This paper explores queer discourses produced by a group of very popular professional video game players on social media, with particular focus on the impact that this has on the language and interactions of the fan community. Three data sets have been incorporated into this study, allowing for analysis of the central data, as well as consideration of the production and investigation of the reception of the discourse contained within. These include 63 YouTube videos, a corpus of 217,916 comments on (...) these videos, and an interview with a gamer. While the majority of the discursive data in the YouTube videos features interactions between heterosexual males, the introduction of homosocial meaning and homosexual innuendo into videos gives the audience a unique opportunity to encounter, interpret, and experiment with queer discourse. It is found that the production of nonheteronormative discourses by prominent gamers online has contributed to the formation of a self-policing fan community that advocates acceptance and rejects bigotry. (shrink)

Friendship arguably offers itself as the freest of all human associations. A weakness of cultural prescription opens a terrain in which intimacy can be lived in a trust relationship that personifies equality, justice and respect. Friendship’s ‘relational freedom’ enables the mutual development of selves; it is generative. Therein lies ‘the beauty of friendship’, as Agnes Heller has reminded us. But the freedom of intimacy is limited. Embedded in a society that attributes different repertoires of intimacy to women and men and (...) privileges male homosociality, friendship’s freedom is curtailed. Especially cross-sex friendships continue to show evidence of persisting tensions. ‘Erotic friendships’ that seek to realize sexual intimacy but eschew the commitments of coupledom continue to face normative-practical challenges. In this paper, I view central aspects of heterosexual intimacy through the small world of intimate friendship, a prism that refracts gendered tensions in the world at large. (shrink)

Engaging with the work of C. Wright Mills and Eve Sedgwick, in this article I theorize how homoerotic relations facilitate the flow of global capital into risky market economies. Drawing on interview data with more than 60 financial professionals managing foreign investments in Vietnam, I examine the co-constitution of gender and global capital by identifying three categories of deal brokers. System maintainers are men and women who accept that women’s bodies are necessary for male homosocial bonding between political and economic (...) elites. System transformers are men and women who disrupt the status quo and develop alternative ways of deal brokering outside of erotic spaces. System defectors are those break the triangle altogether and work to create new markets. (shrink)

:This article examines material economies of carbon fibre as a prosthetic form of masculinity. The paper advances three main arguments. Firstly, carbon fibre can be a site in which disability is overcome, an act of overcoming that is affected through masculinized technology. Secondly, carbon fibre can be a homosocial surface; that is, carbon fibre becomes both a surface extension of the self and a third-party mediator in homosocial relationships, a surface that facilitates intimacy between men in ways that devalue femininity (...) in both male and female bodies. Carbon fibre surfaces are material extensions of subjectivity, and carbon fibre surfaces are vectors of the cultural economies of masculine competition. Thirdly, the article gives an account of Oscar Pistorius as an example of the masculinization of carbon fibre, and the associated binding of a psychic attitude of misogyny and power to a form of violent and competitive masculine subjectivity. The paper unpacks the affects, economies and surfaces of “carbon fibre masculinity” and discusses Pistorius’ use of carbon fibre, homosociality and misogyny as forms of protest masculinity through which he unconsciously attempted to recuperate his gendered identity from emasculating discourses of disability. (shrink)

Throughout much of the twentieth century, early modern metaphysical literature has been interpreted as an upholder of traditional morals and cosmic unity. By re-examining the early critical reception of these works in connection with current theories of cultural reproduction, we can develop a new understanding of how metaphysicality undermines, in particular, an ideology of "natural" desire and identity. Focussing on desire, metaphysical authors produce a dissident knowledge of the cultural contingencies of normative thought, identity, and behaviour. Taking a philosophical approach (...) to the subject, Edward Herbert reveals the impact of personal desires on the development of mental concepts. Christopher Marlowe, meanwhile, demonstrates the way definitions of natural gender identity inhibit sexual expression between men. Elaborating on women's same-sex desire, John Donne and Andrew Marvell contest heteronormative narratives of growth, while Aemilia Lanyer offers a vision of love between women as a homoerotic state of grace and alternative to men's violence. In his thoughts on martyrdom and political allegiance, Donne denaturalizes absolute authority and carves a space for liberty of conscience, an endeavour that corresponds to the desire for personal freedom that each of the other writers also expresses. (shrink)

