Late modernity’s binary intrigue of child sexuality/abuse is understood as a backlash phenomenon reactive to a general trans‐Atlantic crisis concerning the interlocking of kinship, religion, gender, and sexuality. Tellingly dissociated from 1980s gay liberation and recent encounters between queer theory and kinship studies, the child abuse theme articulates modernity’s guarded axiom of tabooed incest and its projected contemporary predicament “after the orgy”—after the proclaimed disarticulation of religion‐motivated, kin‐pivoted, reproductivist, and gender‐rigid socialities. “Child sexual abuse” illustrates a general situation of decompensated nostalgia: an increasingly imminent loss of the child’s vital otherness is counterproductively embattled by the late modern overproduction of its banal difference, its status as “minor.” Attempts to humanize, reform, or otherwise moderate incest’s current “survivalist” and commemorative regime of subjectivation, whether by means of ethical, empirical, historical, critical, legal, or therapeutic gestures, typically trigger the latter’s panicked empiricism. Accordingly, most “critical” interventions, from feminist sociology and anthropology to critical legal studies, have largely been collusive with the backlash: rather than appraising the radical precariousness of incest’s ethogram of avoidance in the face of late modernity’s dispossessing analytics and semiotics, they tend to feed its state of ontological vertigo and consequently hyperextended, manneristic forensics.
Tabooing Incest after the Orgy
Diederik F. Janssen
An Interview with Author Ta-wei Chi on the New Translation of The Membranes
Jane Chi Hyun Park and Ta-wei Chi
The Membranes . Chi: I was inspired by the simplified interpretation of Judith Butler and queer theory then. And some Julia Kristeva maybe. Those books were so mysterious and abstract to me and peers in the 1990s that we tended to imagine them to be
Queering the One Direction Fangirl
Hannah McCann and Clare Southerton
Like other fangirls, fans of former boyband One Direction (“Directioners”) have often been represented in media discourse as obsessive and hysterical, with fan behaviour interpreted as longing for heterosexual intimacy with band members. Subverting this heteronormative framing, a group of Directioners known as “Larries” have built a sub-fandom around imagining a relationship (“ship”) between two of the band members, Harry Styles and Louis Tomlinson. Representation of the Larry fandom has gone beyond pathologizing fangirls to framing their shipping practice in terms of “fake news.” The conspiracy theory panic around Larries misses the complex ways that subtext and queer reading are mobilized within the fandom to invoke feelings of queer intimacy and belonging. Drawing on a digital ethnography conducted on Twitter with Larries, we argue that these fans engage in queer reading strategies to explicitly imagine and interrupt dominant heterosexual narratives, and thus queer the figure of the fangirl.
Queer Gothic Girlhood in John Harding’s <em>Florence and Giles</em>
Literary fiction is a widely popular arena in which discourse on sexuality and queerness is produced and disseminated. The Gothic is an especially crucial mode in literary fiction that has a historically intimate relationship with queer subjectivity. Observing this relationship between Gothic fiction and queer subjectivity, in this article I analyze the representation of queer Gothic girlhood in contemporary fiction, taking as my focus John Harding’s 2010 reworking of the Henry James classic, The Turn of the Screw (1898). I show how Florence and Giles develops familiar tropes attached to the figure of the queer child and look specifically at how readings of the parent text implicate contemporary readings of this figure. With close readings that draw on the queer feminist ethics of Lynne Huffer, I consider what seems to be happening to the figure of the queer Gothic girl in contemporary fiction.
Female Adolescence in the Novels of Carson McCullers
. The emergence of the field of queer theory in the 1990s has therefore enabled more nuanced readings of McCullers’s work. Queer theory developed in part as a response to gay and lesbian studies, which did not account sufficiently for the wide range of
Dickens and Sex
Holly Furneaux and Anne Schwan
This collection explores the still underrepresented topics of sex, erotics and desire in the work of Charles Dickens. Contributors draw upon and suggest new points of convergence between a wide range of theoretical perspectives including cultural phenomenology, materialism, new historicism, critical race studies, feminist and queer theory. Analysis of a broad range of Dickens’s fiction, journalism and correspondence demonstrates Dickens’s sustained commitment to exploring a diverse range of sexual matters throughout his career.
Sex and the Body in Dickens
William A. Cohen
Not so long ago, the topic of Dickens and sex might have seemed entirely entailed by Foucault's inquires in the first volume of the History of Sexuality. In that work, Foucault argues that sex is not a biological donnée but is instead an effect of discourse, a culturally variable vehicle for the exercise of power in many different directions. Emerging out of Foucault's studies of social institutions such as prisons and madhouses, the History of Sexuality emphasises the disciplinary imperative of sexual knowledges; it argues that individual subjects internalise surveillance mechanisms, experiencing them through and as their sexuality. One of the beneficiaries of the Foucauldian paradigm, which dominated Victorian literary studies from the late 1980s until recently, was queer theory. Queer theory interrogates rather than presuming identity categories (such as homosexual, lesbian and gay), but it has always sat in an uneasy relation to identity politics, simultaneously relying on and deconstructing stable notions of gender and sexual identity. Some critics have employed queer theory to discover lesbian, gay or queer characters and practices in Victorian literature (not to mention finding more properly nineteenth-century types, such as the hysteric, the onanist and the sodomite). Such projects have often understood the function of sexual representation as part of modernity's more general disciplinary structure.
This article explores interactions with difference, highlighting what I call the “generosity paradox,” a term that refers to how we suspend disbelief and certainty in favor of a constructed potentiality not limited by preexistent knowledge or categories of authenticity and legitimacy. Touching on overlapping concepts from rhetoric, philosophy, gender studies, disability studies, and queer theory, the discussion explicates fictional encounters with radical alterity in the film Her (Spike Jonze, 2013) to show that attempted respite from frustrating, confusing, and frightening interactions limits our voice, undermines difference, and favors a unifying persuasive intent, which more likely than not involves an attempt to change Others rather than allowing our mutual differences to generatively remain.
Andrew J. Ball
future, such as installation art, artificial intelligence, biotechnology, gaming, digital art, posthumanism, and film. And in keeping with the established emphases of the journal, these two issues feature the foremost innovations in queer theory, gender
Nof Nasser-Eddin and Nour Abu-Assab in Conversation
Nof Nasser-Eddin and Nour Abu-Assab
. Queer Theories and Decolonial Approaches Nof Do you want to move to the next question? The question is: “Your work is also committed to intersectionality, feminism, and queer theories—how do you view the relationship between intersectionality