1 Introduction: Performing Male Trouble

Notes

1. Anthony Clare, On Men: Masculinity in Crisis (London: Chatto and Windus, 2000), 3. 2. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, (1990) (London and New York: Routledge, 2008), xxix. 3. Calvin Thomas, Masculinity, Psychoanalysis, Straight Queer Theory: Essays on Abjection in Literature, Mass Culture, and Film (Basingstoke and New York: Palgrave Macmillan, 2008), 20. 4. Judith Butler, Gender Trouble, xvii. 5. Fay Weldon quoted in Rosalind Coward, Sacred Cows: Is Feminism Relevant to the New Millennium? (London: Harper Collins, 1999), 60. 6. John Waters, ‘Prejudice is Right on if Men are the Victims’, The Irish Times, January 12, 1999. 7. Sam Wollaston, ‘With “Xtremely” Healthy Circulation’, Media Guardian, 24 February 1997. 8. The title is taken from the BBC chat show Kilroy which aired on 22 September 1999, BBC1. 9. John Beynon, Masculinities and Culture (Buckingham and Philadelphia: Open University Press, 2002), 79. 10. Anthony Clare, On Men: Masculinity in Crisis, 3–4, 8. 11. René Girard, Violence and the Sacred, trans. Patrick Gregory (London: The Athlone Press, 1995), 48. 12. Christopher W. E. Bigsby, Modern American Drama, 1945–2000 (Cambridge: Cambridge University Press, 2000), 371. 13. Aleks Sierz, In-Yer-Face-Theatre: British Drama Today (London: Faber and Faber, 2000), 30. 14. The dates listed refer to production premieres and not necessarily published scripts. 15. Lois Keidan, ‘Blood on the Tracks: The Performance Work of Franko B’, in Lois Keidan, Stuart Morgan and Nicholas Sinclair, Franko B (London: Black Dog Publishing, 1999), 1–6, 3. 16. The dates listed refer to premieres. 17. First published in Screen, vol. 16, no. 3 (Autumn 1975): 6–18. 18. Manohla Dargis, ‘Russell Crowe’s Special Brand of Masculinity’, The New York Times, 4 March 2001. http://www.murphsplace.com/crowe/ dargis2001.html. 19. The film has already been studied by other critics and for this reason is not considered here. See Lynn M. Ta, ‘Hurt So Good: Fight Club, Masculine Violence, and the Crisis of Capitalism’. Journal of American Culture, vol. 29, no. 3 (2006): 265–77. 20. The dates listed refer to premieres.

191 192 Notes

21. Lynn Segal, words delivered as part of the opening address to the conference ‘Posting the Male’, John Moores University, Liverpool, August 2000. Quoted in John Beynon, Masculinities and Culture, 93. 22. Pamela Robertson quoted in John Beynon, Masculinities and Culture, 94. 23. Robert William Connell, taken from ‘Arms and the Man’, a paper prepared for a UNESCO expert group meeting on ‘Male Roles and Masculinities in the Perspective of a Culture of Peace’. See http://www.peacenews.info/ issues/2443/connell.html. 24. Charles Taylor, Modern Social Imaginaries (London and Durham: Duke University Press, 2004), 1. 25. Taken from an unpublished paper by Michael Mangan, ‘Shakespeare’s First Action Heroes: Critical Masculinities in Culture, both Popular and Unpopular’, quoted in Beynon, Masculinities and Culture, 90. 26. This is the thesis forwarded by George Mosse throughout The Image of Man: The Creation of Modern Masculinity (Oxford: Oxford University Press, 1996). 27. Leon Hunt, British Low Culture: From Safari Suits to Sexploitation (London and New York: Routledge, 1998), 72. 28. Susan Jeffords explores the relationship between gender and political dynamics throughout her book The Remasculinization of America: Gender and the Vietnam War (Bloomington and Indianapolis: Indiana University Press, 1989). 29. John Beynon, Masculinities and Culture. See chapter on ‘Millennium Masculinity’, 122–43. 30. Judith Butler, ‘Imitation and Gender Insubordination’, (1991) in The Lesbian and Gay Studies Reader, eds. Henry Abelove, Michèle Aina Barale, and David M. Halperin (London and New York: Routledge, 1993), 307–20; 314. 31. Samuel Allen Chambers and Terrell Carver, Judith Butler and Political Theory: Troubling Politics (London and New York: Routledge, 2008), 2. 32. I do not mean to suggest that this desire belongs to individuals such as writers and performers. Rather, I see this desire as culturally produced, in part effected by another desire for men to show repentance or marginal- ity, and reproduced by men to regain power via this public expression of victimization. 33. Thomas underwrites castration anxiety to suggest that there might be, at bottom, a scatontological anxiety that stems from the knowledge that the ‘I’ is nothing but excrement. In Masculinity, Psychoanalysis: Straight Queer Theory he describes the distinction in the following terms: ‘If castration anxiety permits desire to be normatively organized in terms of either being or having, scatontological anxiety concerns the fear of being abjected, of being something not worth having’ (p. 70). 34. Kaja Silverman, Male Subjectivity at the Margins (London and New York: Routledge, 1992), 1. 35. Ibid., 9. 36. Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (New York: Cornell University Press, 1986), 4–5. 37. Ibid., 5. 38. Ibid. 39. Patrick Campbell (co-ed. with Adrian Kear), ‘Introduction’, in Psychoanalysis and Performance (London and New York: Routledge, 2001), 1–18; 1. Notes 193

40. Interestingly, writing from an analytic perspective, Joachim Danckwardt and Peter Wegner suggest that we might think of the term ‘performance’ within the clinical space as an ‘attempt at restitution’, drawing on Freud’s notion of ‘acting out’, Winnicott’s ideas of play, and Laplanche and Pontalis’s theory of ‘actualising’. See Joachim F. Danckwardt and Peter Wegner, ‘Performance as Annihilation or Integration’. The International Journal of Psychoanalysis, vol. 88, part 5 (October 2007): 1117–33, 1119–20. 41. Sigmund Freud, ‘Mourning and Melancholia’, (1917) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIV trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 246. 42. Sigmund Freud, ‘The Ego and the Id’, (1923) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIV, 28–9. 43. Ibid., 31. 44. Jacques Lacan, ‘The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience’, (1949) in Écrits: A Selection (1977), trans. Alan Sheridan (London and New York: Routledge, 2001), 2. From here on in, I will cite Lacan’s seminars in the body of the text with the year in which they were delivered, and in the endnotes for the year in which they were published in English. 45. Ibid. 46. Jacques Lacan, ‘The Signification of the Phallus’, in Écrits, 316. 47. Ibid., 312. 48. Ibid., 316. 49. Ibid., 318–19. 50. Jacques Lacan, ‘On a Question Preliminary to Any Possible Treatment of Psychosis,’ (1959) in Écrits, 229. 51. This Lacanian construction, as outlined in ‘The Signification of the Phallus’ (p. 320), is contested by Juliet Mitchell and Jacqueline Rose in Feminine Sexuality: Jacques Lacan and the école freudienne, trans. Jacqueline Rose, eds. Juliet Mitchell and Jacqueline Rose (London and New York: W. W. Norton, 1982), 74–85. 52. Coppélia Kahn, Man’s Estate: Masculine Identity in Shakespeare (Berkeley and Los Angeles: University of California Press, 1981), 10. 53. Elisabeth Badinter, XY: On Masculine Identity, trans. Lydia Davis (New York: Columbia University Press, 1995), 115. 54. Judith Butler, The Psychic Life of Power: Theories of Subjection (Stanford: Stanford University Press, 1997), 137 55. Jacqueline Rose, Why War? Psychoanalysis, Politics and the Return to Melanie Klein (Oxford: Blackwell Publishers, 1993), 55. 56. Julia Kristeva, Revolution in Poetic Language, trans. Margaret Waller, foreword by Leon S. Roudiez (New York: Columbia University Press, 1984), 25. 57. Ibid., 34. 58. Patrick Campbell, ‘Introduction’, in Psychoanalysis and Performance, 7. 59. Julia Kristeva, Revolution in Poetic Language, 50. 60. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982), 4. 61. Ibid., 2. 62. Ibid. 194 Notes

63. Ibid., 5. 64. Ibid., 8. 65. Judith Butler, Bodies that Matter: On the Discursive Limits of ‘Sex’ (London and New York: Routledge, 193), 13. 66. Ibid., 232 67. Ibid., 3. 68. Ibid. 69. Ibid. 70. Sigmund Freud, ‘The Ego and the Id’, 33. 71. Judith Butler, Gender Trouble, 80. 72. Diana Fuss, Identification Papers (London and New York: Routledge, 1995), 11. 73. Judith Butler, Gender Trouble, 85–6. 74. Ibid., 86. 75. Ibid., 90. 76. Diana Fuss, Identification Papers, 2. 77. Judith Butler, Gender Trouble, 42. 78. Judith Butler, Bodies that Matter, 219. 70. Michel Pêcheux is a French linguist who developed a theory of disidentification in response to Louis Althusser’s theory of social interpellation as detailed in ‘Ideology and Ideological State Apparatuses’ (1970). In Language, Semantics and Ideology (London: Palgrave Macmillan, 1982) Pêcheux considers the constructed subject to be variously good, bad, and disidentifying. 80. José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), 12. 81. Nicolas Abraham and Maria Torok, The Shell and the Kernel, Vol. 1, trans. and ed. Nicolas T. Rand (Chicago: The University of Chicago Press, 1994), 113. 82. Judith Butler, Gender Trouble, 92. 83. Nicolas Abraham and Maria Torok, The Shell and the Kernel, 114. 84. Ibid., 113. 85. Ibid., 114. 86. Judith Butler, Gender Trouble, 93. Italics in original. 87. Ibid., 86. 88. Sigmund Freud, ‘Three Essays on the Theory of Sexuality’, (1905) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, VII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 157. 89. Ibid., 159 90. Sigmund Freud, ‘A Child is Being Beaten’, (1919) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XVII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 185. 91. Ibid. 92. Ibid., 186. 93. Ibid., 185. 94. Ibid., 186. 95. Ibid., 188. 96. Ibid., 191. 97. Ibid., 189. Notes 195

