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
Queering the One Direction Fangirl
Hannah McCann and Clare Southerton
Girls’ Media Culture , ed. Mary Celeste Kearney , 1 – 14 . New York : Peter Lang . 10.3726/978-1-4539-0128-1 McCann , Hannah . 2016 . “ Epistemology of the Subject: Queer Theory's Challenge to Feminist Sociology .” Women's Studies Quarterly
Queer Gothic Girlhood in John Harding's Florence and Giles
difference produced shifts in feminist scholarship that were nothing short of paradigmatic” (2013: 14). With the emergence of Queer theory, which became part of this process in the 1990s, Huffer notes its import as having two key axes: [It] can be seen
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
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
Exploring the Connections of Culture, Masculinities, Bodies, and Health for Gay Men through Photovoice
Phillip Joy, Matthew Numer, Sara F. L. Kirk, and Megan Aston
). Poststructuralism and queer theory reject the idea of a single universal truth or cause of health concerns, such as body dissatisfaction ( Agger 1991 ; Cheek 1999 ). These approaches used within an arts-based framework to guide the exploration of masculinities and
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