Eve Kosofsky Sedgwick

A pioneer in queer theory and literary studies, Eve Kosofsky Sedgwick brings together for the first time in Touching Feeling her most powerful explorations of emotion and expression. In essays that show how her groundbreaking work in queer theory has developed into a deep interest in affect, Sedgwick offers what she calls "tools and techniques for nondualistic thought," in the process touching and transforming such theoretical discourses as psychoanalysis, speech-act theory, Western Buddhism, and the Foucauldian "hermeneutics of suspicion."

Lovett/Codagnone; Sabrina Tarasoff on Diego Marcon; Ikechúkwú Onyewuenyi on JJJJJerome Ellis; Cally Spooner and Hendrik Folkerts; Himali Singh Soin; Wendy Vogel interviews pioneering art historian, curator, and founder of Performa biennial RoseLee Goldberg; Shanzhai Lyric; Amelia Jones on queer feminist literary critic Eve Kosofsky Sedgwick; Dani Blanga Gubbay; Amanda van Hesteren by Olamiju Fajemisin; Thibault Lac by Skye Arundhati Thomas; Mira Mann by Nicholas Tammens; Claudia Pagès Rabal by Övül Ö. Durmuşoğlu; Binta Diaw by Camilla Paolino; Christine Sun Kim and Johanna Hedva discuss "mainstreaming," ableism, and the perils of "care"; books by Georgia Sagri...

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

A broad and inclusive volume of the celebrations and critiques of performance arts.

Focusing on the living arts—dance, theatre, music, performance art, ritual, and popular entertainment—performance studies expands our understanding of "performance" as both a vital artistic practice and a means by which to understand social and cultural processes. Bridging the gap between cultural studies, performing arts, and anthropology, performance studies explores myriad ways in which performance creates meaning and shapes our everyday lives.

The broadest and most inclusive volume to date, The Ends of Performance both celebrates and critiques the institutionalization of the field. Only recently has the field given keen attention to the interpretive force and consequences of performance events, and it is these consequences that the The Ends of Performance articulates. Here performance studies illuminates the complex social and cultural formations of our time—the impact of virtual technology, the racialized discourses of legal and cultural citizenship, the impact of new medical discourses, and the medicalization of the body. Featuring work by leading theorists such as Joseph Roach, Diana Taylor, and Richard Schechner, excursions into performative writing by Eve Kosofsky Sedgwick and Della Pollock, and texts by performance artists Orlan and Deb Margolin, The Ends of Performance illuminates the provocative intellectual ends which motivate these varied approaches to performing writing, and to writing performance.

This volume argues that postwar writers queer the affective relations of reading through experiments with literary form. Tyler Bradway conceptualizes "bad reading" as an affective politics that stimulates queer relations of erotic and political belonging in the event of reading. These incipiently social relations press back against legal, economic, and discursive forces that reduce queerness into a mode of individuality.

Each chapter traces the affective politics of bad reading against moments when queer relationality is prohibited, obstructed, or destroyed—from the pre-Stonewall literary obscenity debates, through the AIDS crisis, to the emergence of neoliberal homonormativity and the gentrification of the queer avant-garde. Bradway contests the common narrative that experimental writing is too formalist to engender a mode of social imagination. Instead, he illuminates how queer experimental literature uses form to redraw the affective and social relations that structure the heteronormative public sphere.

Through close readings informed by affect theory, Queer Experimental Literature offers new perspectives on writers such as William S. Burroughs, Samuel R. Delany, Kathy Acker, Jeanette Winterson, Eve Kosofsky Sedgwick, Alison Bechdel, and Chuck Palahniuk.

Queer Experimental Literature ultimately reveals that the recent turn to affective reading in literary studies is underwritten by a para-academic history of bad reading that offers new idioms for understanding the affective agencies of queer aesthetics.

Reading / Feeling examines affect, a term that delineates a field where the personal and political meet in sensory movements between bodies. A pre-emotional experience, affect constitutes the social and economic relationships that make up the fabric of society. Reading / Feeling considers the meaning of affect in theory and artistic practice through texts by theoreticians, artists, and curators read in If I Can’t Dance’s Reading Groups in Amsterdam, Toronto, and Sheffield as part of the programme for Edition IV – Affect (2010–12). It also includes three new essays, short statements by Reading Group members, and artist pages.

Contributors: Sara Ahmed, Rhea Anastas, Lauren Berlant, Leo Bersani, Lone Bertelsen, Gregg Bordowitz, Judith Butler, Jeremiah Day, Gilles Deleuze, Lucien Febvre, Simone Forti, Adam Frank, Andrea Fraser, Félix Guattari, Michael Hardt, Sharon Hayes, Brian Holmes, Jutta Koether, Glenn Ligon, Brian Massumi & Mary Zournazi, Helen Molesworth, Andrew Murphie, Sina Najafi & David Serlin, George Orwell, Emily Roysdon, Eve Kosofsky Sedgwick, Baruch Spinoza, Susan Sontag, Jan Verwoert; it also includes: essays by Tanja Baudoin, Emma Cocker, Jacob Korczynski; contributions by Reading Group members Stephen Bowler, Alison J Carr, Belen Cerezo, Jon Davies, Anik Fournier, Victoria Gray, Linda Kemp, Wjm Kok, Janice McNab, Gabrielle Moser, Cecilia Paldino, Andrew James Patterson, Hester Reeve, Julie Swalloa, cheyanne turions, Vivian Ziherl; and artist pages by Matthew Lutz-Kinoy.

Over the course of her long career, Eve Kosofsky Sedgwick became one of the most important voices in queer theory, and her calls for reparative criticism and reading practices grounded in affect and performance have transformed understandings of affect, intimacy, politics, and identity. With marked tenderness, the contributors to Reading Sedgwick reflect on Sedgwick's many critical inventions, from her elucidation of poetry's close relation to criticism and development of new versions of queer performativity to highlighting the power of writing to engender new forms of life. As the essays in Reading Sedgwick demonstrate, Sedgwick's work is not only an ongoing vital force in queer theory and affect theory; it can help us build a more positive world in the midst of the bleak contemporary moment.

Contributors. Lauren Berlant, Kathryn Bond Stockton, Judith Butler, Lee Edelman, Jason Edwards, Ramzi Fawaz, Denis Flannery, Jane Gallop, Jonathan Goldberg, Meridith Kruse, Michael Moon, José Esteban Muñoz, Chris Nealon, Andrew Parker, H. A. Sedgwick, Karin Sellberg, Michael D. Snediker, Melissa Solomon, Robyn Wiegman

Mettant au travail un concept esquissé par la théoricienne Eve Kosofsky Sedgwick (qui opère la distinction entre lecture paranoïaque et lecture réparatrice, cette dernière refusant de séparer le blanc des faits du jaune de l’imagination), ce livre se soutient d’une conviction : lorsqu’elle entend partir de la non-effectivité sexe-genre pour libérer, non seulement notre manière d’envisager les identités sexuelles, mais bien la façon de penser le monde, la théorie queer communique avec de multiples avancées parallèles qui, dans les sciences sociales et la philosophie contemporaines, entendent de même se frayer un chemin à travers les clivages et les dualismes entre nature et culture, corps et esprit, monde imaginaire et monde réel, individu et communauté.