Oxford University Press published eminent literary critic Leo Bersani's first book, on Proust, in 1965, but the work has long been out of print. This new edition comes in response to a recent renewal of interest among philosophers of literature, among others, and features a new preface from the author.

Michel Foucault n'aura cessé, à mesure qu'il élaborait son oeuvre, de repenser sa démarche, ses problèmes, de rompre avec ses propres paradigmes et concepts. Ne peut-on pas voir son oeuvre comme une succession de ruptures et de discontinuités? Impliqué dans des mouvements politiques qu'il a plus tard remis en question, se revendiquant " structuraliste " pour ensuite s'en défendre, moquant parfois ses propres ouvrages, Foucault s'est, à chaque étape de son travail, construit contre lui-même. C'est d'ailleurs ainsi qu'il définit l'attitude (...) créatrice : la création est inséparable d'une volonté de se " déprendre " de soi. Dans cet ouvrage, Arlette Farge, Georges Didi-Huberman, Geoffroy de Lagasnerie et Leo Bersani s'interrogent sur ce geste foucaldien. Quelle place la rupture a-t-elle prise dans le travail philosophique de Foucault, mais aussi dans son rapport aux mouvements politiques ou dans sa vie? En quoi la rupture constitue-t-elle une catégorie d'analyse centrale pour appréhender l'oeuvre de Foucault mais aussi, plus généralement, pour penser le champ intellectuel et des politiques émancipatrices toujours nouvelles? Le présent ouvrage est issu des entretiens réalisés par François Caillai pour son film Foucault contre lui-même (The Factory/Arte France/Ina). (shrink)

Patrick ffrench 'Potential Not To Be: Bersani and Dutoit's _Forms of Being_' _Film-Philosophy_, vol. 9 no. 3, January 2005 Peter Caws 'Theory as Criticism: Bersani and Dutoitπs _Forms of Being_' _Film-Philosophy_, vol. 9 no. 4, January 2005.

Leo Bersani’s career spans more than fifty years and extends across a wide spectrum of fields—including French studies, modernism, realist fiction, psychoanalytic criticism, film studies, and queer theory. Throughout this new collection of essays that ranges, interestingly and brilliantly, from movies by Claire Denis and Jean-Luc Godard to fiction by Proust and Pierre Bergounioux, Bersani considers various kinds of connectedness. _Thoughts and Things_ posits what would appear to be an irreducible gap between our thoughts and things. Bersani (...) departs from his psychoanalytic convictions to speculate on the oneness of being—of our intrinsic connectedness to the other that is at once external and internal to us. He addresses the problem of formulating ways to consider the undivided mind, drawing on various sources, from Descartes to cosmology, Freud, and Genet and succeeds brilliantly in diagramming new forms as well as radical failures of connectedness. Ambitious, original, and eloquent, _Thoughts and Things_ will be of interest to scholars in philosophy, film, literature, and beyond. (shrink)

Introduction: Physical distancing under the coronavirus disease 2019 pandemic had a significant impact on lifestyles, including exercise routines. In this study, we examined the relationship between mental health and addictive behaviors, such as excessive exercise and the use of image and performance enhancing drugs across 12 sport disciplines.Materials and methods: A large cross-sectional sample of the adult population was surveyed. The mean age was 33.09. The number of male participants was 668. The use of IPEDs was assessed in conjunction with (...) psychometric measures such as the Exercise Addiction Inventory and the Appearance Anxiety Inventory. The participants were grouped into activity group and non-activity group according to the presence or absence of their exercise habits. The results were compared between these groups, as well as across sport disciplines, while taking into account the relationship between different psychological measures and IPEDs consumption.Results: The frequency of IPEDs use was higher among AG than NAG, although AG participants reported less history of addictions than NAG. The logistic regression analysis revealed that scores equal to or above cutoff points, in both the EAI and AAI, predicted the IPEDs use. Regarding the differences across the various sport disciplines, those who were involved in practicing Weight Lifting and Cross Fit were found to be more at risk of excessive exercising and more inclined to use a wide range of IPEDs.Conclusions: Although exercise could help to increase well-being and prevent addictions during the COVID-19 pandemic, our results show that those in the AG are particularly vulnerable to excessive IPEDs use. Sport disciplines associated with higher EAI and AAI scores have also shown a higher tendency to excessive IPEDs use. Furthermore, the factor of having above the cutoff scores in EAI or AAI in each sport could indicate larger IPEDs consumption regardless of the discipline. In light of the current findings, it is necessary to better define the “non-excessive” levels of exercise in various sport disciplines and an adequate intake of IPEDs to ensure the safety and well-being of people during a pandemic. (shrink)

