By Lawrence Kramer
This elegantly written booklet is a daring try to reinterpret the character of sexual violence and to visualize the potential for overcoming it. Lawrence Kramer lines ultra-modern sexual identities to their nineteenth-century assets, drawing at the tune, literature, and considered the interval to teach how common identification 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 common sense of desires. In formal and casual reflections, he explores the self-contradictions of masculinity, the moving alignments of femininity, authority, and wish, and the interdependency of heterosexual- and homosexuality. whilst, he imagines possible choices that may permit gender to be free of the prevailing process of polarities that necessarily advertise sexual violence.Kramer's writing avoids the traditional costume of highbrow authority and strikes among track and literature in a method that's either intimate and potent. He combines knowledgeable scholarship with candid own utterance and makes transparent what's at stake during this the most important debate. After the Lovedeath could have a profound impression on somebody attracted to new how you can take into consideration gender.
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Additional info for After the Lovedeath: Sexual Violence and the Making of Culture
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. I see her (my consciousness present but disembodied) standing, muffled, surrounded by falling snow, at the door of a white, slatted, wooden house. She knocks, and I know she won't get in. She knocks. From my perspective, I see, outside the white wood gate, huddled in a trenchcoat, very dark against the snow, a burly, slouching figure.
DocId=ft396nb1pw&chunk.... destinies—mythic for Homer, social for Beethoven. And then the second movement! That volatizing and transfiguration of ornament in the last variation, that unharried pleasure in the field of the treble, the high voices of both instruments blissfully intertwining but without erotic friction; the erasure of surplus repetition and stilted-static texture in both the variation and the coda, their increasingly "open" forms full of dynamism without pressure—all this is gender synergy, and all, by compulsion, silenced by Tolstoy.
DocId=ft396nb1pw&chunk.... " Looking out to sea, she foretells his return ― 126 ― in vivid detail and invests it with rapturous lyricism. But the lyricism of her song is self-consuming. Initially unbroken, the lyrical vocal impulse aims to transcend the fact of abandonment with the feeling of reunion. The lyrical line, particularly the vocal line, seeks to be autonomous in its imaginary gratification. But this same lyrical line also yields repeatedly to pictorial and dramatic gestures from both the voice and orchestra.
After the Lovedeath: Sexual Violence and the Making of Culture by Lawrence Kramer
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