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Caressing Radical Alterity : = For a Queer Ethic of Embodiment in Contemporary Films and Literature.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Caressing Radical Alterity :/
其他題名:	For a Queer Ethic of Embodiment in Contemporary Films and Literature.
作者:	Demont, Marc.
面頁冊數:	1 online resource (229 pages)
附註:	Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
標題:	Philosophy. -
電子資源:	click for full text (PQDT)
ISBN:	9780355073201

Caressing Radical Alterity : = For a Queer Ethic of Embodiment in Contemporary Films and Literature.
Demont, Marc.

Caressing Radical Alterity :For a Queer Ethic of Embodiment in Contemporary Films and Literature. - 1 online resource (229 pages)

Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.

Thesis (Ph.D.)--University of South Carolina, 2017.

Includes bibliographical references

This dissertation offers an analysis of the caress through the dual lens of phenomenology and psychoanalysis. I argue that the caress reveals the queerness and ambiguities of perception and that this gesture must be understood as an ethical gesture of opening toward otherness. I discuss different accounts of the caress (Levinas, Irigaray) and expose the misogynistic and/or homophobic bias at work in these theories of the caress. I suggest that Merleau-Ponty's analysis of touch and other notions that he develops (Flesh, intertwinement, intercorporeality, encroachment, etc.) allow a redefinition of the caress that avoids Levinas and Irigaray's pitfalls. In a reading of the novel The Silence of the Lambs and its movie adaptation (1988, 1991), I demonstrate how the body is intertwined with the environment and how the caress is an important symbol of this aspect. In my reading of silent movie The Hands of Orlac (1924), I show how the caress can have a negative aspect when the intertwinement with the Other becomes an intrusive presence or encroachment in Merleau-Ponty's vocabulary. Finally, relying on different horror movies (May [2002], Mirrors [2013]) and on Herman Melville's 1851 novel Moby-Dick, I critique Jacques Lacan's mirror stage for offering an ocularcentric (privileging the sense of sight) account of the constitution of the subject. Instead, I suggest that an haptocentric approach (privileging the sense of touch) of the constitution of the subject offers not only a better account of the body as it is lived and of certain horror themes (the haunted mirror, the evil doll) but also an interesting theoretical framework to the concept of the caress.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355073201Subjects--Topical Terms:

559771
Philosophy.
Index Terms--Genre/Form:

554714
Electronic books.

Caressing Radical Alterity : = For a Queer Ethic of Embodiment in Contemporary Films and Literature.
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520 $a This dissertation offers an analysis of the caress through the dual lens of phenomenology and psychoanalysis. I argue that the caress reveals the queerness and ambiguities of perception and that this gesture must be understood as an ethical gesture of opening toward otherness. I discuss different accounts of the caress (Levinas, Irigaray) and expose the misogynistic and/or homophobic bias at work in these theories of the caress. I suggest that Merleau-Ponty's analysis of touch and other notions that he develops (Flesh, intertwinement, intercorporeality, encroachment, etc.) allow a redefinition of the caress that avoids Levinas and Irigaray's pitfalls. In a reading of the novel The Silence of the Lambs and its movie adaptation (1988, 1991), I demonstrate how the body is intertwined with the environment and how the caress is an important symbol of this aspect. In my reading of silent movie The Hands of Orlac (1924), I show how the caress can have a negative aspect when the intertwinement with the Other becomes an intrusive presence or encroachment in Merleau-Ponty's vocabulary. Finally, relying on different horror movies (May [2002], Mirrors [2013]) and on Herman Melville's 1851 novel Moby-Dick, I critique Jacques Lacan's mirror stage for offering an ocularcentric (privileging the sense of sight) account of the constitution of the subject. Instead, I suggest that an haptocentric approach (privileging the sense of touch) of the constitution of the subject offers not only a better account of the body as it is lived and of certain horror themes (the haunted mirror, the evil doll) but also an interesting theoretical framework to the concept of the caress.
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