What is the redemptive power of art? More fundamentally, what are the assumptions which make it seem natural to think of art as having such powers? In attempting to answer these questions, I will first be turning to Proust, who embodies perhaps more clearly—in a sense, even more crudely—than any other major artist a certain tendency to think of cultural symbolizations in general as essentially reparative. This tendency, which had already been sanctified as a more or less explicit dogma of (...) modern high culture by Proust’s time, persists, I believe, in our own time as the enabling morality of a humanistic criticism. I will argue that the notion of art as salvaging somehow damaged experience has, furthermore, been served by psychoanalysis—more specifically, by a certain view of sublimation first proposed rather disconnectedly by Sigmund Freud and later developed more coherently and forcefully by Melanie Klein. The psychoanalytic theory I refer to makes normative—both for an individual and for a culture—the mortuary aesthetic of A la recherché du temps perdu.As everyone knows, involuntary memories play a crucial role in the Proustian narrator’s discovery of his vocation as a writer. Let’s begin with a somewhat untypical example of the genre, the passage in Sodome et Gomorrhe describing the “resurrection” of Marcel’s grandmother on the first evening of his second visit to Balbec. This passage reformulates the importance of memory for art in terms of another relation about which the theoretical passages that conclude Le Temps retrouvé will be at once prolific and evasive: the dependence of art on death. Leo Bersani is professor of French at the University of California, Berkeley. The Forms of Violence/Narrative in Ancient Assyria and Modern Culture, written in collaboration with Ulysse Dutoit, is his most recent publication. Professor’s The Freudian Body/Psychoanalysis and Art will be published this winter. (shrink)

Even more than for other treatments, great importance must be given to informed consent in the case of electroconvulsive therapy. In a percentage of cases, the symbolic connotation of the treatment, even if mostly and intrinsically negative, may actually be a determining factor in the patient’s motives for giving consent. On an ethical and medicolegal level, the most critical point is that concerning consent to the treatment by a psychotic subject with a severely compromised ability to comprehend the nature and (...) objective of the proposed therapy, but who nonetheless expresses his consent, for reasons derived from delusional thoughts. In fact, this situation necessarily brings to light the contradiction between an explicit expression of consent, a necessary formality for the commencement of therapy, and the validity of this consent, which may be severely compromised due to the patient’s inability to comprehend reality and therefore to accept the proposal of treatment, which is intrinsic to this reality. With the use of an electric current, the symbolic experience associated with anaesthesia, and the connection to convulsions, ECT enters the collective consciousness. In relation to this, ECT is symbolic of these three factors and hooks on to the thoughts, fears, feelings and expectations of delusional patients. These are often exemplified in the violent intervention of the persecutor in the patient with schizophrenia, the expected punishment for the ’error’ committed for which the depressed patient blames himself and the social repression of the maniacal patient’s affirmation of his inflated self-esteem. (shrink)

