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• W765087304 abstract "1 In 1898 preface to his most renowned ghost story Turn of Screw, Henry James writes:There is not only from beginning to end of matter not an inch of expatiation, but my values are positively all blanks save so far as an excited horror, promoted pity, created expertness - on which punctual effects of strong causes no writer can ever fail to plume himself - proceed to into them or less figures. (128)James goes on explicating that, by these said terms, author of text himself is not only released from weak specifications about any monstrous and possibly outrageous details, but utmost conceivability is fashioned by appreciation, speculation, and imagination of reader (ibid.). By aspiring to leave or purposely create absence at very center of text, James, in his theorizing of signification, evacuates idea of essence against realist assumption that there always is an essential core. As absence of value is distinguished as true resource and blank is considered precious, only fantastic figures remain, specification is leftto reader's own interpretative authority in order to create best possible effect. Following this argument, signification in James' writing is to be largely appreciated as production rather than as product, ultimately leaving pursuit of core meaning and excitement generated by this knowledge-seeking experience at heart of James' theory of representation that fundamentally evades definiteness and, in doing so, inexorably propagates ambiguity.2 In her wistful opening reflections in Tendencies on high rates of suicides among queer youth, Eve Sedgwick describes intent attachment queer children cultivate to cultural objects and those queer adults maintain to cultural texts, whose meaning seem[s] mysterious, excessive, or oblique, as prime resource for queer survival (3). For Sedgwick, irreducible multilayeredness and multiphrasedness of what queer survival means demands that seamless and univocal whole, in which sexual identity and all its multifarious characteristics are supposed to be organized, be called into question (ibid.). Within strategy for queer survival, pursued in all segments of day-to-day life, unitary significations of sexual identity, aligning and molding together numerous and most diverse dimensions of one's sexuality, need be disarticulated and disengaged. Sedgwick, therefore, outlines an approach of queer (mis)reading practices, i.e. reading queer. This is finally brought to conclusion by her potent definition of queer: the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically (8).3 Considering two ruminations on evasive signification in relation to each other, one is soon tempted to posit Sedgwick's reading project as perfect corollary of James' reflections about his writing. The coincidence is not all too surprising. Writing positively queer textual subjects in an era which aims at constant generation and rigidification of clear-cut definitions and which, in particular, goes out of its way to homosexuals in terms of a radically potent, if negatively charged, relation to signifying and which subjects them to a cultural imperative that viewed them as inherently textual - as bodies that might well bear 'hallmark' that could, and must, be read (Edelman 6), can finally only be achieved by writing blanks and, consequently, by leaving more or less figures to conceptualization of reader.4 Given absence of definite signifiers what remains central within James' practices of representation is not so much (missing) signifier itself but pursuit of signification. Especially in many of James' tales in which he shows self-ascribed predilection for poor sensitive gentlemen main characters set offon pursuits of such kind in which they seek to explore their own signification, their identification (Preface to Altar of Dead IX). …" @default.
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• W765087304 date "2014-01-01" @default.
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• W765087304 title "Textual and Sexual Revision: The Dynamics of Queer Identification(s) in Henry James' The Middle Years" @default.
• W765087304 hasPublicationYear "2014" @default.
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