By Lawrence Kramer
This elegantly written ebook is a daring try to reinterpret the character of sexual violence and to visualize the opportunity of overcoming it. Lawrence Kramer lines trendy sexual identities to their nineteenth-century assets, 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 desires. In formal and casual reflections, he explores the self-contradictions of masculinity, the transferring alignments of femininity, authority, and wish, and the interdependency of heterosexual- and homosexuality. even as, he imagines possible choices which can let gender to be free of the present procedure of polarities that unavoidably advertise sexual violence.Kramer's writing avoids the normal gown of highbrow authority and strikes among song and literature in a mode that's either intimate and potent. He combines proficient scholarship with candid own utterance and makes transparent what's at stake during this the most important debate. After the Lovedeath could have a profound influence on an individual attracted to new how you can take into consideration gender.
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Extra info for After the Lovedeath: Sexual Violence and the Making of Culture
He is identified with me. The dream seems done. I sleep . . —It is all amidst the beauty and the silence, without anguish—strangeness, mainly; my metamorphosis is my only embodiment in the dream: and I can't tell you how strange and how good it is to be a beautiful white wolf treading lightly on the light snow. . docId=ft396nb1pw&chunk.... A Blind Spot Tennyson can imagine gender synergy from either a masculine or a feminine position, but he can imagine it only in relation to a man: himself as wife, mother, brother, or son; his partner as brother, husband or father.
I follow.. I fade away. O hotcheeked and blushing! O foolish hectic! O for pity's sake, no one must see me now! . my clothes were stolen while I was abed, Now I am thrust forth, where shall I run? Pier that I dimly saw last night when I looked from the windows, Pier from out the main, let me catch myself with you and stay . . docId=ft396nb1pw&chunk.... I feel ashamed to go naked about the world, And am curious to know where my feet stand . . and what is this flooding me, childhood or manhood, and what crosses the bridge between.
The masculine image must be something I both see and see through, like my reflection in a pane of glass. ― 123 ― Arietta "The Kreutzer Sonata" would make a great opera, a Carmen without the exoticism of Carmen, without all the excuses to be charmed, bourgeois tragedy in its purest form. In my imaginary musical museum the socks aria and deathbed duet become popular concert excerpts. Meeting in the afterlife, Wagner and Puccini deplore the decline of operatic taste so clearly shown by such popularity, but each secretly enjoys the music.