Vaccination is considered a key factor in the sanitary resolution of the COVID-19 pandemic. However, vaccine hesitancy can undermine its diffusion with severe consequences on global health. While beliefs in conspiracy theories, mistrust in science and in policymakers, and mistrust in official information channels may also increment vaccine hesitancy, understanding their psychological causes could improve our capacity to respond to the pandemic. Thus, we designed a cross-sectional study with the aim of probing vaccine propensity in the Italian population and explored (...) its relationship with sociodemographic and psychological variables, and with misbeliefs in COVID-19. A battery of questionnaires was administered to a sample of 374 Italian adults during the first national lockdown. The materials included an original instrument—Beliefs in COVID-19 Inventory—and questionnaires measuring perceived stress, anxiety, death anxiety, psychological distress, psychoticism, paranoia, anger, and somatization. The exploratory factor analysis on Beliefs in COVID-19 suggested the existence of three factors: belief in conspiracy theories, mistrust in medical information, and mistrust in medicine and science. These factors were positively correlated with female sex, age, religious beliefs, psychiatric conditions, and psychological variables, while negatively correlated with education levels. We conducted a mediation analysis by means of a structural equation model, including psychological factors as predictors, beliefs in COVID-19 scales as mediators, and vaccine propensity as an outcome. The model showed that death anxiety had a direct positive effect on the propensity to get vaccinated. It also showed that death anxiety reduced the propensity to get vaccinated through a mediated path in believing in conspiracy theories, whereas paranoia was linked to a reduction in vaccination adherence with the mediation effect of mistrust in medical science. Psychological distress reduced vaccination propensity by increasing both conspiracy beliefs and mistrust. On the other hand, anxiety increased the propensity to get vaccinated through a decrease in both belief in conspiracy theories and mistrust in science. Our results suggest that psychological dimensions are differentially related to belief in conspiracy theories, to mistrust in science, and to the propensity to get vaccinated. Based on this result, we propose an original interpretation of how conspiracy beliefs build on a paranoid and suspicious attitude. We also discuss the possible clinical implications of treatment for such pathological beliefs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mourning and SubjectivityFrom Bersani to Proust, Klein, and FreudL. Scott Lerner (bio)Near the end of his recent essay “Psychoanalysis and the Aesthetic Subject,” Leo Bersani makes an unexpected conceptual turn, briefly adopting a vocabulary of “human destiny” [174]. Jacques Derrida made a similar move in 2003 when he dropped his guard, abandoning the language of critical exposition to point out, with uncharacteristic bluntness (“de façon plus crue” (...) [18]), the relevance of autobiography—his experience as a Jewish boy in Algeria—to the development of deconstruction.1 In both instances, one senses a desire for intellectual self-exposure,2 to discover the relation of real-world experience and intellectual—critical, aesthetic, psychic—practices. For Bersani, not only the phrase but the essay as a whole signals the culmination of a decades-long inquiry into the relation of human subjectivity and a “solidarity of being” both among subjects and with the world [“Psychoanalysis” 161].If there is an affirmation of a universal human condition in Bersani’s work—and his reference to human destiny indicates that there is—then it is perhaps best defined as the inclination of human subjects to seek the annihilation of others as a prerequisite for subjectivity. In this state of affairs, where subjectivity encounters the external realm of human and nonhuman objects, Bersani has long been concerned with two chief protagonists: psychoanalysis and art. He has repeatedly shown, ever by new means, that both can be complicitous with the worst inclinations of human subjectivity, just as both can also uniquely provide the means by which human subjects may exceed their own subjectivity [161]. Psychoanalysis, in Bersani’s view, provides the language and conceptual framework to describe how and why subjects go about appropriating and annihilating objects. Psychoanalysis has been misdirected, however, toward two areas of relatively limited value: depth psychology and object relations [“Psychoanalysis” 161, 163; “Sociality” 647], while the main contribution of psychoanalysis, the discovery of the unconscious, has not been adequately exploited as a means of reconceptualizing subjects in solidarity, rather than antagonism, with objects [“Psychoanalysis” 161–64].By the same token, much of great art, literature especially, has served what Bersani calls the “culture of redemption,” promoting the misconception that experience is damaged or worthless and must be repaired via the work of art [Culture of Redemption 1]. [End Page 41] In psychoanalysis, the counterpart of the culture of redemption is located not, in fact, in the areas that Bersani devalorizes (depth psychology, object relations), but rather with the core exploration of unconscious subjectivity. The literary achievement that is paradigmatic of the culture of redemption is Marcel Proust’s À la recherche du temps perdu (In Search of Lost Time), whose theorizing narrator depicts experience, history, the real, as lost to us, damaged, fallen, and in need of repair—redemption—through art.3 The best illustration of the counterpart in psychoanalysis is the work of Melanie Klein. By portraying our relations with others as repetitions of dynamics already played out in unconscious fantasy, Kleinian theory, in Bersani’s view, similarly casts real relations as subordinate to and determined by the (unconscious) imagination. No sooner has Bersani exposed these dominant tendencies in Proust and Klein, however, than he redeems both from the sins of redemptiveness. At the periphery of each writer’s work he uncovers a radically alternative—and, implicitly, ethically superior—representation of the subject in the world. Bersani devoted a seminal essay to these two writers: “The Culture of Redemption: Marcel Proust and Melanie Klein,” reprinted as the first chapter of The Culture of Redemption (1990). In subsequent essays in this volume, he applied this same bifocal approach—consisting in condemnation of a dominant tendency and affirmation of a seemingly marginal one—to Freud, Flaubert, Melville, and others.If The Culture of Redemption thus aimed not only to expose the distortions created by the culture of redemption but also to promote an alternative vision, then the title assigned to the collection told only half the story. Three years later, Bersani and Ulysse Dutoit set out, as it were, to tell the other half. They brought together the work of three artists—a novelist and playwright, a painter, and a filmmaker... (shrink)