98. David Savran, Taking it Like A Man: White Masculinity, Masochism, and Contem porary American Culture (Princeton: Princeton University Press, 1998), 30. 99. Freud, ‘A Child is Being Beaten’, 191. 100. David Savran, Taking it Like A Man, 30–1. 101. Freud, ‘A Child is Being Beaten’, 184. 102. Ibid., 198. 103. Ibid. 104. Ibid. 105. Ibid. 106. Ibid., 200. 107. Ibid., 199. 108. Ibid., 200. 109. Sigmund Freud, ‘Beyond the Pleasure Principle’, (1920) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XVIII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001). Explicating his biological example, with a sacrificial twist, Freud writes, ‘Accordingly, we might attempt to apply the libido theory which has been arrived at in psycho-analysis to the mutual relationship of cells. We might suppose that the life instincts or sexual instincts which are active in each cell take the other cells as their object, that they partly neutralize the death instincts (that is, the processes set up by them) in those cells and thus preserve their life; while the other cells do the same for them, and still others sacrifice themselves in the performance of this libidinal function.’ (p. 50). 110. Sigmund Freud, ‘The Economic Problem of Masochism’, (1924) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIX, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 161. 111. Ibid. 112. Ibid., 162–3. 113. Ibid., 163. 114. Ibid., 162. 115. Ibid., 169. 116. Ibid. 117. Ibid., 169–70. 118. The notion of gender slippage recurs throughout Bodies that Matter. Discussing Žižek and méconnaisance, Butler writes ‘it may be that the affirmation of that slippage, the failure of identification is itself the point of departure for a more democratizing affirmation of internal difference’ (p. 219). 119. Jacques Derrida, ‘Difference’, in Speech and Phenomena and Other Essays on Husserl’s Theory of Signs, trans. David B. Allison (Evanston: Northwestern University Press, 1973), 141. 120. Jacques Lacan, The Seminar of Jacques Lacan, The Ego in Freud’s Theory and in the Technique of Psychoanalysis, Book II, 1954–55, trans. Sylvana Tomaselli, ed. Jacques-Alain Miller with notes by John Forrester (London and New York: W. W. Norton, 1991), 326. 196 Notes

121. Jacques Lacan, The Seminar of Jacques Lacan, The Psychoses, Book III, 1955–56, trans. Russell Grigg, ed. Jacques-Alain Miller with notes by Russell Grigg (London and New York: W. W. Norton, 1993), 242. 122. Jacques Lacan, The Seminar of Jacques Lacan, The Other Side of Psychoanalysis, Book XVII, 1969–70, trans. Russell Grigg, ed. Jacques-Alain Miller with notes by Russell Grigg (London and New York: W. W. Norton, 1993), 15–16. ‘Jouissance’ is a term coined by Lacan to elaborate upon Freud’s notion of a death drive. Charles Shepherdson describes jouissance as ‘the name for a dimension of (unnatural) suffering and punishment that inhabits human pleasure, a dimension that is possible only because the body and its satis- faction are constitutively denatured, always already bound to representation’. Moreover, Shepherdson understands jouissance not as a transgression of paternal law but its eroticization that ensures its reproduction. He writes that jouissance is intimately ‘tied to punishment, organized not in defiance of the repressive conventions of civilization, not through the transgression of the moral law, but precisely in relation to the law’. See Charles Shepherdson, ‘History and the Real: Foucault with Lacan’. Postmodern Culture, vol. 5, no. 2 ( January, 1995). Read at http://pmc.iath.virginia.edu/ text-only/issue.195/shepherd.195, paragraphs 40–6. 123. Jacques Lacan, ‘The Family Complexes’, (1984) trans. Carolyn Asp. Critical Texts, vol. 5, no. 3 (1988): 12–29. 124. Jacques Lacan, The Ethics of Psychoanalysis, 1959–60: The Seminar of Jacques Lacan, Book VII, trans. with notes by David Porter, ed. Jacques-Alain Miller (London and New York: Routledge 2008), 217. 125. Slavoj Žižek, ‘Response to Jean-Luc Marion’s “Towards a Phenomenological Sketch of Sacrifice” ’. Viewed online at http://divinity.uchicago.edu/ martycenter/publications/webforum/112008/Response%20to%20Marion %20Zizek.pdf. 126. Ibid. 127. Ibid. 128. Dennis King Keenan, The Question of Sacrifice (Bloomington and Indianapolis: Indiana University Press, 2005), 105. 129. Bracha L. Ettinger, The Matrixial Borderspace (Minneapolis: University of Minnesota Press, 2006), 142. 130. Blue, Dir Derek Jarman, Basilisk, 1993. 131. John D. Caputo, The Weakness of God: A Theology of the Event (Bloomington and Indianapolis: Indiana University Press, 2006), 283.

2 Sacrificial Masculinity in The Passion of the Christ

1. René Girard, Violence and the Sacred, trans. Patrick Gregory (London: The Athlone Press, 1995), 189. 2. Slavoj Žižek, The Puppet and the Dwarf: The Perverse Core of Christianity (London and Cambridge Massachusetts: MIT Press, 2003), 81. 3. The Passion of the Christ. Dir. Mel Gibson, Icon Productions, 2004. 4. René Girard described the film as ‘featuring Jesuses with hair so blond and eyes so blue that they could never be subjected to the abuses of Roman soldiers.’ See René Girard, ‘On Mel Gibson’s The Passion of the Christ.’ Notes 197

Anthropoetics, vol. 10, no. 1 (Spring–Summer 2004). Read at http://www. anthropoetics.ucla.edu/ap1001/RGGibson.htm 5. Sr. Emmerich was an eighteenth-century mystic German Nun. In The Dolorous Passion of Christ Emmerich records her visions of Jesus’s violent Passion. 6. David Denby, ‘The Passion of the Christ’, The New Yorker, 8 March 2004. Read at http://www.newyorker.com/arts/reviews/film/the_passion_of_the_ christ_gibson 7. Richard Goldstein, ‘A Backlash Passion: A Messianic Meller for Your Time’, The Village Voice, February 25–March 2, 2004. Read at http://www.village voice.com/issues/0408/goldstein.php 8. Slavoj Žižek, The Puppet and the Dwarf, 103. 9. Janet R. Jakobsen and Ann Pellegrini, Love the Sin: Sexual Regulation and the Limits of Religious Tolerance (London and New York: New York University Press, 2003), 4. 10. Jerry Falwell, words spoken on 700 Club, September 13, 2000. Read at http:// online.logcabin.org/talking_points/talking_points_radical_right_quotes.html. 11. Frank Rich, ‘Now on DVD: The Passion of the Bush’, The New York Times, 3 October 2004. 12. Ibid. 13. Gary Bauer of Campaign for Working Families in a letter to supporters. Read at http://online.logcabin.org/talking_points/talking_points_radical_right_ quotes.html. 14. Don Wildmon speaking on behalf of the AFA. Read at http://online.logcabin. org/talking_points/talking_points_radical_right_quotes.html 15. A statement from the American Society for the Preservation of the Family. Read at http://online.logcabin.org/talking_points/talking_points_radical_ right_quotes.htmlon 16. Absolute Astronomy Reference Encyclopaedia. Read at http://www.absoluteas tronomy.com/encyclopedia/M/Me/Mel_Gibson.htm 17. Sigmund Freud, ‘Moses and Monotheism’, (1939) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XXIII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 91. 18. Daniel Boyarin, ‘What Does a Jew Want? Or, The Political Meaning of the Phallus’, in The Masculinity Studies Reader, eds. Rachel Adams and David Savran (Oxford and Malden Massachusetts: Blackwell, 2002), 273–91; 273. 19. Jonathan Freedman, ‘Coming out of the Jewish Closet with Marcel Proust’. GLQ: A Journal of Lesbian and Gay Studies, 7.4 (2001), 521–51: 522. 20. Jay Geller, ‘A Paleontological View of Freud’s Study of Religion: Unearthing the Leifmotif Circumcision’. Modern Judaism 13 (1993), 49–70. 21. See ‘A Child is Being Beaten’, (1919) in The Standard Edition, XVII and my discussion of this paper in Chapter 1. 22. Robert Smart, ‘The Passion of the Christ: Reflections on Mel’s Monstrous Messiah Movie and the Culture Wars’. Jump Cut: A Review of Contemporary Media, no. 47 (2004). Read at http://www.ejumpcut.org/archive/jc47.2005/ melsPassion/index.html 23. Jacques Lacan, The Seminar of Jacques Lacan, On Feminine Sexuality: The Limits of Love and Knowledge, Book XX, 1972–1973, (Encore), trans. with notes by 198 Notes

Bruce Fink, ed. Jacques-Alain Miller, (London and New York: W.W. Norton and Company, 1998), 72–3. 24. Luce Irigaray, The Sex Which is Not One, trans. Catherine Porter (New York: Cornell University Press, 1985), 84–5. 25. Jill Dolan, The Feminist Spectator as Critic (Michigan: The University of Michigan Press, 1991), 13. 26. Slavoj Žižek, The Puppet and the Dwarf, 62. 27. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (Columbia: Columbia University Press, 1982), 59. 28. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, (1990) (London and New York: Routledge, 2008), 179. 29. Lee Edelman, No Future: Queer Theory and the Death Drive (London and Durham: Duke University Press, 2004), 3. 30. Ibid. 31. Ibid. 32. Ibid., 151. 33. Ibid., 121. 34. Opening title statement to the film The Passion of the Christ. 35. In Antonin Artaud’s Theatre of Cruelty, for instance, the desubjectified ‘body without organs’ is afforded subversive potential. See The Theatre and Its Double, trans. Mary Caroline Richards (New York: Grove Weidenfeld, 1958). 36. See, for example, Fred Botting and Scott Wilson’s (eds.) elucidation on the relationship between sacrifice and intimacy in ‘Introduction: From Experi- ence to Economy’, The Bataille Reader (Oxford and Malden, Massachusetts: Blackwell, 1997), 1–34; 22. 37. George Bataille, Visions of Excess, ed. Allan Stoekl (Minneapolis: University of Minnesota Press, 1985), 250. 38. Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life (Stanford: Stanford University Press, 1998), 8. 39. Slavoj Žižek, On Belief (London and New York: Routledge, 2001), 69. 40. Ibid., 70. 41. Ibid., 72. 42. Ibid., 91. 43. Ibid., 132–3. 44. Georges Bataille, Eroticism: Death and Sensuality, trans. Mary Dalwood (San Francisco: City Lights Books, 1962), 15. 45. Ibid., 16. 46. Hugh Urban, ‘The Remnants of Desire: Sacrificial Violence and Sexual Transgression in the Cult of the Kapalikas and in the Writings of Georges Bataille’, Religion 25 (1995): 7–90; 75. 47. Slavoj Žižek, The Puppet and the Dwarf, 81. 48. Michael O’Rourke has written on the queerness of this intersection in articles such as ‘Queer Theory’s Loss and the Work of Mourning Jacques Derrida’. Rhizomes 10 (Spring 2005) http://www.rhizomes.net/issue10/orourke.htm#_ ednref116 49. John Caputo, The Prayers and Tears of Jacques Derrida: Religion Without Religion (Bloomington and Indianapolis: Indiana University Press, 1991), xviii 50. John D. Caputo, The Weakness of God: A Theology of the Event (Bloomington and Indianapolis: Indiana University Press, 2006), 44. Notes 199

