By Lawrence Kramer
This elegantly written e-book is a daring try to reinterpret the character of sexual violence and to visualize the opportunity of overcoming it. Lawrence Kramer strains modern day sexual identities to their nineteenth-century resources, drawing at the song, literature, and regarded the interval to teach how common 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 good judgment of desires. In formal and casual reflections, he explores the self-contradictions of masculinity, the moving alignments of femininity, authority, and hope, and the interdependency of heterosexual- and homosexuality. even as, he imagines choices that can permit gender to be free of the prevailing process of polarities that necessarily advertise sexual violence.Kramer's writing avoids the traditional gown of highbrow authority and strikes among track 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 an important debate. After the Lovedeath may have a profound effect on an individual drawn to new how you can take into consideration gender.
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Extra resources for After the Lovedeath: Sexual Violence and the Making of Culture
This is the condition of all socialized adults. Women are those who are chosen to personify this condition in the avowed space of social life, so that others, called men, can disavow it. ) Sexual violence is a technique for sustaining the root disavowal of psycho-moral dependency when that disavowal is in ― 121 ― danger of failing. Violence against women does not so much deliver men from feminine abjection as deliver it to them; in the woman's violated body, in her tears, pleas, screams, useless resistance, the violator finds the image of an abjection to which his masculinity is superior.
One way to think of the center is as what Freud called the ego ideal, the imaginary person one wishes to be. The pleasure of self-esteem is the pleasure of fusion with this person. In Oedipal culture that fusion would coincide with the perfect unbroken articulation of gender polarity. By contrast the pleasure of gender synergy would consist in the practical everyday deconstruction of the ego ideal, its continual unveiling as a cluster of many, perhaps innumerable persons one wishes to be—sometimes.
So Beethoven condemned his own deviancy by writing a swaggering miles gloriosus of a finale. He "corrected" his errant departure from the heroic standard by reinvoking that standard parodistically: in other words, the first time as tragedy, the second as farce. ― 85 ― Unedited Text of the Second Wolf Dream (ca. 1972) The dream is set on an island, which is full of pines, in winter, in a light, persistent snow, at night. There is a woman who wants to leave—I remember only that her reasons are bitter, and involved with others—but who decides, as she goes, to stay, at least the night.
After the Lovedeath: Sexual Violence and the Making of Culture by Lawrence Kramer