, sexy ways of relating to that fear. Above all, I hope to provoke new ways of thinking that challenge our easy answers about what progressive or liberative theology might look like, with deliberate attention to what is indecent in our frameworks. (shrink)

This essay is a response to the comments and critique, included in this issue, of Claudia Card and Marilyn Friedman to my book, A Passion for Friends. In this response, I emphasize the crucial distinction between female separation and dissociation from the world, so as to register the difference between the positive and negative separations in which women are engaged. I also expand the discussion of individuality and individualism. The latter has arisen within the context of a feminist liberal campaign (...) for sexual liberation which defends, among other things, sadomasochism, prostitution, pornography, and surrogacy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Liberating Sexuality: Justice Between the Sheets by Miguel A. De La TorreSimeiqi HeLiberating Sexuality: Justice Between the Sheets Miguel A. De La Torre SAINT LOUIS: CHALICE PRESS, 2016. 232 pp. $27.99What lies at the heart of Miguel De La Torre's provocative and refreshing collection of essays Liberating Sexuality is his lifelong commitment to a justice-based society. He is deeply concerned with "how oppressive social structures, [End Page 191] (...) rooted in a two-thousand-year-old misunderstanding of Christian sexuality, prevent us from a more just social order" (vii).De La Torre rigorously engages with the biblical literature and considers it a vital ground for ethical reflection. He first returns to Genesis and successfully argues that "God blesses sex and declares it good" (4). He closely examines the story of the first man and woman and proposes the concept of "cleave to" in Genesis 2:24–25 as the guiding definition for a healthy marriage in our modern society. By revisiting and creatively retelling the stories of women in the Bible—Lot's wife, Sarah, Dinah, Rebekah, and Tamar—he restores the humanity and dignity of women and calls for our responsibility to dismantle the patriarchal structures that foster sexual abuse. He also provides alternative interpretations of the troubling biblical texts for LGBTQ communities to consider. After thoroughly surveying the biblical justification of patriarchy and the subjugation of women in the Hebrew Bible, he proposes that "the entire Bible should be read through the lens of the Gospel message, specifically passages like John 10:10" (13). Though a creative attempt to liberate the sacred text from oppression, this approach requires caution, as there may be possible anti-Semitic ramifications for reading the Hebrew Bible through a New Testament lens.One of the major contributions of De La Torre to the field of sexual ethics is the proposal of "orthoeros" through a liberative method that seriously considers liberation theology and goes beyond the inadequate approaches of both conservatives' sexual legalism and liberals' permissiveness toward sexual ethics. "Orthoeros" promotes a "familial relationship based on mutual giving and vulnerability" (21) and is made up of five biblically based principles: safe, consensual, faithful, mutually pleasing, and intimate.As an ethicist who is invested in the public discourse, De La Torre actively and boldly engages with issues of various sexual practices. He critiques Fifty Shades of Grey and envisions an ethical, Christian-based sadomasochism by employing "orthoeros" principles. He also examines the historical reasons against masturbation and argues for its constructive role in the sexuality of Christians.Deeply disturbed by the prevailing injustice that corrupts our society, De La Torre focuses much of the volume on exposing the sources and the detrimental effects of sexism, heterosexism, and racism. He reveals misogynist legislation by mapping out the "war on women," specifically the issues of equal pay, rape, reproduction rights, and global sexism. He reflects on his own "sin of heterosexuality" of being a macho man, conquering, and celebrating cojones. He also examines the Euro-American history of owning black bodies and critiques the stereotyping of Latino bodies in Hollywood.Another major contribution of De La Torre is the indecent approach to justice-based praxis—an ethics para joder—that "screws" with the prevailing power structures by utilizing a nonviolent survival strategy based on love, designed to liberate the abused and the abusers from the death-dealing social structure. [End Page 192]Liberating Sexuality, situated at the intersection between Christian ethics, biblical hermeneutics, and cultural studies, is a successful interdisciplinary endeavor. The essays gathered here remain highly engaged with the public reality and should benefit both general readers and scholars. Furthermore, this volume provides much-needed guidance on how a sexual ethics should be implemented and is, hence, a vital resource for those engaged in the practices of ministry.Simeiqi HeDrew UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.” -/- Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight. Punk