Homomonadology: Proust, Deleuze, Beckett, Blanchot -- Wanting being: Freud, Laplanche -- Rethinking redemption: Benjamin, Baudelaire, Nietzsche -- Simultaneity and sociability: Benjamin, Beckett, Simmel -- Narcissus, a cosmology: Luther, Freud, Plato, speculative astronomy.

In lieu of an abstract, here is a brief excerpt of the content:A Myth Of ReadingAlfred LouchThe Myth of Theory, by William Righter; x 7 224 pp. Cambridge University Press, 1994, $49.95.IThe critics mill about in the welcome break between interminable and terminal conference sessions, eager to see and be seen. William Righter wanders about, listening and telling anyone who stays to listen what he hears, musing all the while on what each of them has done, or tried to do, (...) or failed to do. One hopes for a dénouement—something, perhaps, like the tableau at the end of The Inspector General: critics frozen in typical and typically ludicrous attitudes. Alas, the prospective tone of ironic detachment is not sustained. Righter is too close to his perambulating colleagues; he shares too many of their academic reflexes to keep the requisite distance. If there is a tableau at the end, the reader must imagine it, and place Righter along with the rest, caught in (may we call them?) Gallosaxon attitudes.It seems to be an important conference. Everyone’s milling about. One wonders, do they have anything else to do? Here’s Derrida, de Man, Barthes, Hillis Miller, Booth, Bersani, Lyotard, Poulet, and Todorov. The remarks of one seem to flow seamlessly into the allegedly counter-claims of the next. It’s all amazingly friendly. Of course there’s that rude fellow Eagleton, who says: “Methodologically speaking, literary criticism is a non-subject.... If literary theory is a kind of meta-criticism [End Page 218], a critical reflection on criticism, then it follows that it too is a non-subject” (p. 210). But don’t mind him. For criticism is about literature and literature exists. So these promenading and posturing critics can’t be mere phantasms of brains fevered by much reading, or anyway by references to many books.Curious that the first critic available for a chat is Leavis. A bit of nostalgia that. I suppose most English critics of sufficient vintage recall their Leavis-inflicted wounds the way they might reminisce about the bit of shrapnel they got in the way of on Omaha Beach and bear now with pride. But my, how temperate he appears here! How on earth can he come across so bland? Remember him saying: Snow does not begin to exist as a novelist. Now that was Leavis. You may have disagreed with him, you may have thought him silly, but you certainly understood him, as one comprehends a slap in the face. But here: “... Leavis takes on vividly and personally the total responsibility of consciousness for a wide area of assumptions that obviously trail their implications behind them” (p. 4). This is an extraordinarily spongy way of saying that Leavis knew he was right, and if you didn’t agree with him, a humiliating place in a cheap and tawdry consumer society awaited you.Still, it is a lucky thing that Leavis appears first on the scene. As a critic to help frame more exactly the kinds of questions about literary theory and practice Righter wants to ask, Leavis offers an easily recognizable starting point. He somehow manages to take the high moral ground. You want to ask, how is it that Elijah’s mantle descends on him? Does he compel assent only by the stridency of his words, and not by an ostensibly rational way in which his critical judgments hang together?A pity if this should be so, because the point of Leavisite diatribes, though not their excesses, is close to the hearts of passionate readers. Such readers (ourselves perhaps) read judgmentally. A book bowls us over. Describing the experience we are tempted to draw invidious comparisons to other books, which perhaps move us less, or not at all. We say of minor things that come our way: it’s not Shakespeare (or D. H. Lawrence). If you agree the project comes to an end. If you don’t, you want to know what it is that bowls us over, and why we don’t find those qualities in your favorite author. You want an explanation of a particular kind, not one that adduces new facts, but one that allows us to appreciate how the case at dispute... (shrink)

