By Lawrence Kramer
This elegantly written publication is a daring try and reinterpret the character of sexual violence and to visualize the opportunity of overcoming it. Lawrence Kramer lines cutting-edge sexual identities to their nineteenth-century resources, drawing at the song, literature, and considered the interval to teach how general id either promotes and rationalizes violence opposed to women.To make his case, Kramer makes use of operatic lovedeaths, Beethoven's "Kreutzer Sonata" and the Tolstoy novella named after it; the writings of Walt Whitman and Alfred Lord Tennyson, psychoanalysis, and the common sense of goals. In formal and casual reflections, he explores the self-contradictions of masculinity, the moving alignments of femininity, authority, and wish, and the interdependency of heterosexual- and homosexuality. whilst, he imagines possible choices that can let gender to be free of the prevailing process of polarities that unavoidably advertise sexual violence.Kramer's writing avoids the traditional gown of highbrow authority and strikes among tune and literature in a method that's either intimate and powerful. He combines knowledgeable scholarship with candid own utterance and makes transparent what's at stake during this the most important debate. After the Lovedeath can have a profound influence on somebody attracted to new how you can take into consideration gender.
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Additional resources for After the Lovedeath: Sexual Violence and the Making of Culture
But why just these attractions? The bearded lady and the cross-dressed man, one and the same, raise one and the same question: phallus, phallus, who's got the phallus? Desiring one's wife is like desiring the bearded lady: well, then, does one desire the lady or the beard, and, if the latter, does that mean one has no beard? Desiring the bearded lady is desiring the cross-dressed man: well, then, is femininity merely a screen for the phallus, and, if so, does that mean one lacks the phallus and desires only to "possess" (but how?
The young Tennyson imagined an ethereal beauty of Arthurian romance, a maiden who weaves into a tapestry the sights of a world she is permitted to see only through a magic mirror. He called her the Lady of Shalott. Phonetically speaking, she differs from Sir Lancelot, the man who decides her fate, by the lack of a lance. " ll. 169-71 Fullness of being as figure claims the right to arise at any time against lack of being as ground. If Woman is lack, then both Beauty and Truth demand that they fill that lack.
The logic of gender polarity is inflexible. Someone must always be castrated: which is to say, someone else. The man in an economy of lack needs women to embody that lack. If the spectacle of the feminine drapes a veil over the lack, it does so only to prepare for the moment when a masculine hand strips that veil away. To see the lack is not to confess vulnerability: seeing the lack in someone else and making others see it in themselves are among the defining privileges of the absolutely masculine position.
After the Lovedeath: Sexual Violence and the Making of Culture by Lawrence Kramer