51. Ibid. 52. Ibid. 53. Jerry Falwell quoted in Francis Fitzgerald, ‘Reporter At Large: A Disciplined, Charging Army’, The New Yorker, May 18, 1981. Read at http://www.newyorker. com/archive/1981/05/18/1981_05_18_053_TNY_CARDS_000336703 54. David D. Kirkpatrick, ‘Wrath and Mercy: The Return of the Warrior Jesus,’ The New York Times, 4 April 2004. 55. Ibid. 56. Robert Smart, ‘The Passion of the Christ: Reflections on Mel’s Monstrous Messiah Movie and the Culture Wars’. 57. René Girard, Violence and the Sacred, 51. 58. Ibid., 39. 59. Ibid., 85. 60. Ibid., 48. 61. Georgio Agamben, Homo Sacer: Sovereign Power and Bare Life, 82. 62. Lauren Berlant, ed., Compassion: The Culture and Politics of an Emotion (London and New York: Routledge, 2004), 7. 63. René Girard, Violence and the Sacred, 188–90.

3 Impotent Masculinities in Made in China and InterMission

1. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982), 79. 2. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, (1990) (London and New York: Routledge, 2008), 182. 3. Julia Kristeva, Powers of Horror, 2. 4. Ibid., 4. 5. Ibid., 70. 6. Judith Butler, Gender Trouble, 183. 7. Ibid., 182. 8. Such plays include Howie the Rookie, 1999; Made in China, 2001; Crestfall, 2003; Terminus, 2007. Film scripts include InterMission, 2003. 9. Karen Fricker, ‘Same Old Show: The Performance of Masculinity in Conor Mc Pherson’s Port Authority and Mark O’Rowe’s Made in China’. The Irish Review, 29 (2002): 84–94; 84. 10. While I think that O’Rowe’s plays fit into a trend in British theatre somewhat reductively termed as ‘In-yer-face’ theatre, I also think that in its scatological focus O’Rowe’s drama deserves its own nuance. For instance, in Terminus (2007), his most successful play to date, the climax of the play occurs when the only male character is anally penetrated by a worm demon, at which point he sings Bette Midler’s ‘Wind Beneath My Wings’. 11. Lady Augusta Gregory, ‘Our Irish Theatre’ (1913), in Modern Irish Drama: A Norton Critical Edition, ed. John. P. Harrington (London and New York: W.W. Norton, 1991), 377–86; 378. 12. Stephen Di Benedetto, review of Made in China in Irish Theatre Magazine, vol. 2, no. 9 (2000): 67–70;70. 200 Notes

13. This explanation of hypermasculinity is informed by the term’s explica- tion by Lucy Candib and Richard Schmitt in ‘About Losing It: The Fear of Impotence’, in Rethinking Masculinity: Philosophical Explorations in Light of Feminism, eds. Patrick D. Hopkins, Larry May, and Robert A. Strikwerda (London and Lanham, Maryland: Rowman and Littlefield Publishers, Inc., 1996), 211–36; 222. 14. Jacques Lacan, ‘The Signification of the Phallus’, (1958), in Écrits: A Selection (1977) (London and New York, Routledge, 2001), 316. 15. Judith Butler, ‘Imitation and Gender Insubordination,’ (1991) in The Lesbian and Gay Studies Reader, ed. Henry Abelove, Michèle Aina Barale and David M. Halperin (New York: Routledge, 1993), 307–20; 313. 16. Ibid., 317. 17. Judith Butler, Gender Trouble, 191. 18. Mark O’Rowe, Made in China (London: Nick Hern Books, 2001), 26. 19. Ibid., 24. 20. Ibid., 23. 21. Ibid., 26. 22. Ibid., 70. 23. Diana Fuss, Identification Papers (London and New York: Routledge, 1995), 2. 24. Mark O’ Rowe, Made in China, 72. 25. Peter Middleton, The Inward Gaze: Masculinity and Subjectivity in Modern Culture (London and New York: Routledge, 1992), 32. 26. Mark O’Rowe, Made in China, 67. 27. Diana Fuss, Identification Papers, 51. 28. Jacques Lacan, The Seminar of Jacques Lacan, On Feminine Sexuality: The Limits of Love and Knowledge, Book XX, 1972–1973, (Encore), trans. with notes by Bruce Fink, ed. Jacques-Alain Miller (London and New York: W. W. Norton and Company, 1998), 7. 29. Mark O’ Rowe, Made in China, 41. 30. Ibid., 12. 31. Sigmund Freud, ‘Leonardo Da Vinci and a Memory of his Childhood’ (1910), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XI, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 99–100. 32. Julia Kristeva, Powers of Horror, 58. 33. Mark O’Rowe, Made in China, 28. 34. Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985), 1. Sedgwick coins the term ‘homosocial’ to describe the basic structure of patriarchy, wherein men attempt to establish intimacy with each other via a triangulated construction with woman. The safeguarding of this arrangement, she claims, is of crucial importance in preventing the merger of the homosocial with the homosexual. 35. Karen Fricker, ‘Same Old Show’, in The Irish Review, 84. 36. Mikkel Borch-Jacobsen, The Freudian Subject, trans. Catherine Porter (Stanford: Stanford University Press, 1988), 47. 37. Mark O’ Rowe, Made in China, 41. Notes 201

38. Jacques Lacan, The Seminar of Jacques Lacan, Book III, The Psychoses, 1955–56, trans. Russell Grigg, ed. Jacques-Alain Miller with notes by Russell Grigg (London: and New York: W. W. Norton, 1993), 189. 39. Kristeva, Powers of Horror, 2. 40. Ibid. 41. Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (New York: Cornell University Press, 1986), 4–5 42. Mark O’Rowe, Made in China, 73. 43. Ibid, 80. 44. Ibid., 84. 45. Sigmund Freud, ‘Instincts and Their Vicissitudes’ (1915), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIV, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 127. 46. Mark O’Rowe, Made in China, 17. 47. Ibid., 22. 48. Ibid., 33. 49. Ibid. 50. Ibid., 33–4. 51. Ibid., 82. 52. See Calvin Thomas’s writing on the scatontological in Male Matters: Masculinity, Anxiety, and the Male Body on the Line (Urbana: University of Illinois Press, 1998) and Masculinity, Psychoanalysis, Straight Queer Theory: Essays on Abjection in Literature, Mass Culture, and Film (Basingstoke and New York: Palgrave Macmillan, 2008). Also, see note 29 in Chapter 1 of this book. 53. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, Book XI, (1977) (London and New York: Karnac, 2004), 104. 54. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, 185. 55. Ibid., 62. 56. InterMission. Dir. John Crowley, Brown Sauce Film Productions, 2003. 57. Wendy Brown, States of Injury: Power and Freedom in Late Modernity (Princeton: Princeton University Press, 1995), 73–4. See also Fredrich Nietzsche’s idea of ressentiment, which inspired Brown, in On the Genealogy of Morals (1887), trans. Douglas Smith (Oxford: Oxford University Press, 2008). 58. I do not disagree that many people in urban areas experience real disadvan- tage. But there is nothing Marxist about this film, and it certainly does not attempt to document these conditions in any thorough way. If the men in film fetishize impotence, we might also say the viewer is invited to fetishize the toils of working-class masculinities and their communities. 59. Toby Miller, ‘Stars and Performance’, in Film and Theory, eds. Toby Miller and Robert Stam (Malden, Massachusetts: Blackwell, 2000), 595. 60. Michael Quinn, ‘Celebrity and the Semiotics of Acting’. New Theatre Quarterly, vol. VI, no. 22 (May 1990): 154–61; 155. 61. John Hiscock, ‘Colin Farrell on his Passion for Life’, Mirror, 6 August 2003, 5. 62. Farrell frequently affects a strong, working-class Dublin accent in film roles and interview. While he claimed to be from Blanchardstown, a working-class area of Dublin, he is actually from its affluent neighbour, Castleknock. 63. Sigmund Freud, ‘The Economic Problem of Masochism’ (1924), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIX 202 Notes

trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 169–70. 64. Ibid., 161. 65. Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’. Screen, vol. 16, no. 3 (Autumn 1975): 6–18. 66. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, 104. 67. Julia Kristeva, Powers of Horror, 9. 68. The ‘monstrous feminine’ is a term borrowed from Barbara Creed who, in The Monstrous-Feminine: Film, Feminism, Psychoanalysis (London and New York: Routledge, 1993), construes a link between the female monster in horror films and Kristeva’s notion of abjection. 69. Mikkel Borch-Jacobsen, The Freudian Subject, 47. 70. Jacques Lacan, ‘The Signification of the Phallus’, in Écrits, 319–20. 71. Alexandre Kojève, ‘In Place of an Introduction’, in Introduction to the Reading of Hegel: Lectures on the ‘Phenomenology of Spirit’, trans. James H. Nichols, ed. Allan Bloom, ass. Raymond Queneau (London: Basic Books, 1969), 6–7. 72. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, 268. Italics in original. 73. Film description featured on InterMission’s promotional material, including posters, and the DVD cover sleeve. 74. David Bordwell and Kristin Thompson, Film Art: An Introduction (New York: McGraw-Hill, 2004), 117. Although InterMission is not strictly a genre film, it is highly referential of genre films, including Heists and Westerns. 75. In Screening Ireland: Film and Television Representation (Manchester: Manchester University Press, 2000). Lance Pettitt suggests that the postcolonial Irish subject is often screened in ‘a raft of negative characteristics, which include being violent, alcohol-dependent stupid, irrational, dirty, disordered, feminine and infantile’, as evidenced in Ron Howard’s Far and Away (1992). By contrast, the assertion of male authority is associable with ‘postcolonial resistance and opposition’ (pp. 11–12).