In this paper, I examine the miseducation that exclusionary punishment initiates through the significance of gender in the novel _Frankenstein._ I focus on the minor character of Justine and place her story at the center, as a major account of exclusionary punishment and miseducation in literature. I highlight Shelley’s story about Justine—in its philosophical and educational importance—as a tale about the significance of gender, exclusionary punishment, and miseducation. Justine’s exclusionary punishment is notable in that she is a young girl punished (...) for the crimes of a man and his murderous creation. While Frankenstein and his creature feel themselves to be monstrous at times, Justine is made to be a monster as she is excluded and punished for the crimes of a man. As a result, she nearly begins to believe herself to be monstrous. This is her miseducation as she internalizes her own oppression and is excluded from belonging to human community. Justine’s story both reminds and cautions us that we make our own monsters. The making of Justine into a monster exposes exclusionary punishment as a false education—a miseducation. She is easily neglected through her youth, gender, and femininity as her story is couched within the toiling masculinity of Frankenstein and his creature. Through Justine, I claim that exclusionary punishment is miseducative as evidenced through the gendered experience of being educated to be more woman than person, more gender than human. (shrink)

While it represents a common form of gender-based violence, misogyny is an often-overlooked concept within academia and the queer community. Drawing on queer and feminist scholarship on gay male misogyny, this article presents a theoretical challenge to the myth that the oppressed cannot oppress, arguing that specific forms of gay male subjectivities can be proponents of misogyny in ways that are unrecognised because of their sexually marginalised status. The authors’ interest in the doing of misogyny, and its effects on specific (...) bodies and subjectivities, leads them to discuss the extent to which white gay male misogyny can function to reinforce a particular gender and racial hierarchy that continually confines queer femininities to the status of the abject other, for failing to exhibit their feminine credentials and for making gender trouble. The study also addresses how specific markers of femininity are depoliticised through the workings of this misogyny, exploring what femininity does when it is conceptualised outside a heteronormative framework. To address these ideas, the authors firstly propose a theoretical account of misogyny in order to understand its analytical status as a cultural mechanism within the psychic economy of patriarchy. Secondly, they use queer approaches to effeminacy and subject formation for making the case for gay male misogyny and its connections to femininity within white gay cultures, asking how misogyny might become an essential component of the performance of hegemonic masculinity. The article concludes with a discussion of the ways in which gay male misogyny reinforces white male dominance over women and queer femininities specifically, advocating for resistance to the reproduction of such patriarchal arrangements. (shrink)

This article treats representations of victors in the Greek athletic games in the artistic and poetic media of the early classical age, and argues that fifth-century sculptors, painters and poets similarly constructed the athlete as an object designed to arouse desire in audiences for their works. After reviewing the very scanty archaeological evidence for the original victory images, I seek to recover something of the response elicited by these monuments by looking to visualizations of athletes in contemporary vase-painting and literary (...) sources, and most particularly in the epinician odes of Pindar. Poets and painters, I suggest, both place their subjects within an erotically-charged atmosphere which replicates that surrounding actual athletes in the city gymnasia and at the games, and encourage audiences to regard the youthful bodies on display as "spectacularized" objects, sources of both aesthetic and sensual pleasure. The makers of monumental images work within the same paradigm, also prompting the viewer to transfer the sentiments aroused by the real-world athlete and victor to his re-presentation in bronze. Through an examination of the conventions used for victor images, and a close study of the so-called Motya charioteer, I propose that the sculptor deploys techniques analogous to those of artist and poet to highlight the appeal of the athlete's body, and displays the victor in a mode calculated not only to mark him as the alluring target of the gaze, but even to cast him as a potential erômenos. The concluding section of the article investigates the impetus behind this mode of representation, and seeks to place the dynamic between the viewer and the viewed within the context of the early fifth-century polis. (shrink)

Conceptualizing and investigating the interarticulation of disparate registers of value expression, this article treats, specifically, the imbrication of anxieties about sexual ambiguity and counterfeit money. The expressions of such anxieties and the metaphoric slippage between them are shown in a variety of venues and cultural texts, but the main come from a reading of William Friedkin's film, To Live and Die in LA.