This article identifies two strands of thinking about sexuality and identity within queer theory: culturalist and naturalist. First, the article critically assesses culturalist queer theory penned by Judith Butler and Lee Edelman by showing that their theories, even when acutely aware of the traps of exclusionary identity politics, remain indebted to thinking on the basis of exclusion and separation by positing a rigid identity and the untouchability of the ‘human’, of the ‘cultural’. The article proceeds by taking acts of sex (...) as objects of analysis and, with the help of Leo Bersani, elaborates how naturalistic thinking might help us break with the double edict of both culturalist thought and contemporary identity politics, i.e. sociocentrism and the injunction to the untouchability and unbespeakability of the singular (‘human’, ‘cultural’, ‘queer’, ‘gay’, ‘lesbian’, ‘trans’, ‘black’, etc.). (shrink)

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and (...) camera movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

Within the Judeo-Christian tradition, Sodom and Gomorrah represent locales in which threats to national formation are couched in sexual terms. The biblical narrative insists on a particular social invisibility for those sexual activities not blessed by the bonds of matrimony. Reclaiming Sodom surveys a number of institutions that have had an interest in perpetuating these views: the police, the state, the church and the law. The collection ranges through biblical scholarship, an investigation of the Founding Fathers' beliefs, the legal mobilization (...) towards the category of sodomy in 18th and 19th century England, and the US Supreme Court's 1986 Bowers vs. Hardwick decision. Analysis is provided of the ways in which the Judeo-Christian tradition has shaped anthropological accounts of the same-sex practices of non-Western people, as well as essays on how colonial gestures have marked lesbian identity in the Carribean, and derformed narratives about the racial geography of AIDS. Reclaiming Sodom explores alternatives to the force of the Sodomitic biblical narrative in Islamic, non-western, and western traditions, and discusses the ways in which sodomy calls into question normative definitions of sexuality and gender. The collection pursues the "pleasures and dangers" of these alternatives, and takes on Proust's refusal to imagine a social movement founded on the "stigma" of Sodom. The collection examines the relations between sex/gender identities and sexual acts in important and provocative ways, and argues for the political use and usefulness of both Sodom and sodomy. Reclaiming Sodom makes an important and controversial contribution to the literature on sexuality and gender, as well as the nature of sex in our culture. Contributors: Dorothy Allison, Robert Alter, Neil Bartlett, Leo Bersani, Gerald Creed, Marc Daniel, Lee Edelman, Janet E. Halley, Jonathan Ned Katz, Pierre Klossowski, Rocky O'Donovan, Guy Hocquenghem, Cindy Patton, Marquis de Sade, David Shannon, Makeda Silver, Jonathan Goldberg. (shrink)

Concept of ethics in Ādi-Granth, Sikh canon.

What significance does the body have in the process of teaching and learning? In what way can the thoughts of a contemporary junior-level teacher in this regard be connected to the theory of the lived body formulated by the French phenomenologist philosopher Maurice Merleau-Ponty (1908-1961), and vice versa? The aim of this paper is to illuminate, enable understanding and discuss the meaning of the body in the learning process, with specific focus on the learning of writing as embodied experience. In (...) the process, the boundaries of learning are also explored. While understanding the significance both of learning as embodied experience and of the boundaries of learning is essential within the educational field, in this paper the discussion is limited to exploring how learning as embodied experience and the boundaries of learning can be viewed by taking Merleau-Ponty's notions as theoretical starting points. In an attempt to answer the aim and connect the paper's theoretical point of departure with a voice from a teacher, an interview with a junior-level teacher was conducted. The paper thus offers a theoretical contribution to the field of educational research, but one in which the theory is exemplified by, and connected to, a teacher's voice. Accordingly, the paper concludes by summarising the common understandings of learning held theoretically by Merleau-Ponty and made real in the activities of the contemporary junior-level teacher. (shrink)