4 Homosexuality and Subjection in Shopping and Fucking and Faust is Dead

1. Antonin Artaud, Œuvres Complètes (XXII) (Paris: Gallimard, 1961 and 1976), 153. 2. Jacques Lacan, The Seminar of Jacques Lacan. Book III, The Psychoses, 1955–56, trans. Russell Grigg, ed. Jacques-Alain Miller with notes by Russell Grigg (London and New York: W.W. Norton, 1993), 242. 3. Ibid. 4. Donny speaking in Faust is Dead, in Plays: 1 (London: Methuen Drama, 2001), 123. 5. Mark Ravenhill, Shopping and Fucking, in Plays: 1 (London: Methuen Drama, 2001), 4. 6. Ibid., 5. 7. Ibid., 18. 8. Ibid. Notes 203

9. Fredric Jameson, ‘Postmodernism and Consumer Society’, in The Anti- Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Washington: Bay Press, 1983), 111–25; 119. 10. Ibid., 118. 11. Ibid., 119. 12. Martin Gross, The Psychological Society A Critical Analysis of Psychiatry, Psychotherapy, Psychoanalysis, and the Psychological Revolution (New York: Random House, 1978), 79–80. 13. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (London and Durham: Duke University Press, 1991), 26. 14. Ibid., 15–16. 15. Ibid., x. 16. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon Roudiez (New York: Columbia University Press, 1982), 135–6. 17. Iris Marion Young, Justice and the Politics of Difference (Princeton: Princeton University Press, 1990), 146. 18. Ibid. 19. Ibid. 20. Judith Butler, Gender Trouble: Feminism and Subversion of Identity (1990) (London and New York: Routledge, 2008), 179. 21. Ibid., 180. 22. Judith Butler, ‘Sexual Inversions’, in Discourses of Sexuality, From Aristotle to AIDS, ed. Domna C. Stanton (Michigan: The University of Michigan Press, 1995), 344–61; 346. I should also say that my critique of Ravenhill’s plays does not intend to moralize as to what would be an appropri- ate mode of representation of gay people. In certain instances, the two plays in question might work to expose commercialized gay culture to its more insidious patterns. However, I do think that there is a lack of queer agency in the plays – both in terms of opening within the play worlds a space of possibility, but also in terms of destabilizing the greater social order. 23. I am thinking here of Edelman’s writing on the queer as death-drive as developed in No Future and discussed in Chapter 2 of this book. 24. Lee Edelman, Homographesis: Essays in Gay Literary and Cultural Theory (London and New York: Routledge, 1994), 10. 25. R.W. Connell, taken from ‘Arms and the Man’, a paper prepared for a UNESCO expert group meeting on ‘Male Roles and Masculinities in the Perspective of a Culture of Peace’. http://www.peacenews.info/issues/2443/ connell.html 26. Jacques Lacan, ‘Desire and the Interpretation of Desire in Hamlet’, in Literature and Psychoanalysis: The Question of Reading: Otherwise, ed. Shoshana Felman (Baltimore: Johns Hopkins University Press, 1977), 11–52; 11. 27. Ibid., 12. 28. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis XI (1977), (London and New York: Karnac, 2004), 81. 29. Mark Ravenhill, Shopping and Fucking, 45. 30. Ibid., 34. 31. Ibid., 35–6. 204 Notes

32. Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia (1972), trans. Brian Massumi (London and New York: Continuum, 2004), 265. 33. Mark Ravenhill, Shopping and Fucking, 39. 34. Suzanne R. Stewart, Sublime Surrender, Male Masochism at the Fin-De-Siècle (New York: Cornell University Press, 1998), 2. 35. Mark Ravenhill, Shopping and Fucking, 23. 36. Ibid., 26. 37. Ibid., 56. 38. Ibid., 83. 39. Ibid., 84. 40. Dylan Evans, Entry on ‘The Real Father’, in An Introductory Dictionary of Lacanian Psychoanalysis (London and New York: Bruner-Routledge, 1996), 63. 41. Jacques Lacan, The Ethics of Psychoanalysis, 1959–60: The Seminar of Jacques Lacan, Book VII, trans. with notes by David Porter, ed. Jacques-Alain Miller with (London and New York: Routledge, 2008), 378. 42. Sigmund Freud, ‘The Ego and the Id’ (1923), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIX trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 29. 43. Judith Butler, Gender Trouble, 78–89. 44. Jacques Lacan, The Ethics of Psychoanalysis, 1959–60, 378. 45. Diana Fuss, Identification Papers (New York, Routledge, 1995), 11. 46. Ibid., 89. 47. Philip Ridley, Pitchfork Disney in Plays 1 (London: Faber and Faber, 1997), 35. 48. Mark Ravenhill, Shopping and Fucking, 90. 49. Aleks Sierz, In-Yer-Face-Theatre, British Drama Today (London: Faber and Faber, 2000), 132. 50. Mark Ravenhill, Faust is Dead’, 98. 51. For instance, sadomasochistic imagery features prominently in Madonna’s Justify My Love (1990) music video. 52. Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (1966), (London and New York: Routledge, 1980), 311. 53. Ibid., 312. 54. Mark Cousins and Athar Hussain, Michel Foucault: Theoretical Traditions in the Social Sciences (London: Macmillan, 1984), 50. 55. Forget Foucault is Baudrillard’s response to Foucault’s History of Sexuality. Baudrillard claims that Foucault’s genealogies amount to ‘mythic discourse’, arguing that desire and power and interchangeable, and so desire has no place in Foucault’s thesis. Jean Baudrillard, Forget Foucault (1977), (Los Angeles: Semiotext(e), 2007). 56. Jean Baudrillard, ‘Simulacra and Simulations’, [extract from the 1981 text] in Jean Baudrillard: Selected Writings, ed. Mark Poster (Cambridge: Polity Press, 1988), 169–87, 169. Italics in original. 57. Mark Ravenhill, Faust is Dead, 99. 58. Ibid., 105. 59. Ibid., 100. 60. Ibid., 139–40. 61. Jean Baudrillard, The Consumer Society: Myths and Structures (1970), (London: Sage, 1998), 129. Notes 205

62. Mark Ravenhill, Faust is Dead, 123. 63. Ibid. 64. Ibid., 124. 65. Slavoj Žižek, Welcome to the Desert of the Real (London and New York: Verso, 2002), 12. 66. Mark Ravenhill, Faust is Dead, 125. 67. Ibid., 126. 68. Elaine Scarry, The Body in Pain, The Making and Unmaking of the World (Oxford and New York: Oxford University Press, 1985), 13. 69. Ibid., 14. 70. Mark Ravenhill, Faust is Dead, 131. 71. Ibid., 132. 72. Between January and March 1991, Jean Baudrillard published three essays in Libération claiming that the Gulf War was so heavily mediated, that it had greater virtual, rather than material, currency. These essays were published as the book The Gulf War Did Not Take Place (Bloomington and Indianapolis: Indiana University Press, 1995). 73. Mark Ravenhill, Faust is Dead, 132. 74. Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism, 17. 75. Mark Ravenhill, Faust is Dead, 106. 76. Ibid., 113. 77. Diana Fuss, Identification Papers, 11–12. 78. Ibid., 77. 79. Jacques Lacan, The Ethics of Psychoanalysis, 1959–60, 310 80. Mark Ravenhill, Faust is Dead, 97. 81. Ibid., 135. 82. Jean Baudrillard, The Illusion of the End (Cambridge: Polity Press, 1994), 119. 83. Mark Ravenhill, Faust is Dead, 140. 84. Jacques Lacan, Television: A Challenge to the Psychoanalytic Establishment, trans. Joan Copjec, eds. Denis Hollier, Rosalind Krauss, and Annette Michelson (London and New York: W. W. Norton, 1990), 66–7. 85. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, Book XI (1977), (London and New York: Karnac, 2004), 183. 86. Ibid., 183–4. 87. Tim Dean, ‘Homosexuality and the Problem of Otherness’, in Homosexuality and Psychoanalysis, eds. Tim Dean and Christopher Lane (Chicago: The University of Chicago Press, 2001), 120–43, 129.

5 Wounded Attachments in the Live Art of Ron Athey and Franko B

1. Wendy Brown, States of Injury: Power and Freedom in Late Modernity (Princeton: Princeton University Press, 1995), 73–4. 2. Anthony Kubiak, Stages of Terror: Terrorism, Ideology, and Coercion as Theatre History (Bloomington and Indianapolis: University of Indiana Press, 1991), 145. 3. José Esteban Muñoz, Disidentifications: Queers of Color and the Performance of Politics (Minneapolis: University of Minnesota Press, 1999), 1. 206 Notes

4. Ibid. 5. José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (London and New York: New York University Press, 2009), 1. 6. Deirdre Heddon, Autobiography and Performance (Basingstoke and New York: Palgrave Macmilllan, 2008), 2. 7. Ibid. 8. Ibid. 9. Please note that I focus on the performers’ earlier practice, and that more recently, Athey and especially Franko B have worked less with cutting and bloodletting. 10. Note that the following performances are used for discussion: Four Scenes in a Harsh Life, performed at ICA Theatre, London, 15/07/1994; Deliverance, performed at ICA Theatre, London, 09/12/1995; Incorruptible Flesh, performed at Cankarjev Dom, Ljubljana 29/07/1997; The Judas Cradle, performed at Gallery 291, London, 19/05/2005 (viewed live); Mama I Can’t Sing Part Two, performed at ICA Theatre, London, 13/01/1995; Mama I Can’t Sing Part Three, performed at ICA Theatre, London, 18/04/1996; I’m Not Your Babe Part One, performed at ICA Theatre, London, 05/12/1996; I’m Not Your Babe Part Two, performed at ICA Theatre, London, 06/12/1996; I Miss You, performed at De Beweeging, Antwerp, 29/10/1999; Oh Lover Boy, performed at Crawford Municipal Gallery Cork, 3/9/2005 (viewed live). Unless otherwise stated, photographs and mediatized performances at the Live Art Development Agency, London, UK were primarily used for study. 11. The production dates listed in this paragraph refer to first runs, and are not necessarily the performances analysed. 12. Mary Richards, ‘Ron Athey, A.I.D.S. and the Politics of Pain’, in Body, Space and Technology, e-journal (Internet Publication: Brunel University, Dept. of Performing Arts, 2003). Read at http://www.brunel.ac.uk/departments/pfa/ bstjournal/3no2/Papers/mary%20richards.htm 13. Ibid. 14. See, for example Athey quoted in Lois Keidan, ed., Exposures (London: Black Dog Publishing, 2001), 6. 15. Ibid. 16. Melanie Klein, Love, Guilt and Reparation, (1975), (London: Vintage, 2007), 306. 17. Fredrich Nietzsche, On the Genealogy of Morals, (1887) trans. Douglas Smith (Oxford: Oxford University Press, 2008), 22. 18. Ron Athey, words spoken in interview on The South Bank Show: Body Art, 12 April 1998. 19. Peggy Phelan, Unmarked: The Politics of Performance (London and New York: Routledge, 1993), 101. 20. In 1994 the National Endowment for the Arts (NEA) was publicly criticized for funding the Walker Art Center in Minneapolis, for hosting Ron Athey, after a spectator claimed that the audience was sprayed with HIV positive blood. Athey claimed this was not the case. 21. Sigmund Freud, ‘Moses and Monotheism’ (1939), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XXIII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 84. Notes 207