rock was a celebration of nastiness, chaos, and defiance of convention, (...) which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars. Is punk still alive today? What has it left us with? Does punk make any artistic sense? Is punk inherently anarchist, sexist, neo-Nazi, Christian, or—perish the thought—Marxist? When all’s said and done, does punk simply suck? These obvious questions only scratch the surface of punk’s philosophical ramifications, explored in depth in this unprecedented and thoroughly nauseating volume. Thirty-two professional thinkers-for-a-living and students of rock turn their x-ray eyes on this exciting and frequently disgusting topic, and penetrate to punk’s essence, or perhaps they end up demonstrating that it has no essence. You decide. -/- Among the nail-biting questions addressed in this book: Can punks both reject conformity to ideals and complain that poseurs fail to confirm to the ideals of punk? How and why can social protest take the form of arousing revulsion by displaying bodily functions and bodily abuse? Can punk ethics be reconciled with those philosophical traditions which claim that we should strive to become the best version of ourselves? How close is the message of Jesus of Nazareth to the message of punk? Is punk essentially the cry of cis, white, misogynist youth culture, or is there a more wholesome appeal to irrepressibly healthy tendencies like necrophilia, coprophilia, and sadomasochism? In its rejection of the traditional aesthetic of order and complexity, did punk point the way to “aesthetic anarchy,” based on simplicity and chaos? By becoming commercially successful, did punk fail by its very success? Is punk what Freddie Nietzsche was getting at in The Birth of Tragedy, when he called for Dionysian art, which venerates the raw, instinctual, and libidinous aspects of life? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 307-310 [Access article in PDF] Aesthetics, Criticism, and Psychotherapy John Z. Sadler Keywords aesthetics, psychiatry, psychotherapy, Sibley In his wide-ranging survey of how Kantian aesthetic theory is implicated in psychothera-py, John Callender has raised at least a dozen potentially profound and rewarding possibilities in applying aesthetic theory to psychiatry and psychotherapy. Although the idea of marrying aesthetic theory to psychiatry and psychotherapy is (...) not new, Callender's direction of the merger is distinctively novel. The mid-twentieth century had a distinct literature in applying psychoanalytic and psychiatric theory to aesthetic experience, summarized by the sizable bibliography by Norman Kiell, Psychiatry and Psychology in the Visual Arts and Aesthetics: A Bibliography (1965). This line of interdisciplinary work influenced a later generation of art historians and literary theorists in applying (particularly) psychoanalytic theory to interpretation and appreciation of the arts, contributions that are still being developed today, along with the emergence of complementary viewpoints from cognitive neuroscience (Peretz and Zatorre 2003; Rose 2004; Zeki 1999). Callender's project, however, is quite the converse—he wishes to show how philosophical aesthetics can contribute to psychiatry and clinical psychology. Exploring the aesthetics of psychiatry is the innovation.Before focusing my own comments on a few of Callender's points, I wish to call attention to the substantive questions he has directly raised or implied by his discussions. These questions are worthy of further development in this and other journals, and I hope that Callender will succeed in engaging the minds of his readers and inspire them to work in this exciting area in the philosophy of psychiatry. In his elegant review of Kant's key theoretical points of aesthetics, his discussion provokes us to consider the kinds of evaluations that patients make of themselves (moral? aesthetic? others?), as well as the kinds of evaluations clinicians make in their judgments of psychopathology. Evolutionists may wonder about the adaptive significance of aesthetic capacities (e.g., derivatives of grooming? mating displays?). In presenting Kant's notion of "disinterestedness" or contemplative judgment, readers may wonder about overlap with notions of therapist neutrality and unconditional positive regard. Should therapist relationships with patients be dominated by a similar aesthetic sensibility? What does the aesthetic posture have to do with the therapist posture?Importantly, Callender notes the connections and ambiguities between moral values and aesthetic values. This is borne out in his later discussions of clinical case material (considered again below). He focuses primarily on the duplication of aesthetic and moral values in the same terms of praise (honesty, integrity, originality), but there is no question that aesthetic experiences are had by viewers of art exhibiting perverse or depraved [End Page 307] imagery (consider, for instance, Francis Bacon's "3 Screaming Popes" or, even more extremely, the grotesque staged photographs of Joel-Peter Witkin). The implication here is that (as an example) to understand the