Description
Book SynopsisBrings together the author's explorations of emotion and expression. This work also offers "tools and techniques for nondualistic thought," and in the process touching and transforming such theoretical discourses as psychoanalysis, speech-act theory, Western Buddhism, and the Foucauldian "hermeneutics of suspicion."
Trade Review“Eve Kosofsky Sedgwick writes with intense precision, and yet her work directs us toward the domain where meaning is music, unquantifiable, enigmatic, nonlinguistic. If the performative speech act, with all its relation to norms and laws, is central to the reception of her work in queer theory, then the performativity of knowledge beyond speech—aesthetic, bodily, affective—is its real topic.”—Lauren Berlant, author of
The Queen of America Goes to Washington City"Fifteen years after publication, and nine years after the death of its author,
Touching Feeling stands out. Eve Kosofsky Sedgwick’s book defined subjects, keywords, and literary-critical ambitions that dominated discussion in English departments thereafter. Whether she set the future on this path or was superbly in tune with the contemporary mood is unclear." -- Mark Greif * Chronicle of Higher Education *
“Eve Kosofsky Sedgwick's gift is to electrify intellectual communities by reminding them that ’thought’ has a temperature, a texture, and an erotics. With a generosity that is at once self-abnegatingly ascetic, and gorgeously, exhibitionistically bravura, she opens door after door onto undiscovered fields of inquiry. There are too many high points in
Touching Feeling for me to list them. Sedgwick's language, richly garlanded, syntactically showstopping, gives, everywhere, its characteristic, always surprising pleasure.”—Wayne Koestenbaum, author of
Andy Warhol“[Sedgwick’s] ideas about the structures of desire between men in fiction have generated critical work for others, as her theories are put to work in rereadings of authors, texts, genres and periods. Any critic who so successfully challenges the fundamental terms of the discipline, and opens up new subjects for others to write and publish about, deserves fame and distinction. Moreover, Sedgwick's courage in speaking openly about her illness and about aspects of her self that most academic women would keep private, including being fat, is very moving.” -- Elaine Showalter * London Review of Books *
“[Sedgwick’s] miraculous prose keeps ideas and attitudes in play that would collapse into contradiction or program in a lesser writer. . . . In the era of queer theory, Sedgwick’s miraculating writing keeps open a sense of sexuality as not binarized, neither only instrumental nor irreducibly conflictual, even when she is most passionately engaged in the work of advocacy. Today, writing through and after “queer” in a landscape of political impoverishment, Sedgwick’s thought and writing function, as she would say, as a kind of semaphore: There is More Than This. I think we need her writing more than ever.” -- Christopher Nealon * American Literature *
“Fearless, challenging and occasionally exhilarating, Sedgwick remains one of the most courageous critics around.” * Publishers Weekly *
Table of ContentsAcknowledgments xi
Introduction 1
Interlude, Pedagogic 27
1. Shame, Theatricality, and Queer Performativity: Henry James’s
The Art of the Novel 35
2. Around the Performative: Periperformative Vicinities in Nineteenth-Century Narrative 67
3. Shame in the Cybernetic Fold: Reading Silvan Tomkins (Written with Adam Frank) 93
4. Paranoid Reading and Reparative Reading, or, You’re So Paranoid, You Probably Think This Essay Is About You 123
5. Pedagogy of Buddhism 153
Works Cited 183
Index 189