22. Jacques Derrida, Speech and Phenomena and Other Essays on Husserl’s Theory of Signs, trans. David B. Allison (Evanston: Northwestern University Press, 1973), 102. 23. Ibid., 78. 24. Elizabeth Grosz, commenting upon Kristeva’s semiotic, suggests that women, and in particular mothers, risk being associatively tied to the pre-Symbolic register, to which they are aligned via childbearing. See Elizabeth Grosz, Jacques Lacan, A Feminist Introduction (London and New York: Routledge, 1990), 163. 25. In ‘A Child is Being Beaten’ Freud describes male beating fantasies as being structured around three phases of subjection: (1) I am being beaten by my father; (2) I am being loved by my father; and (3) I am being beaten by my mother. This beating fantasy, Freud suggests, corresponds to sexual love for the father: ‘[B]eing beaten also stands for being loved (in a genital sense), though this has been debased to a lower level owing to regression.’ The unconscious fantasy of stage two is thus repressed in favour of the more socially acceptable conscious fantasy of stage three. As such, Freud maintains that the masochist’s female fantasy is only a veil for a repressed desire for being beaten by the father. For an elaboration of this discussion, see Chapter 1 26. Ron Athey, words spoken in interview on The South Bank Show: Body Art, 12 April 1998. 27. For an elaboration of Artaud’s position, see Jacques Derrida, ‘The Theatre of Cruelty and the Closure of Representation’, in Writing and Difference, trans. Alan Bass (Chicago: The University of Chicago Press, 1978), 232–50. 28. Judith Butler, Bodies That Matter, On the Discursive Limits of ‘Sex’ (London and New York: Routledge, 1993), 84. 29. Jacques Lacan, ‘The Signification of the Phallus’, in Écrits: A Selection (1977), trans. Alan Sheridan (London and New York: Routledge, 2001), 319. 30. Judith Butler, Bodies That Matter, 90. 31. Ibid., 89. 32. Jill Dolan, The Feminist Spectator as Critic (Michigan: University of Michigan Press, 1991), 54–5. 33. Mary Richards, ‘Ron Athey, A.I.D.S. and the Politics of Pain’. 34. The precise setting is not obvious in performance, although in writing, Athey identifies it as a surgery hut. See Ron Athey, ‘Voices from the Front’, in Acting on AIDS: Sex, Drugs and Politics, eds. Joshua Oppenheimer and Helena Reckitt (London: Serpent’s Tail, 1997), 430–44. 35. In Homosexual Desire Guy Hocquenghem argues for a radical queer politics that would involve the social reclamation of the anus in a bid to destabi- lize the dominant phallic principle. He writes that the ‘the anus does not practise discrimination’, given that ‘seen from behind we are all women’. See Homosexual Desire, trans. Daniella Dangoor (London and Durham: Duke University Press, 1993), 101. In a sense, I like to think that this anticipates David Wills’ idea of ‘dorsal ethics’ espoused in Dorsality: Thinking Back through Technology and Politics (Minneapolis: University of Minnesota Press, 2008). Sexuality, according to Wills, ‘is not, at least not in the first instance, determined as hetero- or homosexual, as vaginal or anal, as human (or indeed animal) or prosthetic, not even as embracing or penetrating but which implies before all else a coupling with otherness’. (p. 12) 208 Notes

36. Amelia Jones, ‘Holy Body: Erotic Ethics in Ron Athey and Juliana Snapper’s Judas Cradle’, The Drama Review, vol. 50, no. 1 (Spring 2006): 159–69. 37. Philip Auslander, Liveness: Performance in a Mediatized Culture (London and New York: Routledge, 1999). 38. Slavoj Žižek, Organs Without Bodies (London and New York: Routledge, 2004), 184. 39. Nicolas Abraham and Maria Torok, ‘The Lost Object – Me: Notes on Endocryptic Identification’ (1975), in The Shell and the Kernel, Vol. 1 (Chicago: The University of Chicago Press, 1994), 141. 40. Ibid., 142. 41. Julia Kristeva, Revolution in Poetic Language, trans. Margaret Waller, foreword by Leon S. Roudiez (New York: Columbia University Press, 1984), 25. 42. Lawrence Steger, words spoken in Incorruptible Flesh, performed at Cankarjev Dom, Ljubljana on 29 July 1997. 43. Mary Richards, ‘Ron Athey, A.I.D.S. and the Politics of Pain’. 44. Timothy Murray, Mimesis, Masochism, and Mime: The Politics of Theatricality in Contemporary French Thought (Ann Arbor: the University of Michigan press, 1997), 15. 45. Steger speaking in performance. 46. Judith Butler, ‘Imitation and Gender Insubordination’ (1991), in The Lesbian and Gay Studies Reader, eds. Henry Abelove, Michèle Aina Barale, and David M. Halperin (London and New York: Routledge, 1993), 307–20; 314. 47. Sigmund Freud, ‘Remembering, Repeating and Working-Through’ (1914), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XIX, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 150. 48. Ibid., 155. 49. Sigmund Freud, ‘Psycho-Analytic Notes on an Autobiographical Account of a Case of Paranoia (dementia paranoids)’ in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 1–82; 71. 50. André Green, ‘The Dead Mother’ in On Private Madness (London: Hogarth Press and the Institution of Psycho-analysis, 1986), 142–73, 152 51. Joachim F. Danckwardt and Peter Wegner, ‘Performance as Annihilation or Integration’. The International Journal of Psychoanalysis, vol. 88, part 5, October 2007, 1117–33; 1119. 52. Amelia Jones, ‘Holy Body: Erotic Ethics in Ron Athey and Juliana Snapper’s Judas Cradle’, 160. 53. Ibid.,168. 54. Ibid., 161. 55. Ibid., 166. 56. Franko B in interview with Robert Ayers, ‘Listening to Franko B: Blood Bravery and Beauty’, in Body Probe: Torture Garden 2: Mutant Flesh and Cyber Primitive (London: Creation Press, 1999), 69. 57. Ibid., 74. 58. Although less forthcoming than Athey about his personal background, Franko admits to certain details that are crucial to understanding the Notes 209

relationship between certain figures and authority systems referenced in his work. Franko spent much of his childhood in a climate of religious fervour at a Catholic orphanage in Brescis in Northern Italy. While he returned to live with his mother at the age of seven, he was soon sent away to the Red Cross, close to Lake Mergozzo. See Sarah Wilson, ‘Franko B: Haute Surveillance, Haute Couture’, in Franko B, Manuel Vason, Gray Watson and Sarah Wilson, Franko B: Oh Lover Boy (London: Black Dog, 2001), Unpaginated. 59. Words spoken in interview with Patrick Campbell and Helen Spackman in ‘With/out An-aesthetic: The Terrible Beauty of Franko B’, The Drama Review, vol. 42, no. 4, (1998): 56–74; 64. 60. Franko B, Shelf Life (London: Two10 Gallery/The Wellcome Trust, 2000), 6–7. 61. Antonin Artaud, ‘Saint Francis of Assisi’, in Antonin Artaud, Selected Writings (Berkeley: University of California Press, 1973), 5. I acknowledge that Sarah Wilson makes this comparison with Artaud in her essay in Oh Lover Boy, unpaginated. 62. Patrick Campbell and Helen Spackman, ‘With/out An-aesthetic: The Terrible Beauty of Franko B’, 64. 63. Stephen Di Benedetto, ‘The Body as Fluid Dramaturgy: Live Art, Corporeality and Perception’, in Journal of Dramatic Criticism, vol. XIV, no. 2 (2002): 4–15; 4. 64. Francesca Alfano Miglietti in interview with Franko B in Extreme Bodies: The Use and Abuse of the Body in Art (Milan: Skira, 2003), 234–9; 239. 65. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (1990), (London and New York: Routledge, 2008), 85. 66. While the cross draws attention to HIV, Franko does not claim to be HIV positive like Athey. 67. Cathy Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore: Johns Hopkins University Press, 1996), 91. 68. It is important to remember, however, that while institutional abuse is staged, Franko directs the piece at his/a mother in the title, ultimately implicating her as a root problem. Unlike Athey, however, Franko’s maternal address is less fraught with explicit concerns surrounding feminine identification than it is with abandonment. 69. Gilles Deleuze and Félix Guattari, A Thousand Plateaus, Capitalism and Schizophrenia (1972), trans. Brian Massumi (London and New York: Continuum, 2004), 167. For Deleuze and Guattari, the Body Without Organs is an open, potentialized intensity, ‘full of gaiety, ecstasy, and dance’ (p. 167). 70. Franko B interviewed by Gray Watson in Oh Lover Boy, unpaginated. 71. Theodor Reik, Masochism in Sex and Society, trans. M. H. Beigel and G. M. Kurth (London: Grove Press, 1962), 44–91. 72. See Body Probe or Campbell and Spackman interview. 73. Elisabeth Bronfen, ‘The Body and its Discontents’, in Body Matters: Feminism, Textuality, Corporeality, eds. Avril Horner and Angela Keana (Manchester: Manchester University Press, 2000), 109–23. 74. Slavoj Žižek, The Puppet and the Dwarf: The Perverse Core of Christianity (London and Cambridge, Massachusetts: MIT Press, 2003), 103. 210 Notes

