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Mapping the (Adolescent) Male Body

Queerness, Pedophilia and Perversions in "L.I.E." and "Mysterious Skin"

Sarag E. S. Sinwell

Drawing on the work of Gayle Rubin, Jonathan Dollimore, and B. Ruby Rich, this paper will explore the ways in which Michael Cuesta’s L.I.E. (2000) and Gregg Araki’s Mysterious Skin (2004) portray adolescent male bodies and subjectivities within the context of the queer. Throughout these films, cinematic identification is primarily tied up with the stories of adolescent boys. However, the perverse acts in which they participate (both voluntarily and involuntarily), the inclusion of multiple points of view, and the focus on our own cultural constructions of childhood, adolescent and adult sexualities trace a network of nodes of identification. Thus, I argue that L.I.E. and Mysterious Skin queer identification by imagining a multiplicity, fluidity, and diversity of modes of identification that engage with both the normal and perverse natures of identity, sexuality, and subjectivity.

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Lissa Weinstein and Banu Seckin

When Craig, an oft-humiliated and unsuccessful street puppeteer, discovers a portal into the body of John Malkovich, he finds that fusion with a live “celebrity puppet” offers a solution to the dilemmas of being human— imperfection, vulnerability, and death. In this fantastical context, the filmmakers raise questions about intention, identity, authorship, and the wisdom of elevating narcissism over Eros. Although a desire to transcend the limitations of the mortal body may be ubiquitous, the unique solution offered in Being John Malkovich is the apparent triumph of this narcissistic fantasy, rather than an acceptance of reality. This article first explores the film's use of the universal imagery of narcissism and then examines how technology, which allows widespread access to a visually oriented media culture, and changes in the meaning of fame have altered the expression of narcissistic fantasies, as well as the anxieties that accompany their fulfillment.

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John Drakakis

integrity of everything that binds society together. The Prologue’s recourse to the proverbial ‘Now good or bad, ‘tis but the chance of war’ (i. 31) is initially re-articulated as a ‘sex war’ that is a perversion of the basic familial unit; indeed, it is the

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René Devisch

Diversely echoing Gail Weiss (1999) and Paul Stoller and Cheryll Olkes (1987), I hold that maleficent fetishes that sustain lethal sorcery shape and enact, yet pervert, their proper contours of embodied interactions and transactions. These interactions are being absorbed and consumed, if not devoured, by the sensual order of the uncanny and by forces of abjection. From my immersion in the life of the Yaka people in Kinshasa and south-west Congo, I am aiming at some endogenous understanding of how interacting bodies – or more precisely, intercorporeal awareness – can conform to (attune to) and become subordinated to (and implicated by) the frenzy of the transgressive and annihilating ‘forces’ mobilised by maleficent fetishes and lethal sorcerous violence. I contend that the mysterious field of sorcery and maleficent fetishes among the Yaka seems to foster among complicitous pairs some pre-reflective and interpersonal awareness of their body in the fold of (embracing) images, fantasies, experiential gestalts and desire of sorts. This primary entwinement of (inter)corporeal capacities, ‘forces’, cultural expectations and horizons of significance may help us to comprehend innovatively the sensual articulation of a genuine epistemology and a groping for moral economy in the very mood of transgression and perversion. This merging of desire, intercorporeality and sensing out of things paradoxically ties in with the pursuit as well as the obliteration of ethics. Such intermingling shows up in people’s manifold search to tame or, for other purposes, to stir up forms of unsettling, rupture, paradoxes, indeterminacy, categorial and ontological aporias, perversion or even destructive violence.

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(Not) Dying of Shame

Female Sexual Submission in 1890s' Erotica

Chris White

Presented here is part of an on-going project concerned with nineteenth- century representations of sexuality that play with or deploy power hierarchies for erotic purposes. While there is a growing body of work documenting the ethics, practice, and pleasures of BDSM (a portmanteau acronym meaning Bondage and Domination, Domination and Submission, Sadism and Masochism),2 one cannot of course assume that the ends of the nineteenth century and twentieth century share an understanding of sexual activity where representations of power construct the relationships and acts in a (semi)playful scenario. However, for some BDSM participants the notion of ‘play’ is anathema since they regard BDSM as a lifestyle choice that defines their entire existence.3 Much of the nineteenth-century critical apparatus exercised upon representations of sexual power-play derive from a pathology of desire, the perversion of normative ‘healthy’ sexuality. Terminology is the first difficulty and its problems describe the nature of the theoretical difficulties in engaging with this material. In relation to the kind of material I will be discussing here, the terms most often invoked to define the sexual activity are masochism and sadism, neither of which has a particularly flattering lilt to it, since the words, as commonly defined, describe a self-destructive or destructive violence exercised through sex.

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James K. Beggan

mature form of sexual expression. Thomas Nagel (1969) defined sexual perversion in terms of a failure to sufficiently acknowledge the role of the other's arousal in creating one's own arousal. From his perspective, voyeurism is a perversion and an

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Jean-Pierre Boulé

’expérience vécue, ainsi ‘la confusion du pour-soi et du pour-autrui s’accomplit’ (43–44). Ce que Beauvoir appelle sadisme pourrait être perçu comme une simple perversion, dans le sens étymologique de corruption, d’altération d’un contrat de réciprocité qui est

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Beyond Binaries, Borders, and Boundaries

Mapping the City in John Rechy's City of Night

Eir-Anne Edgar

) The hustler's “world,” consisting of three square blocks of Times Square, is a mix of public and private places, of sexual freedom and policing. In Perversion for Profit , Whitney Strub writes that movie theaters were viewed as part of the “queerly

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Migration, Empire, and Liminality

Sex Trade in the Borderlands of Europe

Tracie L. Wilson

traffickers. Accounts of abduction stirred up feelings of horror, with depictions of young women held captive by criminals in foreign bordellos. Such representations, along with references to the perversions of foreigners, 30 also possessed a titillating

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Kate Myers

, Time, and Perversion: Essays on the Politics of Bodies (New York: Routledge, 1995), 83–101, here 99. 9 The Winter's Tale , 4.1.5–9. 10 Cf. Ricardo Quinones, The Renaissance Discovery of Time (Cambridge, MA: Harvard University Press, 1972); and