The present study aims to investigate the psychological mechanisms beneath the change in the facial expression of some of the beheaded characters in Caravaggio’s works, starting from The Head of Medusa, from the artist’s youth, and reaching David with the Head of Goliath, a mature workpiece, searching the continuity between them through a series of self-portraits/ self-insertions of the artist in his work. The psychodynamic analysis is limited by the constitution of its practice to the study of the process of (...) image production and the artistic imaginary, rather than to the investigation of man or the artist out of reach by means of figurative and symbolic language. This approach aims to highlight the drives of the unconscious, the structures of censorship and the technique of operating of the defensive mechanisms that ultimately could contribute to the production of such masterful images that are both seductive and confusing. The study incorporates and continues the contribution of authors such as Leo Bersani and Ulysse Dutoit who applied Laplanche’s theory of generalized seduction theory in the analysis of Caravaggio’s works, but also the mirror stage of Lacan and the masterful study of Winnicott regarding the reflection of the baby in the mimics of his mother, an unconscious unclear image that will stand forever for the perception of the self. The change of the affective resonance, expressiveness and emotional relating to violence is natural in the course of human evolution. While not even the artist Caravaggio can elude it, his work can illustrate by deflection these transforma­tions of the dynamics of the mind, it can raise new questions and open new perspectives of understanding the artistic drive. (shrink)

In this article, I confront Marcella Althaus-Reid’s thinking with the recent ‘negative turn’ in queer theory, as observed by Judith Halberstam. What remains when the belief in our world as such, and in the future of it, has to be totally rejected, as some queer theorists like Leo Bersani and Lee Edelman, for example, claim? Or, in theological terms: what could the categories of redemption, salvation and liberation still mean if one wishes to think God within history, but at (...) the same time rejects this history? I investigate these questions by focusing on two central concepts of Althaus-Reid’s indecent theology, incarnation and redemption. First, brought into dialogue with negative queer politics, I argue that Althaus-Reid helps us to develop an understanding of radical incarnation in the flesh on the ‘underside’ of society. Second, I look at Althaus-Reid’s critique of the traditional Christian understanding of redemption and her alternative of a notion of redemption that is connected to love, solidarity and reciprocity, instead of to a one-way act of grace by a transcendent God. I conclude that a ‘negative queer theology’, when developed in line with Althaus-Reid’s insights, necessarily maintains an affirmative undercurrent, a belief in an unknown life. (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)