aesthetics of sadomasochistic art may help us to understand the psychology of sadomasochistic people.By the time he introduces his case material, Callender has raised the issue of intersubjectivity in aesthetic experience, an experience that may be devoid of discursive cognitive content but may be profound with emotional content, thus challenging tenets of cognitive psychology and psychotherapy. His discussion of cases reflecting elements of Kant's components of aesthetic judgment point toward new ways of understanding psychopathology as disturbances in aesthetic self-appraisal.I would like to return to the problem of moral and aesthetic judgments in psychotherapy and in psychopathology. Dr. Callender presents three cases—a woman who has been traumatized by multiple instances of sexual abuse, a young girl with postpartum depression with fears of losing her child because of bad mothering, and a third patient with anorexia nervosa who demonstrates the typically distorted body self-image. I suggest that the aesthetic nature of these patients' self-judgments is not so clear cut as Callender suggests. His sexual abuse case summary certainly suggests a woman consumed by shame. Because shame is a typical "moral emotion," the question is raised of moral badness being involved in her self-concept as well as, or perhaps... (shrink)

This interview was conducted with one of the closest friends of the visual artist Ray Johnson, the late photographer and writer William S. Wilson. Johnson was a fixture of the New York downtown art scene in the late 1940, 1950s, and 1960s. He was influenced by Abstract Expressionists and Pop artists alike, but was a true original, widely considered to be the founder of “mail art” and also an important collagist and performance artist. Wilson helped Johnson to formulate the idea (...) of “mail art” as they exchanged correspondence, thoughts, ideas, experiences, and much else besides. In this interview, Wilson discusses Johnson's sexuality, sadomasochistic practice, and philosophy of friendship. He provides hitherto unknown details about Johnson's intimate relations with the artist Richard Lippold and life at Black Mountain College. Wilson also recounts details of Johnson's relation to women in terms of art, friendship, love, and sex. But more than anything, this interview captures the atmosphere of queer life in the middle decades of the twentieth century and Johnson's particular experiences of that era. (shrink)

A critical look at two books, Coming to Power – Writings and Graphics on Lesbian S/m, published in 1981, and its ‘long awaited sequel’, The Second Coming – A Leatherdyke Reader, published in 1996, yields many differences and similarities. Both books have been judged negatively or positively on the basis of their sadomasochistic content and in line with knee-jerk positions around the lesbian ‘sex wars’ of the 1980s. The feminist politics represented in each book and the connections to more general (...) lesbian feminist concerns and developments of either the late 1970s (Coming to Power) or the late 1980s and early 1990s (The Second Coming) are often overlooked or dismissed. Comparing the kind of sex acts and personas fetishized in each book as well as the claims made for lesbian sm by its adherents often reveals more than the writers may have intended. A more nuanced reading of both books also reveals connections between lesbian feminism, particularly lesbian radical feminism and the sm dykes. Rather than being the ‘illegitimate children’ of lesbian feminism, as Coming to Power maintained in 1981, it is clear now that sm dykes and lesbian feminists are strange sisters who needed each other to define their particular politicized identities. (shrink)

My basic supposition is that the destruction of the little Jew's face and hands in Vandover and the Brute images the irruption of mere materiality within the scene of writing-that instead of Crane's double process of eliciting and repressing that materiality, what is figured in the shipwreck scene is a single, unstoppable process of materialization, involving both the act of representation and the marking tool and actual page , the result of which can only be the defeat of the very (...) possibility of writing .Here it might be objected that such a reading derives whatever plausibility it has from the comparison with Crane, and in a sense this is true: my claim is precisely that it's only against the background of Crane's seemingly bizarre but, in this regard, normative or centric enterprise that the wider problematic of late nineteenth- and early twentieth-century literary "impressionism" can be made out. In another sense, however, the comparison with Crane involves an appeal to issues—notably that of materialism—which have long been basic to Norris criticism and which the recent work of Walter Benn Michaels has brought to a new level of conceptual sophistication and historical refinement. Specifically, the title essay in Michaels's book, The Gold Standard and the Logic of Naturalism, interprets both McTeague and Vandover and the Brute in terms of a conflict between materiality and representation that found