Eve Kosofsky Sedgwick – författare

Contributors. Stephen Barber, Renu Bora, Anne Chandler, James Creech, Tyler Curtain, Jonathan Goldberg, Joseph Litvak, Michael Lucey, Jeff Nunokawa, Cindy Patton, Jacob Press, Robert F. Reid-Pharr, Eve Kosofsky Sedgwick, Melissa Solomon, Kathryn Bond Stockton, John Vincent, Maurice Wallace, Barry Weller

In prose sometimes somber, often high-spirited, and always accessible and moving, Touching Feeling interrogates—through virtuoso readings of works by Henry James, J. L. Austin, Judith Butler, the psychologist Silvan Tomkins and others—emotion in many forms. What links the work of teaching to the experience of illness? How can shame become an engine for queer politics, performance, and pleasure? Is sexuality more like an affect or a drive? Is paranoia the only realistic epistemology for modern intellectuals? Ultimately, Sedgwick''s unfashionable commitment to the truth of happiness propels a book as open-hearted as it is intellectually daring.

First published in 1986, The Coherence of Gothic Conventions makes the case that the Gothic in English literature has been marked by a distinctive and highly influential set of ambitions about relations of meaning. Through readings of classic Gothic authors as well as of De Quincey and the Brontës, Sedgwick links the most characteristic thematic conventions of the Gothic firmly and usably to the genre’s radical claims for representation. The introduction clarifies the connection between the linguistic or epistemological argument of the Gothic and its epochal crystallization of modern gender and modern homophobia. This book will be of interest to students of literature, cultural studies and psychology.

First published in 1986, The Coherence of Gothic Conventions makes the case that the Gothic in English literature has been marked by a distinctive and highly influential set of ambitions about relations of meaning. Through readings of classic Gothic authors as well as of De Quincey and the Brontës, Sedgwick links the most characteristic thematic conventions of the Gothic firmly and usably to the genre’s radical claims for representation. The introduction clarifies the connection between the linguistic or epistemological argument of the Gothic and its epochal crystallization of modern gender and modern homophobia. This book will be of interest to students of literature, cultural studies and psychology.