In lieu of an abstract, here is a brief excerpt of the content:Baudelaire’s Satanic VersesJonathan Culler (bio)Paul Verlaine was perhaps the first to declare the centrality of Baudelaire to what we may now call modern French studies: Baudelaire’s profound originality is to “représenter puissament et essentiellement l’homme moderne” [599–600]. Whether Baudelaire embodies or portrays modern man, Les Fleurs du mal is seen as exemplary of modern experience, of the possibility of experiencing or dealing with what, taking Paris as the exemplary (...) modern city, we have come to call the modern world. T. S. Eliot wrote, “Baudelaire is indeed the greatest exemplar in modern poetry in any language, for his verse and language is the nearest thing to a complete renovation that we have experienced. But his renovation of an attitude towards life is no less radical and no less important” [426]. And outside the field of literature we find such affirmations as Harold Rosenberg’s dating of “the tradition of the New” to Baudelaire, “who exactly one hundred years ago invited fugitives from the too-narrow world of memory to come aboard with him in search of the new” [11]. Baudelaire, writes another critic, “did more than anyone else in the nineteenth century to make the men and women of his century aware of themselves as moderns.... If we had to nominate a first modernist, Baudelaire would surely be the man” [Berman 132–33].There seems to be considerable agreement on this point, but, surprisingly, there is great difference of opinion about what it is that makes Baudelaire modern and worthy of special attention. Is it, as Albert Thibaudet and Walter Benjamin argue, that he was the first true poet of the city, the first to take the alienated experience of life in the modern city as the norm? Or is it, as Leo Bersani claims, that Baudelaire discovered and displayed the mobility of fantasy and of the desiring imagination? Or is it, as Paul de Man maintains, that Baudelaire invents modern self-consciousness about poetry itself, producing poems that allegorically expose the operations of the lyric?There are many competing accounts of what is most particularly modern and important about Baudelaire, but the one thing on which contentious critics seem to agree is that there is a side of Baudelaire that is of no interest today, that belongs to a bas romantisme and is the very antithesis of Baudelaire’s modernity, of Baudelaire the founder of modern poetry: this is the Baudelaire who invokes demons and the Devil. Most critics today pass over this in silence, but even those who explicitly address this Baudelaire seem to find him an embarrassment. Even the author of a book entitled The Demonic Imagination: Style and Theme in French Romantic Poetry begins his chapter on Baudelaire: “Baudelaire has, by now, ceased to interest us for the reasons which once appeared important: his diabolical Catholicism is a familiar, historical mode of sensibility which neither shocks nor has morbid appeal...” [Houston 85]. And Fredric Jameson distinguishes the modernist and the postmodernist Baudelaires—both worthy of our attention—from what he calls the “second-rate post-Romantic Baudelaire, the Baudelaire [End Page 86] of diabolism and of cheap frisson, the poet of blasphemy and of a creaking and musty religious machinery that was no more interesting in the mid-nineteenth century than it is today” [427].But Baudelaire called his collection “Les Fleurs du mal” and opens it with a poem that declares, “C’est le Diable qui tient le fils qui nous remuent [it’s the Devil who holds the strings that move us]” [OC 1: 5; FE 5]. Can this be dismissed as an irrelevancy—something mistakenly appended to this quintessentially modern poetry? That critics of such different orientations should agree in shunting aside the Satanic Baudelaire suggests that there is something worth investigating here, something disquieting and embarrassing, which may not in fact be merely trivial—which may complicate the story of modernity that has come to depend on Baudelaire as its originator. Perhaps the Satanic Baudelaire would tell us things about modernity we don’t want to know.Certainly the idea of the Devil seems fundamentally at odds with accounts of modernity. Even Christianity itself seems to... (shrink)

This article explores loneliness as the affective life of settler colonialism through the work of queer Indigenous writer Billy-Ray Belcourt's two volumes of poetry This Wound Is a World and NDN Coping Mechanisms. In particular, the article focuses on how Belcourt draws on queer affect theory and critical race theory in the work of scholars such as Jose Muñoz, Leo Bersani, Lauren Berlant, Ann Cvetkovich, Saidiya Hartman and Christina Sharpe – as he explores the relation between sex and death, (...) and between cruising cultures and the ongoing genocide of Indigenous peoples. It argues that Belcourt's innovative fusion of poetry and theory provides new genres for racialised understandings of loneliness and other structures of feeling. (shrink)

The work of Andrea Dworkin and Catharine A. MacKinnon on sex and sexuality has often been posed as adversary to the development of queer theory. Leo Bersani, in particular, is critical of the normative ambitions of their work, which he sees firstly as trying to ‘redeem’ sex acts themselves, and secondly as advocating for sexuality as a site of potential for social transformation. In this article, I argue that this is a misreading of their work. Drawing on Dworkin's wide (...) body of writing, and MacKinnon early essays in Signs, I suggest that their work makes no such case for sex or sexuality. Rather, by bringing their analysis into conversation with Halberstam's recent work on ‘shadow feminism’, I contend that Dworkin and MacKinnon's antisocial, anti-pastoral and distinctly anti-normative vision of sex and sexuality shares many of the same features of queer theory, ultimately advocating for sex as ‘irredeemable’. (shrink)

This essay considers the relationship between literature and film through a reading of Isabel Coixet's film My Life Without Me. The first half of the essay explores how two recent theorisations of the term incorporation allow us to read, on the one hand, the film's relationship to Nanci Kincaid's short story 'Pretending the Bed is a Raft' in particular and to literature in general and, on the other, the narrative consequences of the protagonist Ann's decision to keep her terminal illness (...) a secret. In the first instance, Jay David Bolter and Richard Grusin's definition of incorporation in Remediation helps explain how the film does not adapt the short story upon which it is supposedly based, but in fact only repurposes it. Literary aspects of the film's mise-en-scène, plot and imagery, however, signal My Life Without Me' s incorporation of literature. In the second instance, the essay explores how Jacques Derrida's theory of incorporation's role in mourning helps the viewer understand the film's plot development out of Ann's secret. In the second half of the paper, Leo Bersani's idea of impersonal intimacy is developed into a theory of literature. The conclusion posits that impersonal intimacy defines the literary in contrast to cinema's tendency to full disclosure. (shrink)