75. René Girard, Violence and the Sacred, trans. Patrick Gregory (Baltimore: John’s Hopkins University Press, 1995), 8. I also acknowledge here Dawn Perlmutter’s elucidation of Girard’s theorization of sacrificial crisis in ‘The Sacrificial Aesthetic: Blood Rituals from Art to Murder’, in Anthropoetics, vol. 5, no. 2 (Fall 1999–Winter 2000). Read at http://www.anthropoetics.ucla.edu/ap0502/ blood.htm 76. Ibid., 12, 39. 77. Ibid., 34, 39. 78. Ibid., 12. 79. Ibid., 38. 80. René Girard, Violence and the Sacred, 36. 81. Dawn Perlmutter, ‘The Sacrificial Aesthetic: Blood Rituals from Art to Murder’ 82. Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998), 82. 83. José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity, 173. 84. Jacques Derrida, ‘Economimesis’, in Diacritics, vol. 11, no. 2, trans. R. Klein (1981): 3–25; 9. 85. Ibid. 86. Jacques Derrida, ‘The Theatre of Cruelty and the Closure of Representa- tion’, 43. 87. Mary Richards, ‘Ron Athey, A.I.D.S. and the Politics of Pain’. 88. Ibid. 89. Ibid. 90. Amelia Jones, ‘Dis/playing the Phallus: Male Artists Perform their Masculinities’, in Art History, vol. 17, no. 4 (1994): 546–84; 557. 91. Francesca Alfano Miglietti, Extreme Bodies: The Use and Abuse of the Body in Art, 34. 92. Maurizia Boscagli, Eye on the Flesh: Fashions of Masculinity in the Early Twentieth Century (Colorado: Westview Press, 1996), 5. 93. In ‘Beyond the Pleasure Principle’, Freud suggests that the fort/da game he played with his grandson, in which an object repeatedly disappeared and returned, allowed the boy to manage his anxiety about the absences of his mother. But this repetition of anxiety also has implications for managing ‘trouble’ and securing subjectivity in the long term: ‘each fresh repetition seems to strengthen the mastery they are in search of’ (p. 35). See ‘Beyond the Pleasure Principle’, (1920) in The Standard Edition of the Complete Psychological Works of Sigmund Freud, XVIII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001). 94. Julia Kristeva, Revolution in Poetic Language, 70. 95. Rebecca Schneider, The Explicit Body in Performance (London and New York: Routledge, 1997), 24. 96. See Johannes Birringer, Theatre, Theory, Postmodernism (Bloomington and Indianapolis: Indiana University Press, 1991), 203. 97. Kristeva suggests that the process of separation is fundamental to the corps propre or clean body. However, while the clean body is the opposite to the abject body, the former is dependent upon the latter for its constitution, which can only be secured via repeated processes of othering. Notes 211

6 David Blaine, Fathers 4 Justice, and the Spectacle of Heroic Masculinity

1. Adam Phillips, Houdini’s Box: On the Arts of Escape (London and New York: Faber and Faber, 2002), 15. 2. Jacques Lacan, The Seminar of Jacques Lacan, The Other Side of Psychoanalysis, Book XVII, 1969–70, trans. Russell Grigg, ed. Jacques-Alain Miller with notes by Russell Grigg (London and New York: W. W. Norton, 1993), 81. 3. Jean Baudrillard, Simulacra and Simulations, trans. Shelia Fariah Glaser (Ann Arbor: University of Michigan Press, 1994), 1. 4. Jacques Lacan, The Seminar of Jacques Lacan, The Other Side of Psychoanalysis, 81. 5. In The Emancipated Spectator Jacques Rancière argues for the need to challenge the opposition between seeing and acting which inflects many twentieth- century ideas concerning what constitutes community/political theatre. Rancière suggests that ‘viewing is also an action, that confirms or transforms the distribution of positions’. See The Emancipated Spectator (London and New York: Verso, 2009), 13. 6. Paul Allain and Jen Harvie, ‘Protests, Demonstrations and Parades’, in The Routledge Companion to Theatre and Performance (London and New York: Routledge, 2006), 194–5. 7. Jan Cohen-Cruz, ed., ‘General Introduction’, in Radical Street Performance (London and New York: Routledge, 1998), 1–6; 1. 8. Ibid. 9. Ibid. 10. Guy Debord, The Society of the Spectacle (1967), trans. Ken Knabb (Rebel Press: London, 2004), 10–11. 11. Scot Lehigh, ‘And for David Blaine’s Next Feat’, The Boston Globe, 10 May 2006. Read at http://www.boston.com/news/globe/editorial_opinion/oped/ articles/2006/05/11/AndforDavidBlainesnextfeat/ 12. David Blaine, Frozen in Time (Documentary), Dir. Roger Goodman, Patrice Productions, 2000. 13. Ibid. 14. Ibid. 15. David Blaine, Vertigo (Documentary), Dirs. Michael Dimich and Jacob Septimus, Dakota North Entertainment, 2002. 16. Ibid. 17. Anita Biressi, ‘“Above the Below”: Body Trauma as Spectacle in Social/Media Space’. Journal for Cultural Research, vol. 8, no. 3 (2004): 335–52; 346–7. 18. Blaine interviewed in Above the Below, Dirs. Harmony Korine and Steve Smith, Channel Four Television, 2003. 19. Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (New York: Cornell University Press, 1986), 21–2. 20. Ibid. 21. Ibid. 22. Peta Tait, ‘Feminine Free Fall: A Fantasy of Freedom’, in Performance: Critical Concepts in Literary and Cultural Studies, vol. II, ed. Philip Auslander (London and New York: Routledge, 2003), 207–15; 207–8. 23. Ibid., 210. 24. Ibid., 211. 212 Notes

25. Ibid., 213. 26. Blaine interviewed in Above the Below (Documentary). 27. Anita Biressi, ‘Above the Below’, 344. 28. Ibid., 347. 29. Márta Korbonits, David Blaine, Marinos Elia, and Jeremy Powell-Tuck, ‘Refeeding David Blaine – Studies after a 44-Day Fast’. The New England Journal of Medicine, vol. 353, no. 21 (November 24, 2005): 2306–7 30. Franz Kafka, ‘A Hunger Artist’, (1922) in The Complete Short Stories, ed. Nahum N. Glatzer, trans. Willa and Edwin Muir (London: Vintage, 2005), 268–77; 269–70. 31. Ibid., 272. 32. On 21 October 2003, campaigners Eddie Gorecki and Jonathan Stanesby scaled the Royal Courts of Justice, dressed as Batman and Robin. Ten days later, group member David Chick scaled a crane near Tower Bridge, London, dressed as Spider Man. On the morning of 22 December 2003, campaigners Eddie Gorecki, Jolly Stanesby, Michael Sadeh, and Steve Battleshild dressed as Santa Claus and climbed on top of Tower Bridge. Outside the United Kingdom, a protest by a member dressed as Robin the Boy Wonder was held for 12 hours on the Pattullo Bridge in Vancouver, British Columbia, Canada. On 6 May 2005 the group made headlines after a member dressed as Superman climbed up scaffolding in Old City Hall in Toronto, Ontario. 33. Matt O’Connor, Fathers 4 Justice: The Inside Story (London: Weidenfeld & Nicolson, 2007), 54–5. 34. Ibid. 35. Ibid., 78. 36. Ibid., 80. 37. Ibid. 38. Ibid., 80–1. 39. Calvin Thomas, ‘Last Laughs: Batman, Masculinity, and the Technology of Abjection’. Men and Masculinities, 2 ( July 1999): 26–46; 26. 40. Recounting his earlier book Male Matters in ‘Last Laughs: Batman, Masculinity, and the Technology of Abjection’, Calvin Thomas writes, ‘I suggest that the cloaca theory helps account for the abject or expelled status of that “lost object” that Lacan says is the phantasmatic support of the subject, and I argue that the “instinct for mastery” that motivates the fort/da game may also be motivated by the boy’s desire to overcome his feelings of helpless and abject passivity by symbolizing the mother’s body as a small, passive, controllable object. In so doing, I suggest, the boy attempts to disavow not only his own dependency on the mother as an active subjective agent, but also an anxious feeling of a deep ontological shittiness at the core of the subjective existence itself’. (pp. 26–7). 41. Calvin Thomas, ‘Last Laughs: Batman, Masculinity, and the Technology of Abjection’, 29. 42. Baz Kershaw, ‘Fighting in the Streets: Dramaturgies of Popular Protest, 1968–1989’, in Performance: Critical Concepts in Literary and Cultural Studies, vol. III, ed. Philip Auslander (London and New York: Routledge, 2003), 266–92; 269. 43. Ibid. Notes 213

44. Calvin Thomas, ‘Last Laughs: Batman, Masculinity, and the Technology of Abjection’, 29. 45. Ibid. 46. In The Ethics of Psychoanalysis Lacan states, ‘Shouldn’t the true termination of analysis […] in the end confront the one who undergoes it with the reality of the human condition […] the state in which man is in that relationship to himself which is his own death […] and can expect help from no one’ (p. 373.) See Jacques Lacan, The Ethics of Psychoanalysis, 1959–60: The Semi- nar of Jacques Lacan, Book VII, trans. with notes by David Porter, ed. Jacques- Alain Miller (London and New York: Routledge, 2008).

