Opacity and the Closet interrogates the viability of the metaphor of “the closet” while utilized to 3 very important queer figures in postwar American and French tradition: the thinker Michel Foucault, the literary critic Roland Barthes, and the pop artist Andy Warhol. Nicholas de Villiers proposes a brand new method of those cultural icons that money owed for the queerness in their works and public personas.
Rather than studying their self-presentations as “closeted,” de Villiers means that they devise and installation effective thoughts of “opacity” that face up to the closet and the confessional discourse linked to it. Deconstructing binaries associated with the closet that experience persisted to persuade either homosexual and immediately receptions of those highbrow and pa celebrities, de Villiers illuminates the philosophical implications of this displacement for queer idea and introduces new how you can take into consideration the distance they make for queerness.
Using the works of Foucault, Barthes, and Warhol to interact one another whereas exploring their shared ancient context, de Villiers additionally indicates their queer appropriations of the interview, the autobiography, the diary, and the documentary—forms regularly associated with fact telling and authenticity.
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Extra info for Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol
T]he goals routinely attributed to the intimate magazine . . . not look pertinent to me. they're all attached to the benefits and status of “sincerity” (to show your self, to provide an explanation for your self, to pass judgement on yourself); yet psychoanalysis, the Sartrean critique of undesirable religion, and the Marxist critique of ideologies have made “confession” a futility: sincerity is in basic terms a second-degree Image-repertoire. forty five Mingling Sartre and Lacan, Barthes alleges that sincerity isn't an get away from the Imaginary/Image-repertoire yet relatively a second-degree shape thereof (I am reminded of the claustrophobic mirror-confessional “I love you” on the finish of Todd Haynes’s ﬁlm Safe). forty six Barthes’s query of ebook is taken up via François Wahl in his preface to the French version of Incidents as a justiﬁcation for publishing “Soirées de Paris,” which MATTE FIGURES seventy one will be unsuitable for an intimate magazine. forty seven As in Barthes’s lecture on Proust, “Longtemps, je me suis sofaé de bonne heure,” during which he deliberates at the novel as opposed to the essay, we should always be aware the emphasis he areas at the query of “what is to be performed? ” He stresses the “futility” and shortage of “pertinence” of the status of sincerity and confession, following the opinions of psychoanalysis, existentialism, and Marxism, yet we would ask: How has psychoanalysis contributed to the futility of confession? Is “psychoanalysis” mobilized the following as a critique of confession, or one in all its modalities? How may this connect to Foucault’s critique of either confession and psychoanalysis? As Foucault defined (and Barthes doubtless knew well): The confession has unfold its results all over. It performs a component in justice, medication, schooling, relatives relationships, and love family, within the such a lot usual affairs of way of life, and within the so much solemn rites; one confesses one’s crimes, one’s sins, one’s techniques and needs, one’s health problems and problems; one is going approximately telling, with the best precision, no matter what is such a lot difﬁcult to inform. One confesses in public and in inner most . . . one admits to oneself, in excitement and in soreness, issues it'd be most unlikely to inform a person else, the issues humans write books approximately. One confesses—or is pressured to admit. forty eight we will see that for Barthes, “expression” and the juridico-confessional mode of speech (to pass judgement on your self) aren't in competition, yet are implicated jointly within the style of the magazine. Barthes argues that the magazine shape may perhaps in simple terms be redeemed via an severe hard work of writing, with its worth mendacity in its rhythmic shape. In “La vie posthume de Roland Barthes,” Éric Marty elaborates an immense critique of these (such as biographer Louis-Jean Calvet)49 who've interpreted Incidents, specifically “Soirées de Paris,” as a confessional “intimate magazine” that finds its author’s secrets and techniques. Marty claims that they leave out the literary size of the paintings (the cautious use of italics, suspension issues, and so forth. ), its merciless experience of irony, and the truth that the topic of the magazine isn't the “moi” of Roland Barthes (the topic of introspection, self-knowledge), yet really the only hero is time itself, the quotidian passage of “soirées.