Calvin Thomas

Using Lacanian psychoanalysis and queer theory to explore the unstable relationship between heterosexual masculine identity and cultural representation, this book examines the ways straight men are queered and abjected in literature, theory, and film.

Essays on Abjection in Literature, Mass Culture, and Film

Masculinity, Psychoanalysis, Straight Queer Theory

Joseph O. Aimone

Catherine A. F. MacGillivray

This engaging collection poses the question, Can straight people think queer? Straight with a Twist offers a refreshing look at the relation between queer theory and critical examinations of the construction of heterosexuality. Seeking to proliferate the findings and insights of queer theory, contributors explore the issue of whether and how queer theory can speak for and include the straight. In some of the ways that men have learned from feminism to interrogate the construction of masculinity, straights are learning from queer theory to interrogate constructions of straightness, to question their place in those constructions, and to make critical interventions into the institutional reproduction of the heterosexual norm. Straight with a Twist responds to the formulations of some of the leading figures in queer theory, considers demonstrations of the queer in television programs ("Seinfeld," for example) and contemporary films, and explores to what extent and in what ways literary texts from Shakespeare to Dorothy Allison are open to queer interpretation. Committed to antihomophobic cultural analysis, Straight with a Twist aims to extend the reach of queer theory and humanize the world by making it "queerer than ever."

Queer Theory and the Subject of Heterosexuality

Straight with a Twist

Johann Wolfgang Von Goethe

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Faust

Goethe's Faust

The Life and Works of Friedrich Schiller

Excerpt from The Life and Works of Friedrich Schiller I have wished to give a trustworthy account of Schiller and his works on a scale large enough to permit the doing of something like justice to his great name, but not so large as in itself to kill all hope and chance of readableness. By a trustworthy account I mean one that is accurate in the matters of fact and sane in the matters of judgment. That there is room for an English book thus conceived will be readily granted, I imagine, by all those who know. At any rate Schiller is one of those writers of whom a new appreciation, from time to time, will always be in order. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The Life and Works of Friedrich Schiller (Classic Reprint)

Life and Works of Friedrich Schiller, Th

An introduction to literary theory unlike any other, Ten Lessons in Theory engages its readers with three fundamental premises. The first premise is that a genuinely productive understanding of theory depends upon a considerably more sustained encounter with the foundational writings of Hegel, Marx, Nietzsche, and Freud than any reader is likely to get from the introductions to theory that are currently available. The second premise involves what Fredric Jameson describes as "the conviction that of all the writing called theoretical, Lacan's is the richest." Entertaining this conviction, the book pays more (and more careful) attention to the richness of Lacan's writing than does any other introduction to literary theory. The third and most distinctive premise of the book is that literary theory isn't simply theory "about" literature, but that theory fundamentally is literature, after all. Ten Lessons in Theory argues, and even demonstrates, that "theoretical writing" is nothing if not a specific genre of "creative writing," a particular way of engaging in the art of the sentence, the art of making sentences that make trouble--sentences that make, or desire to make, radical changes in the very fabric of social reality. As its title indicates, the book proceeds in the form of ten "lessons," each based on an axiomatic sentence selected from the canon of theoretical writing. Each lesson works by creatively unpacking its featured sentence and exploring the sentence's conditions of possibility and most radical implications. In the course of exploring the conditions and consequences of these troubling sentences, the ten lessons work and play together to articulate the most basic assumptions and motivations supporting theoretical writing, from its earliest stirrings to its most current turbulences. Provided in each lesson is a working glossary: specific critical keywords are boldfaced on their first appearance and defined either in the text or in a footnote. But while each lesson constitutes a precise explication of the working terms and core tenets of theoretical writing, each also attempts to exemplify theory as a "practice of creativity" (Foucault) in itself.

An Introduction to Theoretical Writing

Ten Lessons in Theory

An Anthology of German Literature

A Practical German Grammar

An introduction to literary theory unlike any other, Ten Lessons in Theory engages its readers with three fundamental premises. The first premise is that a genuinely productive understanding of theory depends upon a considerably more sustained encounter with the foundational writings of Hegel, Marx, Nietzsche, and Freud than any reader is likely to get from the introductions to theory that are currently available. The second premise involves what Fredric Jameson describes as "the conviction that of all the writing called theoretical, Lacan's is the richest." Entertaining this conviction, the book pays more (and more careful) attention to the richness of Lacan's writing than does any other introduction to literary theory. The third and most distinctive premise of the book is that literary theory isn't simply theory "about" literature, but that theory fundamentally is literature, after all. Ten Lessons in Theory argues, and even demonstrates, that "theoretical writing" is nothing if not a specific genre of "creative writing," a particular way of engaging in the art of the sentence, the art of making sentences that make trouble sentences that make, or desire to make, radical changes in the very fabric of social reality. As its title indicates, the book proceeds in the form of ten "lessons," each based on an axiomatic sentence selected from the canon of theoretical writing. Each lesson works by creatively unpacking its featured sentence and exploring the sentence's conditions of possibility and most radical implications. In the course of exploring the conditions and consequences of these troubling sentences, the ten lessons work and play together to articulate the most basic assumptions and motivations supporting theoretical writing, from its earliest stirrings to its most current turbulences. Provided in each lesson is a working glossary: specific critical keywords are boldfaced on their first appearance and defined either in the text or in a footnote. But while each lesson constitutes a precise explication of the working terms and core tenets of theoretical writing, each also attempts to exemplify theory as a "practice of creativity" (Foucault) in itself.

Wilhelm Heinrich Riehl

Novella

Der Fluch Der Schonheit

George Allison Hench. In Memoriam

Excerpt from An Anthology Of German Literature This book is designed to accompany an introductory study of the history of German literature. It is assumed that the history itself will be learned, so far as necessary, either from lectures or from some other book devoted to the subject. As the selections were made, for the most part, while I was writing my own short history of German literature for the series published under the general editorship of Mr. Edmund Gosse and known as Literatures of the World, it was natural that the Anthology should take on, to some extent, the charac ter of a companion book to the History. At the same time I did not desire that either book should necessari involve the use of the other. Hence the absence of cross references; and hence also, in the Ah thology, the brief introductory notes, giving important dates and sum mary characterizations. These are meant to enable the student to read the selections intelligently without constant recourse to some other book. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Calvin Thomas

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