The hope of moving beyond formalism is one of two things that unites an otherwise diverse group of literary theorists who have begun to explore the role of desire in narrative. Peter Brooks, for example, in Reading for the Plot, says in more than one place that his interest in desire “derives from my dissatisfaction with the various formalisms that have dominated critical thinking about narrative.”3 Leo Bersani sees desire as establishing a crucial link between social and literary structures. (...) Teresa de Lauretis faults structuralist models for their inability to disclose the ways in which narrative operates, through the desire it excites and fulfills, to construct the social world as a system of sexual differences. Other names could be added, both within and outside the field of narrative theory—Nancy Armstrong, Roland Barthes, Georges Bataille, Jessica Benjamin, Gilles Deleuze and Félix Guattari, René Girard, Luce Irigaray, Fredric Jameson, Peggy Kamuf, Linda Kauffman, Julia Kristeva, Jacques Lacan, Jean Laplance, Catharine A. McKinnon, and Eve Kosofsky Sedgwick—for desire has become one of the master tropes of contemporary criticism. 3. Peter Brooks, Reading for the Plot: Design and Intention in Narrative , p. 47; hereafter abbreviated RP.4. Leo, Bersani, A Future for Astyanax: Character and Desire in Literature , p. 13; hereafter abbreviated FA.5. Bersani and Ulysse Dutoit, The Forms of Violence: Narrative in Assyrian Art and Modern Culture , p. v; hereafter abbreviated FV. Although Bersani coauthored this book with Dutoit, for convenience I refer to it by Bersani’s name alone. This practice is justified by two considerations: first, most of the arguments about narrative, violence, and desire are elaborations of positions that Bersani has taken in earlier works; second, passages and examples in the sections with which I shall be dealing are reprinted with only minor changes from an article that Bersani published under his own name. Jay Clayton, associate professor of English at Vanderbilt University, is the author of Romantic Vision and the Novel and coeditor of Contemporary Literature and Contemporary Theory . He is currently completing a study of contemporary American literature and theory, Narrative Power. (shrink)

Context: Non-dualism suggests a new way of utilizing language without the assumption of categorically extralinguistic objects denoted by language. Problem: What is the innovative potential, what is the special value of non-dualism for science? Is non-dualism a fruitful conceptual revision or just a philosophical thought experiment with no or little significance for science? Method: We provide a concise introduction to non-dualism’s central new proposals and an overview of the papers. Results: Fourteen contributors show how this way of thinking and speaking (...) can be operationalized creatively, but also address some of its boundaries. Implications: Since not all of the aspects and problems highlighted for discussion in the original Call for Papers were answered satisfactorily, further research is necessary. For example, research is needed on the relationship between dualism’s distinction between object language and metalanguage on the one hand and non-dualism’s distinction between descriptions so far and descriptions from now on on the other; or on the infinite regress allegations by non-dualism against dualism. Constructivist content: Some authors show that non-dualist thinking is anti-essentialist, in a similar way as constructivist thinking. Some also show that comparable questions arise; for example, the question of whether non-dualism denies the material world (containing extralinguistic objects). (shrink)

The growing gap between demands and resources is putting immense pressure on all government spending in Sweden. The gap is especially apparent in care and services for elderly people in light of the rapid aging of the population. The article considers the decisions and priorities concerning resource allocation in the welfare sector in general and in elderly care in particular. The aim is to describe the political and administrative setting and to provide a conceptual structure that outlines the nature of (...) the problem. Various levels of decision making are identified and discussed in the context of political accountability. Current transitions in elderly care are described with respect to service provision, marketisation, coverage rates, and eligibility standards. Basic principles of distribution are highlighted in order to clarify some central concepts of efficiency and justice, and a number of strategies for actual prioritising are identified. The article concludes with an endorsement of more conscious decisions in resource allocation. Existing knowledge and information concerning the effects of various strategies must be utilised, and the values and assumptions used for setting priorities must be made explicit. (shrink)