7 The Jackassification of Male Trouble: Incorporating the Abject as Norm

1. Leo Bersani in Leo Bersani and Adam Phillips, Intimacies (London and Chicago: The University of Chicago Press, 2007), 121. 2. Slavoj Žižek, The Ticklish Subject: The Absent Centre of Political Ontology (London and New York Verso, 1999), 334. 3. Garry Whannel, ‘Sports Stars, Narrativization and Masculinities’, Leisure Studies, no. 18 (1999): 249–65; 257. 4. Pat Stack, ‘Stack on the Back’, Socialist Review, no. 203 (1996). Read at http:// pubs.socialistreviewindex.org.uk/sr203/stack.htm 5. Cintra Wilson, ‘Men Who Hurt Themselves for a Living’. Read at http:// www.salon.com/people/feature/2002/05/21/blaine/ 6. Jackass: The Movie. Dir. Jeff Tremaine, MTV and Dickhouse Productions, 2002. 7. It is worth mentioning that Jackass 3D is due for cinema release in 2010. 8. Tony Jefferson, ‘Muscle, Hard Men and Iron Mike Tyson: Reflections on Desire, Anxiety and the Embodiment of Masculinity’, Body and Society, vol. 4, no. 1 (1998): 77–98, 78. 9. Ibid., 80. 10. Ibid., 81. 11. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982): 1. 12. Ibid., 32. 13. Ibid., 2. 14. Ibid., 5. 15. Ibid., 2. 16. Ibid., 3. 17. Ibid. 18. Klaus Theweleit, Male Fantasies, Vol. 1 (Cambridge: Polity Press,1987), 244. 19. Sigmund Freud, ‘Analysis Terminable and Interminable’ (1937), in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume XXIII, trans. and ed. James Strachey, in collaboration with Anna Freud and assisted by Alix Strachey and Alan Tyson (London: Vintage, 2001), 211. 20. Jacques Lacan, ‘Aggressivity in Psychoanalysis’ (1948), in Écrits: A Selection, (1977) trans. Alan Sheridan (London and New York: Routledge, 2001), 13. 214 Notes

21. Alan Peterson, The Body in Question: A Socio-Cultural Approach (London and New York: Routledge, 2007), 111. 22. Kent Williams, ‘Their Bodies, Ourselves: What the Growing Popularity of Pain and Humiliation as Entertainment says about all of us’, in Philadelphia City Paper. Read at http://www.citypaper.net/articles/2002-08-08/cover.shtml 23. Tony Jefferson, ‘Muscle, Hard Men and Iron Mike Tyson’, 83. 24. Theodor Reik, ‘Masochism in Modern Man’ an extract from the book published in The Cassell Dictionary of Sex Quotations, ed. Alan Isaacs, (London: Cassell, 1997), 228–9. 25. Jacques Lacan, The Seminar of Jacques Lacan, Freud’s Papers on Technique, Book 1, 1953–1954, ed. Jacques Allain Miller, trans. with notes by John Forrester (London and New York: W. W. Norton, 1991), 42. 26. Klaus Theweleit, Male Fantasies, vol. 2 (Cambridge: Polity Press, 1989), 319–20. 27. Leo Bersani, ‘Is the Rectum a Grave’, in AIDS: Cultural Analysis/Cultural Activism, ed. Douglas Crimp (London and Cambridge, Massachusetts: MIT Press, 1988), 197–222; 218. 28. Leo Bersani, ‘Is the Rectum a Grave’, 222 29. Lee Edelman, Homographesis: Essays in Gay Literary and Cultural Theory (London and New York: Routledge, 1994), 238. 30. Nicolas Abraham and Maria Torok, The Shell and the Kernel, vol. 1, trans. and ed. Nicolas T. Rand (Chicago: The University of Chicago Press, 1994), 113. 31. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, (1990) (London and New York: Routledge, 2008), 92. 32. Garry Whannel, ‘Sports Stars, Narrativization and Masculinities’, 256. 33. Jacques Derrida and Elizabeth Roudinesco, For What Tomorrow … (Standford: Stanford University Press, 2004), 66. 34. See Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, (1972) trans. Brian Massumi (London and New York: Continuum, 2004). In this text Deleuze and Guattari outline a non- hierarchized theory of becoming, available to men, women, animals, vegetables, molecules, ad infinitum, that involves Becoming-Intense, Becoming-Animal, Becoming-Imperceptible. 35. Mikhail Bakhtin, Rabelais and His World, (1941), trans. Hélène Iswolsky (Bloomington and Indianapolis: Indiana University Press, 1993), 25. 36. Jacques Derrida and Elizabeth Roudinesco, For What Tomorrow …, 70. 37. See Allan Bloom, The Closing of the American Mind (New York: Simon and Schuster, 1987) and Jean Baudrillard, ‘The Implosion of Meaning in the Media and the Information of the Social in the Masses’, in Myths of Information: Technology and Post-Industrial Culture, ed. Kathleen Woodward (Madison: Coda Press, 1980), 137–48. 38. E. Ann Kaplan, ‘Feminism/Oedipus/Postmodernism: The Case of MTV’, in Postmodernism and its Discontents, ed. E. Ann Kaplan (London and New York: Verso, 1988), 30–44; 33–6. 39. David Miller’s Response to Pat Stack, Socialist Review, no. 204 ( January 1997). Read at http://pubs.socialistreviewindex.org.uk/sr204/letters.htm 40. Estella V. Welldon, Ideas in Psychoanalysis: Sadomasochism (Cambridge: Icon books, 2002), 35. Notes 215

41. Jerome Doolittle, ‘Desperately Seeking Empire’, in Bad Attitudes journal/ weblog. Read at http://badattitudes.com/MT/archives/2002/10/ 42. Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985), 1. 43. Ibid., 21. 44. Claude Lèvi-Strauss, The Elementary Structures of Kinship (Boston: Beacon Press, 1969), 115. 45. Eve Kosofsky Sedgwick, ‘The Beast in the Closet: James and the Writing of Homo sexual Panic’, in The Masculinity Studies Reader, eds. Rachel Adams and David Savran (Oxford and Malden, Massachusetts: Blackwell, 2002), 158–73; 164. 46. Slavoj Žižek, The Ticklish Subject, 334. 47. Ibid., 248. 48. Ibid., 322. Žižek describes the big Other as the ‘real father’: the castrating agent of the prohibitive ‘No!’ in contrast to the small others, or imaginary father/prohibitions he sees as proliferating the contemporary world. 49. Ibid., 334. 50. Lacan suggests that the mirror stage confronts the subject with his/her own fragmentation, while also spurring him/her to regain the (pre-mirror stage) presumed ‘orthopaedic’ self. See Jacques Lacan, ‘The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Practice’ (1949), in Écrits, 4–5. 51. Chris Jenks, Transgression (London and New York: Routledge, 2003), 2. 52. Ibid., 7. 53. Kent Williams, ‘Their Bodies, Ourselves’. 54. Steve Burgess, ‘The Jackass Effect: Why I Watch the Evil Spawn of Candid Camera that Punk’d Our Culture’. Read at http://www.thetyee.ca/ Entertainment/2004/06/02/The_Jackass_Effect/ 55. Mikhail Bakhtin, Rabelais and His World, 10. 56. Robert Stam, ‘Bakhtin and Left Cultural Critique’, in Postmodernism and Its Discontents, ed. E. Ann Kaplan (London and New York: Verso, 1988), 116–45; 134. 57. Ibid., 140. 58. E. Ann Kaplan, ‘Feminism/Oedipus/Postmodernism: The Case of MTV’, 33. 59. Robert Stam, ‘Bakhtin and Left Cultural Critique’, 135. 60. Ibid. 61. Ibid. 62. Ibid., 149. 63. Ibid., 155. 64. Slavoj Žižek, The Ticklish Subject, 328. 65. I am thinking here about the trajectories of transformation suggested by Slavoj Žižek’s notion of the ‘act’ and Alain Badiou’s theory of the ‘event’, that might create productive ruptures in the (postmodern) norm. While both philosophers make provocative arguments for breaking with the established order, which would also include a redefinition of the subject, I am also mindful that the subject that concerns me here is very much the subject who comes, if you like, before the act/event. Also, I remain wary of the kind of violence that such moments might unleash, and consequently 216 Notes

in my last chapter I appeal to the act/event of fragilization rather than revolt, which always demands its own kind of sacrifice.

8 An Ethic of Fragilization

1. This is how Lacan frames Oedipus’s questions in the paper ‘Desire, Life and Death’ (1955). See Jacques Lacan, The Seminar of Jacques Lacan, The Ego in Freud’s Theory and in the Technique of Psychoanalysis, Book II, 1954–1955, trans. Sylvana Tomaselli, ed. Jacques-Alain Miller with notes by John Forrester (London and New York: W. W. Norton, 1991), 230. 2. Alain Badiou in interview with Diana George at ‘Is a History of the Cultural Revolution Possible?’ Conference at University of Washington, February 2006. Read at http://www.16beavergroup.org/mtarchive/archives/ 002075.php 3. Bracha L. Ettinger, The Matrixial Borderspace (London and Minneapolis: University of Minnesota Press, 2006), 189. 4. Eve Kosofsky Sedgwick draws attention to the difficult place of the feminine not only in straight male culture, but also in gay culture. She writes, ‘Indeed, the gay movement has never been quick to attend to issues concerning effeminate boys. There is a discreditable reason for this in the marginal or stigmatized position to which even adult men who are effeminate have often been relegated in the movement. A more understandable reason than effeminophobia, however, is the conceptual need of the gay movement to interrupt a long tradition of viewing gender and sexuality as continuous and collapsible categories […] To begin to theorize gender and sexuality as distinct though intimately entangled axes of analysis has been, indeed, a great advance of recent lesbian and gay thought. There is a danger, however, that the advance may leave the effeminate boy once more in the position of the haunting abject – this time the haunting abject of gay thought itself.’ See ‘How to Bring Your Kids Up Gay’, in Fear of a Queer Planet: Queer Politics and Social Theory, ed Michael Warner (London and Minneapolis: University of Minnesota Press, 1994), 69–81; 72. 5. Michael D. Snediker, Queer Optimism: Lyric Personhood and Other Felicitous Persuasions (Minneapolis: University of Minnesota Press, 2009), 2. 6. Leo Bersani in Leo Bersani and Adam Phillips, Intimacies (London and Chicago: The University of Chicago Press, 2008), 68. 7. Leo Bersani and Ulysse Dutoit, Forms of Being: Cinema, Aesthetics, Subjectivity (London: British Film Institute, 2004), 175–6. 8. Ibid., 165. 9. Ibid., 176–7. 10. Jonathan Dollimore, Death, Desire and Loss in Western Culture (London and New York: Routledge, 1998), 303. 11. Ibid. 12. Leo Bersani in Leo Bersani and Adam Phillips, Intimacies, 55–6. 13. Ibid., 77. 14. Ibid., 85. 15. Slavoj Žižek, Violence (London: Profile Books, 2009), 35. 16. Ibid. Notes 217