Ex-gay ministries, like many evangelical groups, advocate traditional gender ideologies. But their discourses and practices generate masculine ideals that are quite distinct from hegemonic ones. I argue that rather than simply reproducing hegemonic masculinity, ex-gay ministries attempt to realize godly masculinity, an ideal that differs significantly from hegemonic masculinity and is explicitly critical of it. I discuss three aspects of the godly masculine ideal—de-emphasizing heterosexual conquest, inclusive masculinity, and homo-intimacy—that work to subvert hegemonic masculinity and allow ministry members to critique (...) it while still advocating for innate gender distinction and hierarchy. I conclude by arguing that gender theorists need to be more precise in distinguishing conservative religious masculinities from hegemonic ones. (shrink)

Intertwined with the celebration of Athenian democratic institutions, we find in the "Oresteia" another chain of interactions, in which the elite families of Argos, Phokis, Athens, and even Mount Olympos employ the traditional aristocratic relationships of xenia and hetaireia to renegotiate their own status within-and at the pinnacle of-the civic order, and thereby guarantee the renewed prosperity of their respective communities. The capture of Troy is the result of a joint venture by the Atreidai and the Olympian "family" . Although (...) Agamemnon falls victim to his own mishandling of aristocratic privilege, his son is raised by doryxenoi in Phokis , a relationship which is mirrored by that with the Olympian "allies," Hermes and Apollo. Orestes' recovery of his father's position is thus shown to depend upon a network of "guest-friends" and "sworn-comrades," reinforced by the traditional language of oaths and reciprocal loyalty. In the Eumenides, the alliance between the Olympian and Argive royal families is re-invoked as the basis both for Athena's protection of Orestes, and finally for Zeus' concern for his daughter's Athenian dependents. In contrast to this successful "networking," and the resultant benefits that trickle down to the citizens of Argos and Athens, stand the seditious oaths and perverted "comradeship" of Aigisthos and Klytaimestra; likewise, the Erinyes are unable to draw on equivalent claims of pedigree or xenia to those enjoyed by Orestes and Apollo. Like all Greek tragedies, the "Oresteia" presents the action through constantly shifting viewpoints, those of aristocrats and commoners, leaders and led, while the propriety of this hierarchy itself is never questioned. And although the action moves from monarchical Argos to an incipiently democratic Athens, paradoxically we hear less and less about "ordinary," lower-class citizens as the trilogy progresses. Thus, at the same time that the trilogy reinforces the sense of collective survival and civic values , it also suggests that these can be maintained only through the proper interventions of their traditional leaders. Aeschylus' plays were composed during a time when the Athenian democracy was still developing, and elite leadership and patronage were still taken for granted. Attic tragedy and the City Dionysia may be seen as a site of negotiation between rival ideologies within the polis, wherein a kind of "solidarity without consensus" is achieved. Written and staged by the elite under license from the demos, the dramas play out dangerous stories of royal risk-taking, crime, glory, and suffering, in such a way as to reassure the citizen audience simultaneously of their own collective invulnerability, and of the unique value of their leading families. (shrink)

Films depicting educational relationships typically emphasize personal connections between students and teachers over the educational goals that such relations facilitate. In doing so, these films raise the question of how teachers stand in relation to their institutional roles in such a way as to inspire students’ desires for knowledge. In this paper, in order to examine the influence of institutional roles in defining teacher–student relationships, we analyze “The Paper Chase,” a film in which teacher and student have no personal connection (...) but in which the drama of student desire is nonetheless clearly featured. Drawing from Plato’s erotics, in which the soul is shaped by desire for that which it lacks, and from Jacques Lacan’s theories of desire and transference, we argue that “The Paper Chase” portrays educational desire as rooted in the differential of authority between teacher and student. (shrink)