contemporary expression both in the debates over the gold and silver standards versus paper money and in the vogue for trompe l'oeil painting ." In this regard a crucial moment in Vandover's regression from man to beast is his discovery that, as a painter, he has lost the ability to represent nature three-dimensionally; Michaels treats this development as equivalent to "replac[ing] the painting with nature itself" , and goes on to remark: "But this ... is ultimately a distinction without a difference. Vandover the artist can so easily devolve into Vandover the brute precisely because both artist and brute are already committed to a naturalist ontology—in money, to precious metals; in art, to three-dimensionality. The moral of Vandover's regression, from this standpoint, is that it can only take place because . . . it has already taken place. Discovering that man is a brute, Norris repeats the discovery that paper money is just paper and that a painting of paper money is just paint" . My reading of the shipwreck passage would thus be consistent with what Michaels calls Norris's "trompe l'oeil materialism" , though the nearly sadomasochistic violence of that passage may be taken to imply that materialism's consequences for writing threaten to be even more disastrous than they are for painting. But rather than analyze the role of writing as such in Vandover, which would involve an intricate discussion not just of that novel and McTeague but also of Michaels's essay, I want to turn to another, lesser-known book by Norris, in which a thematic of writing plays a conspicuous and more nearly univocal role: A Man's Woman . Michael Fried is J. R. Herbert Boone Professor of Humanities and director of the Humanities Center at the Johns Hopkins University. His most recent book is Courbet's Realism . He is currently at work on a book to be titled Manet's Modernism. (shrink)

Erich Fromm was a political activist, psychologist, psychoanalyst, philosopher, and one of the most important intellectuals of the twentieth century. Known for his theories of personality and political insight, Fromm dissected the sadomasochistic appeal of brutal dictators while also eloquently championing love--which, he insisted, was nothing if it did not involve joyful contact with others and humanity at large. Admired all over the world, Fromm continues to inspire with his message of universal brotherhood and quest for lasting peace. The first (...) systematic study of Fromm's influences and achievements, this biography revisits the thinker's most important works, especially _Escape from Freedom_ and _The Art of Loving_, which conveyed important and complex ideas to millions of readers. The volume recounts Fromm's political activism as a founder and major funder of Amnesty International, the National Committee for a Sane Nuclear Policy, and other peace groups. Consulting rare archival materials across the globe, Lawrence J. Friedman reveals Fromm's support for anti-Stalinist democratic movements in Central and Eastern Europe and his efforts to revitalize American democracy. For the first time, readers learn about Fromm's direct contact with high officials in the American government on matters of war and peace while accessing a deeper understanding of his conceptual differences with Freud, his rapport with Neo-Freudians like Karen Horney and Harry Stack Sullivan, and his association with innovative artists, public intellectuals, and world leaders. Friedman elucidates Fromm's key intellectual contributions, especially his innovative concept of "social character," in which social institutions and practices shape the inner psyche, and he clarifies Fromm's conception of love as an acquired skill. Taking full stock of the thinker's historical and global accomplishments, Friedman portrays a man of immense authenticity and spirituality who made life in the twentieth century more humane than it might have been. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Homo-Ness” and the Fear of FemininityPatrick Paul Garlinger (bio)Leo Bersani. Homos. Cambridge: Harvard UP, 1995.Homos is a disturbing book, in the most literal sense of the word, for Leo Bersani’s goal throughout much of his text is precisely to disturb some of the widely accepted precepts of queer theory and gender performativity. As if the title alone were not enough to signal the text’s contestatory tone, the first sentence (...) of the prologue boldly declares that “no one wants to be called a homosexual” [1]. While many scholars might disagree with such an overwhelming generalization (myself included), it nonetheless reminds us that homosexuality continues to occupy an ambiguous position within contemporary society, an ambiguity perhaps most powerfully punctuated by the recent failure of gays and lesbians to secure legal access to the institution of marriage. In the first three chapters, Bersani interrogates topics such as gay identity, AIDS, queer theory, and sadomasochism. In the final chapter, “The Gay Outlaw,” he addresses the literary representation of homosexuality through radical rereadings of Gide, Proust, and Genet. Although no one single thesis coherently unites these chapters, a healthy spirit of suspicion begs the thorny question of what it means to be gay, and in so doing, explores the tenability of identity politics. Rejecting a politics of opposition that would bind our theorizations to the very heteronormative paradigms that they are attempting to resist, Bersani argues instead for ways to “explore the links between a specific sexuality, psychic mobility, and a potentially radical politics” [56].Identity, for Bersani (and other critics following Foucault), is an operation of power, a “disciplinary project” that is a tool at the service of identification and containment [3]. 