Queer Behavior

Getsy, David J.

doi:10.7208/chicago/9780226817071.001.0001

Cited by 2 publications

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“…182 She is fleetingly liberated from the necropolitics of besideness, from the obligation of domestic care, from what has been called the "internal war. " 183 Beyond a restorative moving-forward, the dia in Diallagē conjures a force of continuation and of non-partitioning generated, as we have seen throughout this chapter, by the political affect of agitation, which withstands the exclusionary politics of necrocitizenship and its reproductive agenda. This continuation, mimetically experienced by the husbands, is the temporality of pregnancy, whose spatial counterpart encompasses both stretched somatic borders and the sensation of being "blocked by my own body sticking out in front of me, " of having "my passage" blocked.…”

Section: Reproduction and Undifferentiationmentioning

confidence: 94%

“…182 When the old Inlaw as young Andromeda departs with a younger Euripides as old Artemisia, we are caught in a major crisis, a "thoroughgoing mash-up, " to use one of the phrases that, for Getsy, define "transgender capacity. " 183 The name Artemisia evokes the Greek queen of Halicarnassus who heroically fought alongside Xerxes in the second Persian war, defying prescribed female roles, but also Artemis herself, the virgin goddess, who, while protecting women in labor, always privileges the homosocial company of her female companions. 184 Euripides as Artemis(ia) replaces Euripides as Perseus, the expected savior and lover of the Inlaw as Andromeda, conjuring intimate, queer couplings involving trans-femininities or transgender lesbians 185 -or a mother and daughter forming an intense, quasi-erotic (un)couple.…”

Section: Gender Abolition: Andromeda Against the Policementioning

confidence: 99%

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Resistant Form

Telò

2023

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Can attending to poetic form help us imagine a radical politics and bridge the gap between pressing contemporary political concerns and an ancient literature that often seems steeped in dynamics of oppression? The corpus of the fifth-century Athenian playwright Aristophanes includes some of the funniest yet most disturbing comedies of Western literature. His work’s anarchic experimentation with language invites a radically “oversensitive” hyperformalism, a formalistic overanalysis that disrupts, disables, or even abolishes a range of normativities (government, labor, reproduction, gender). Exceeding not just historicist contextualism, but also conventional notions of laughter and the logic of the joke, Resistant Form: Aristophanes and the Comedy of Crisis uses Aristophanes to fully embrace, in the practice of close or “too-close” reading, the etymological and conceptual nexus of crisis, critique, and literary criticism. These exuberant readings of Birds, Frogs, Lysistrata, and Women at the Thesmophoria, together with the first attempt ever to grapple with the comic style of critical theorists Gilles Deleuze, Achille Mbembe, and Jack Halberstam, connect Aristophanes with contemporary discourses of biopolitics, necrocitizenship, care, labor, and transness, and at the same time disclose a quasi- or para-Aristophanic mode in the written textures of critical theory. Here is a radically new approach to the literary criticism of the pre-modern – one that materializes the circuit of crisis and critique through a restless inhabitation of the becomings and unbecomings of comic form.

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Section: Reproduction and Undifferentiationmentioning

confidence: 94%

Section: Gender Abolition: Andromeda Against the Policementioning

confidence: 99%

Resistant Form

Telò

2023

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Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe

Vanover

2024

Arts

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There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.

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Queer Behavior

Cited by 2 publications

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Resistant Form

Resistant Form

Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe

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