Many of Menander's comedies are structured according to a rape plot pattern in which a young Athenian citizen usually rapes and impregnates a female citizen prior to the opening of the play. In most cases, the rape leads to a happy ending: the marriage of the rapist and victim. This casual treatment of rape is striking because in all other respects Menander's plays are not only scrupulously faithful to Athenian law, they also use Athenian legal and social norms as their (...) own generic conventions. Although the rape of a female citizen was a serious oense in Athenian law, potentially punishable with death, and a flagrant violation of the norms of Athenian citizenship, Menandrian comedy never morally or legally problematizes rape. This study considers how the comedies neutralize the potential legal signicance of rape and what this tells us about Athenian law and the ideology of democratic citizenship. It argues that by portraying a neutral form of rape, Menander's comedies implicitly articulate those factors which had the potential to bring "rape" within the purview of Athenian legal discourse. Menandrian Comedy's strategic fidelity to the norms of Athenian citizenship also tells us something about the gender ideology of Athenian democratic citizenship, that is, the ways in which relations between the sexes support and sustain civic relations between men in Athenian political culture and democratic ideology. While Menander's romantic plots uphold the laws of citizen marriage, they do not passively enact the legal constructs. In one common variant of the rape plot, the gendered construction of citizenship embedded in Athenian law is specically conjoined to democratic norms. In this type of play, a wealthy young citizen rapes and eventually marries the daughter of a seemingly poor citizen. By using rape to generate matrimonial unions between the rich and the poor, these plays extend democratic norms into the social arena. The formation of marriages across class lines disrupts the eects of intergenerationality in reproducing social and economic inequalities. (shrink)

A familiar theme in Greek myth is that of the deadly gift that passes between a man and a woman. Analysis of exchanges between men and women reveals the gendered nature of exchange in ancient Greek mythic thinking. Using the anthropological categories of male and female wealth , it is possible to arrive at an understanding of the protocols of exchange as they relate to men and especially to women. These protocols, which are based in part on the distinction between (...) metals and other durable goods as "male" and textiles as "female," are closely related to the gendered division of labor. Anxiety about women as exchangers derives in part from their status as objects exchanged in marriage , and partly from a misogynist and pessimistic strand of Greek thought that discounts any female economic contribution to the oikos. Indeed, the majority of destructive exchanges take place within the context of marital crisis. While some texts, beginning with the Odyssey, show the positive side of women's economic role, tragedy tends to follow the Hesiodic distrust of women as exchange partners. Passages from the Agamemnon and the Trachiniai are analyzed to show how in situations of perverted reciprocity brought about by marital discord, even women's traditional gifts of textiles may become deadly. (shrink)

This article examines the reparative turn in current queer feminist scholarship by tracking its twin interest in the study of affect and time. By foregrounding Eve Kosofsky Sedgwick’s influential critique of what she called paranoid reading, I am interested in the ways that various critics – Ann Cvetkovich, Heather Love, and Elizabeth Freeman in particular – take up the call for reparative reading by using the temporal frameworks of the everyday, backward feeling, and queer time to reparative ends. In the (...) process, I consider the reparative work being done to reclaim Sedgwick as a major thinker for queer feminist concerns, and speculate on the attraction, in a time of declining economic and cultural support for the interpretative humanities, of a critical practice that seeks to love and nurture its objects of study. (shrink)

This article analyzes data available in published studies of rapists’ self-reports and argues that according to their own accounts, many men developed inaccurate impressions of women’s desires through a confident form of role-taking. While rapists’ inaccuracies have been previously described as instances of “miscommunication”or lapsed role-taking, they do not always indicate lack of emotional or intellectual depth to role-taking. The article adds to the profeminist, symbolic interactionist literature on role-taking by arguingthat relations of disavowedmale-male desire andthe exchange of women make (...) the possibility of men’s sensitive knowledge of women’s sexual desires problematic. Some of these forms of knowledge are outlined, and an approach to rape prevention is briefly suggested. (shrink)