1 Seen as essentialist, universalizing, or ontological, identity has received a bad rap. Indeed, the notion of a sexual identity as a fixed category invariably fails in its performative capacity to capture the myriad array of sexual acts that a given individual may feel compelled to perform. The failure of identity, however, should not lead to its elimination from our theoretical frameworks, Bersani proposes. He claims instead that the critique of identity in feminist and queer theory is ultimately destructive rather than liberating. At the [End Page 57] source of this dismissal of identity is the fear that visibility will result in “discipline and punishment,” but Bersani argues quite convincingly that this retreat from the domain of the visible colludes with the homophobic goal of eliminating homosexuality. On the other hand, Bersani acknowledges that identity and visibility are not wholly benevolent either: “[o]nce we agreed to be seen, we agreed to be policed” [12]. Visibility allows for domination and even annihilation, a possibility that Bersani considers in his discussion of AIDS, in which visibility can be seen as providing straight America with a front-row seat at the spectacle of gay death [21]. Nevertheless, that is a risk that must be taken. While not proposing a return to regulatory identity categories, Bersani wants to return to a gay specificity to prevent gays and lesbians from “performing” themselves out of existence. Responding to David Halperin and Judith Butler, for example, he argues that the rejection of essentializing identities as a mode of resisting homophobia erases the very agent of that resistance [56]. Fearful that the attacks on the notion of identity in the academy have simply collaborated in the marginalization of homosexuality, Homos attempts to offer “homo-ness” as an “anti-identitarian identity” [101], one that risks the pitfalls of essentialism and simultaneously transcends the limits of sexual orientation.Nowhere is his desire to rethink identity more clear than in his trenchant critique of the dismantling of gender by critics such as Butler, Monique Wittig, and Michael Warner. Suspicious of their deconstructive strategies, he argues that the undoing of the categories of gender inevitably leads to the elimination of homosexuality. The critique of gender in discussions of sexuality endangers any specificity that same-sex sexuality might have. For example, he writes, “‘men’ and ‘women’ in Wittig’s radical argument are political creations designed to give a biological mandate to social arrangements in which one group of human beings oppresses another” [38]. Within the social domain of... (shrink)

La subcultura sadomasochistica della “dominazione femminile” (femdom) ha dato vita a una modalità rilevante di carnalità digitale, prevalente nelle interfacce dei nuovi media e capace al contempo di radicalizzarne l’interattività. La relazione dell’uomo sottomesso con la donna dominante non è mai semplice in questo caso: non meramente pornografica, bensì sintomatica di fenomeni complessi. Essi riguardano il potere e la società, i media e la vita che danno forma alla nostra epoca tecno-libidinale. L’articolo getta luce sulle implicazioni sessuali, psicologiche, psicoanalitiche e (...) socio-etiche di tale relazione, delineando e ricontestualizzando le teorie su masochismo, abiezione, biopolitica, nichilismo e così via. Pieno di paradossi, il femdom incarna un governo, formalmente strutturato, della sensazione e della determinazione: una legge eccezionale oltre la legge normale, secondo cui la sottomissione a un sovrano sessuale conduce contemporaneamente alla autoprivazione e al recupero della libertà dello schiavo. Il suo desiderio frustrato di un oggetto irraggiungibile si orienta allora verso una pulsione di tipo lacaniano: la soddisfazione istantanea di circolare intorno al vuoto, come se ci si “avvicinasse” continuamente, senza fine, così com’è esemplificato nel loop digitale delle immagini GIF. Più precisamente, desiderio e deriva si confondono, al punto di essere indistinguibili, nella disintegrazione del Simbolico e del Reale, del privato e del pubblico, che caratterizza la cultura dell’assuefazione autodistruttiva, tipica dell’edonismo capitalistico. In tale contesto il mondo di sogno del femdom si rivela essere una rete permeabile di numerose comunità fondatrici di forme di vita di dominatrici e sottomessi: un cielo interattivo, capace di automodularsi, di desiderio-impulso senza una fine, senza un fuori, senza un nirvana. (shrink)