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引用次数: 0
摘要
本文重新审视了酷儿理论中对酷儿角色的怀疑以及对反表征美学的默认特权。为了把握人物的奇异启示，本文将人物细节视为人物的一种标志性和具体化的维度，作为一种审美形式。角色细节召唤着酷儿的吸收，或者角色细节在语境、体裁和媒体中的再循环，为酷儿开启新的叙事轨迹。因此，人物细节突出了作为一种美学形式的人物混杂的奇怪关系。随后，文章转向了a·k·萨默斯(A. K. Summers)的图形回忆录《怀孕的布奇:变装的九个月》(Pregnant Butch: Nine Long Months Spent in Drag, 2014)，该书从丁丁的人物细节入手，扩展了对性别不一致的叙述。最后，本文追溯了卡门·玛丽亚·马查多(Carmen Maria Machado)的短篇小说《她的身体和其他派对》(2017)中的人物细节是如何聚焦双性恋酷儿色情的。综上所述，这些文本例证了酷儿角色的中心地位，以及作为当代酷儿文学审美形式的角色。
This essay reconsiders the skepticism toward queer characters and the default privilege given to antirepresentational aesthetics in queer theory. To grasp the queer affordances of character, the essay identifies character-detail as an iconic and embodied dimension of character as an aesthetic form. Character-details beckon for queer uptake, or the recirculation of character-details into contexts, genres, and media to unlock new narrative trajectories for queerness. Character-details thus highlight the promiscuously queer relationality of character as an aesthetic form. The essay then turns to A. K. Summers’s graphic memoir, Pregnant Butch: Nine Long Months Spent in Drag (2014), which takes up the character-details of Tintin to expand the narration of gender nonconformity. Finally, the essay traces how character-details focalize bisexual queer eroticism in Carmen Maria Machado’s short story “Inventory” from Her Body and Other Parties (2017). Taken together, these texts exemplify the centrality of queer characters to—and character as an aesthetic form in—contemporary queer literature.
期刊介绍：
MLQ focuses on change, both in literary practice and within the profession of literature itself. The journal is open to essays on literary change from the Middle Ages to the present and welcomes theoretical reflections on the relationship of literary change or historicism to feminism, ethnic studies, cultural materialism, discourse analysis, and all other forms of representation and cultural critique. Seeing texts as the depictions, agents, and vehicles of change, MLQ targets literature as a commanding and vital force.
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