This paper explores the concept of subjectivity from the perspective of a nonnative-English-speaking teacher educator at a Midwestern university in the USA. It begins with a literature review on the role subjectivity plays in education. It argues that acknowledging the existence of subjectivity allows us to investigate its enabling and disabling potential in relation to our practice. Building on George Herbert Mead’s work, various forms of the teacher educator’s subjectivity are revealed and examined with regard to his teaching and research. (...) It is hoped that this paper would serve as a prompt for more conversations on subjectivity as well as a point of entry into a better understanding of the teacher educators working in a cross-cultural context. (shrink)

This article uses historical analysis of shame (primarily in American history) to argue for a more active connection between emotions history and the other disciplines that deal with emotion. It assesses the current state of historical work on shame, including the argument for a 19th-century decline; it juxtaposes current social psychological and anthropological work with this argument. Additional data allow more precise consideration of changing patterns of shame, reasons for change, and probable impacts including increasing complexity in individual and social (...) reactions alike. Evaluation includes the unexpected increase in shame discussions in recent decades; the possibility that shame and “modernity” are ultimately incompatible; and some larger problems attached to the decline of shame. (shrink)

This article illuminates Henry Irving’s production of Shakespeare’s Cymbeline (1896) as a major contribution to fin-de-siècle Gothic culture. Cymbeline (1896) was one of the most popular Victorian Shakespeare productions, running to wild acclaim for more than seventy-two performances. In Cymbeline’s sexually-charged bedroom scene, Imogen, played by beloved Victorian actress Ellen Terry, was preyed upon by Henry Irving’s villainous Iachimo. Terry and Irving were at the zenith of a twenty-year partnership at London’s Lyceum theatre, and Victorian Britain’s greatest star actors. Ellen (...) Terry’s Imogen became an ideally desirable heroine for both audiences and critics of Victorian Shakespeare. Simultaneously, Cymbeline, and the acclaimed performances of Terry and Irving, became a source for literature’s most famous Gothic vampire novel: Dracula, published by Bram Stoker in 1897. Bram Stoker was Henry Irving’s business manager, and intimately involved with Irving and Terry’s professional lives at the Lyceum theatre. This article reveals the relationship between Shakespeare and Dracula, especially Ellen Terry’s Imogen as an inspiration for Lucy Westenra. Textual evidence includes Terry’s correspondence and unpublished promptbooks, as well as Stoker’s biography of Henry Irving, and facsimile notes on Dracula. Examining Cymbeline (1896) and Dracula (1897) offers a new reading of Dracula, given Cymbeline’s obsession with liminal states and female vulnerability. Moreover, Victorian responses to Ellen Terry’s Imogen in the bedchamber scene highlight fin-de-siècle eroticisations of the sleeping woman, and Victorian fantasies of sexual access to the actress. Examining Terry’s reception illuminates the disjunction between performed female passivity as Imogen, and the professional, creative activity that underlined Terry’s stage practice and agency as a Victorian actress. (shrink)

This article aims at theorizing a creative and processual theory of non-heterosexual identity. It will be argued that, so far, scholars have tended to theorize non-heterosexual identity from a monologic perspective, which establishes one-sidedly a casual and/or unproblematic relation between the emergence of forms of psychological suffering and the development of a non-heterosexual identity. Although it must be recognized that such a claim is important at a political level, at a subjective level, it leaves non-heterosexual people destined to be flooded (...) by distressing and painful emotional states. To counter monologism within theorisations of non-heterosexual identity development, without ignoring the negative impacts of heteronormativity, it will be argued that non-heterosexual identity needs to be theorized 1) as part of a creative process situated in a specific sociohistorical context marked by heteronormativity, 2) as part of a situated process that produces and never ceases to produce multiple effects (self-states), which are unified to create an identity, and 3) as part of a situated process of creation that can be artificially transformed through art. These are the three claims that will move forward the argument of this article. (shrink)