17. Ibid., 34. 18. Alain Badiou, Ethics: An Essay on the Understanding of Evil, trans. Peter Hallward (London and New York: Verso, 2002), 10. 19. Ibid., 25. 20. Adrian Johnston, Badiou, Žižek, and Political Transformations: The Cadence of Change (Evanston: Northwestern University Press, 2009), xxx. 21. The subject of queer temporality has become of great interest to a number of scholars working in performance studies. In her introduction to Feminist and Queer Performance: Critical Strategies (Basingstoke and New York: Palgrave Macmillan, 2009), Sue-Ellen Case imagines ‘a slipstream of time, a wormhole of time, a palimpsest of times in which the past, present, and future inter- mingle’ (p. 13). Also, in Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009), José Esteban Muñoz explores queer culture’s anticipatory function, suggesting that art and performance can open windows to the future. 22. Dennis King Keenan, The Question of Sacrifice (Bloomington and Indianapolis: Indiana University press, 2005), 127. 23. Bracha L. Ettinger, The Matrixial Borderspace (London and Minneapolis: University of Minnesota Press, 2006), 179–80. 24. Ibid., 172. 25. Ibid. 26. Slavoj Žižek, ‘Neighbors and Other Monsters’, in The Neighbor: Three Inquiries in Political Theology, eds. Eric L. Santner, Kenneth Reinhard, and Slavoj Žižek (London and Chicago: The University of Chicago Press, 2006), 134–90. 27. Bracha L. Ettinger, The Matrixial Borderspace, 141. 28. Ibid., 167. 29. Ibid. 30. Ibid. 31. Ibid., 169. 32. Jacques Lacan, ‘The Mirror Stage as Formative of the Function of the I as revealed in Psychoanalytic Experience’, (1949), in Écrits: A Selection (1977), trans. Alan Sheridan (London and New York: Routledge, 2001), 5. 33. Bracha L. Ettinger, The Matrixial Borderspace, 181. 34. Ibid., 181–2. 35. Ibid. 36. Ibid. 37. Judith Butler, Precarious Life: The Powers of Mourning and Violence (London and New York: Verso, 2004), xiv 38. Judith Butler, Undoing Gender (London and New York: Routledge, 2004), 28–9. 39. Jacques Rancière, On The Shores of Politics, trans. Liz Heron (London and New York: Verso, 1995), 19. 40. Patricia MacCormack, ‘Inhuman Evanescence’, in Borderlands: Jacques Rancière on the Shores of Queer Theory, eds. Samuel A. Chambers and Michael O’Rourke, vol. 8, no. 2 (2009): 1–17. Read at http://www.borderlands.net. au/issues/vol8no2.html. 41. Taylor Mac singing in Walk, Dir. Michael Snead, 2007. Viewed on http:// www.youtube.com/wacth?v=cu_1WeDEGTA. 42. Based on a production at the Project Arts Centre, Dublin, 15/7/2007. Bibliography

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Films

Blue, Dir. Derek Jarman, Basilisk, 1993. Hallelujah! Ron Athey: A Story of Deliverance. Dir. Catherine Gund, Aubin Pictures, 1999. Frozen in Time. Dir. Roger Goodman, Patrice Productions, 2000. 228 Bibliography

Vertigo, Dirs. Michael Dimich and Jacob Septimus, Dakota North Entertainment, 2002. Jackass: The Movie. Dir. Jeff Tremaine, MTV and Dickhouse Productions, 2002. InterMission. Dir. John Crowley, Brown Sauce Film Productions, 2003. Above the Below, Dirs. Harmony Korine and Steve Smith, Channel Four Television, 2003. The Passion of the Christ. Dir. Mel Gibson, Icon Productions, 2004. Jackass: The Box Set. Dir. Jeff Tremaine, MTV and Paramount, 2005. Walk, Dir. Michael Snead, 2007. Index

A Whistle in the Dark 5 Batman 155, 157–158, 212n32 and Abject, the 14, 16, 22–24, 58–59, 65, n40 67–68, 72, 78–80, 84, 88–90, 98, Baudrillard, Jean 13, 97–98, 100, 104, 113, 115–116, 123, 144–145, 102–103, 106, 174 160, 162, 164–165, 176, 181, 186 Be(a)st of Taylor Mac, The 188–190 Abjection 9, 12, 13–15, 23, 34, 45, Beating fantasy 29–32, 42, 207n25 58–59, 66–69, 78–80, 83, 88–90, Beating 42–43, 49–50, 71–72, 75–77, 114, 118, 125–126, 131, 136–136, 79, 111 141, 144–145, 152, 157–158, Berlant, Lauren 56–57 162–165, 174, 178, 183, 187, Bersani, Leo 14, 160, 169–170, 202n68, 212n40, 216n4 183–184, 187 Above the Below 149–155 Beynon, John 4, 9 Abraham, Nicolas 27–28, 122–123, Bigsby, Christopher 5 170 Billy Elliot 7 Abramovi´c, Marina 6 Bio-virtual 107 Abu Ghraib 128–129 Birds, The 48 Acconci, Vito 6 Biressi, Anita 152, 154 Acting out 127–128, 193n40 Blaine, David 6, 13, 34, 161–162. Acuña, Jason 172–173 See chapter 6 Adam and Paul 7 Blasted 5 Agamben, Giorgio 50, 142 Bloodletting 13, 111, 114–115, 130, Albee, Edward 5 133, 136, 141 Alexander the Great 73 Blue 34 Allain, Paul 148 Bond, Edward 5 Angels in America 5 Borderlinking 14, 187 Animal House 180 Boscagli, Maurizia 144 Anti-Semitism 36–3, 41, 49 Boundary-trespass 47, 90 Artaud, Antonin 49, 84, 118, 131, Boyarin, Daniel 40 143, 198n35 Braveheart 40 Athey, Ron 6, 13, 28, 31, 146. Brown, Wendy 109, 111, 113 See chapter 5. For performance Buckingham Palace Protest 155 details see 206n10 Burden, Chris 6, 140, 161–162, 168 Attachment 52, 57, 66–67, 86 Buried Alive 149 Authority 12–13, 19, 38, 41–42, 54, Burton, Tim 157, 72 60–64, 72, 75–76, 78–80, 83, 90–91, Bush, George W. 38, 55 97–98, 106, 113, 118, 120, 126, Butler, Judith 1–3, 10–11, 14, 17, 133–134, 140–141, 143–144, 148, 22–28, 32, 47, 58–59, 61–62, 90, 158, 160, 168, 171, 174–178 95–96, 114, 118–119, 126, 132, 170, 178, 188 Badinter, Elisabeth 22 Badiou, Alain 182, 185–187, 215n65 Campbell, Patrick 17, 22 Bakhtin, Mikhail 174, 180 Candib, Lucy 60 Bataille, George 49–52 Capitalism 87–89, 93, 98, 181

229 230 Index

Caputo, John 35, 53–54 Derrida, Jacques 32, 53–54, 116, Caravaggio 7 142–143, 173 Carlton, Darryl 115 Di Benedetto, Stephen 59–60, 132 Carter, Jimmy (President) 9 Dionysus 112 Caruth, Cathy 135 Dirty Sanchez 161 Carver, Terrell 10–11 Disidentification 21, 27, 109–110, Castration 12, 14, 25, 32, 34, 194n70 40–41, 80, 93, 95, 104, 106, Dismemberment 149, 167, 178 111, 121–122, 124 Dive of Death 149 Cathexis 18, 24–25, 96 Dolan, Jill 119 Catholicism 36 Dunne, Ryan 168, 170–171 Caviezel, James 56 Dutoit, Ulysse 183 Celtic Tiger 11 Chambers, Samuel Allen 10–11 Ébranlement 183. See self-shattering Child, the 48 Edelman, Lee 47–48, 90, 170 Christian 38–39, 45, 47, 49–50, Effeminization 40, 64 55–57, 112, 117, 121–122, 133, 141 Emasculation 3, 9, 34, 58, 63, 155, Christianity 36, 38, 51. See chapter 2. 167, 178 Christ-like 116, 137. See chapter 5. Encryption 28, 123 Circus 153–154 England, Dave 163–167 Clare, Anthony 1, 4 Eroticism 42, 29, 50, 52 Cohen-Cruz, Jan 148 Ethics 14, 113, 129–130, 173, Commodification 88, 111, 178–179, 182–188 181 Ethnic 37, 101, 185 Compassionate Conservatism 56 Ettinger, Bracha L. 14, 34, 182, Conditioning, The 6 186–188 Connell, Robert William 8, 14, 91 Excrement 23, 58–59, 68–69, 71 Conservative 11, 36, 38, 55–57 Exhibitionism 126, 139, 157 Corp propre 145 Corpus Christi 5 Faludi, Susan 14 Crawford Municipal Gallery 140 Falwell, Jerry 38, 54 Cross-dressing 61–62, 112–115, Fantasmatic 42, 47–48, 95, 170 117–118, 124, 188 Fantasy 12, 15–16, 27, 29–30, 32, Crucifixion 37, 42–45, 54, 121, 138, 66, 69–70, 76, 81, 92, 94–96, Cut, The 104 107, 117, 147, 153, 172–173, 186, 188 Danckwardt, Joachim F. 127–128 Farrell, Colin 72–73, Daredevil 73 77, 83 Dargis, Manohla 6 Fascism 165 David Blaine: Magic Man 148 Fathers 4 Justice 6, 13, 34. David Blaine: Street Magic 148 See chapter 6. Dean, Tim 107 Faust is Dead 5, 13. See chapter 4. Death-drive 38, 48, 90 Feminism 2, 6, 9, 160–161, 175 Debord, Guy 148 Fetishism and fetishization 48, Dehumanize 48, 52 53–54, 72, 110, 112, 114, 122, 125, Deleuze, Gilles 92, 117, 137, 173 171, 181 Deliverance 111–112, 117, Fight Club 7, 73 120–123 Fincher, David 7, 72 Denby, David 37 Flanagan, Bob 6 Index 231

Foucault, Michel 87–100, 104, 142 HIV/AIDS 2, 7, 13, 34, 39, 47, 90, Four Scenes in a Harsh Life 111–121, 109, 111–112, 115, 120–122, 125– 134, 136 126, 133 Fragilization 14. See chapter 8 Hocquenghem, Guy 121 Franko B 6, 13, 28, 31, 146. Homecoming, The 5 See chapter 5. For performances Homo sacer 50, 56, 142 details see 206n10 Homographesis 90 Freedman, Jonathan 41 Homophobia 2, 13–14, 40, 59–61, Freud, Sigmund 15–18, 23–27, 65, 73, 89–90 29–34, 40, 42, 45, 49, 52, 66–70, Homosexual panic 176 74–75, 79, 87, 93, 95–96, Homosexuality 3, 5, 7, 10, 12–13, 104–105, 112, 115, 117, 22, 24–26, 30–31, 37–40, 43, 121–123, 126–128, 132, 163, 46–47, 50, 56, 63, 66–69, 78–79, 83, 165, 169 111, 117, 119–121, 128, Fricker, Karen 67 140–142, 169–170, 175–176, 178– Friel, Brian 5 179. See chapter 4 Frozen in Time 149–155 Homosocial 67, 78, 161, 166, Full Monty, The 7 175–176, 200n34 Fuss, Diana 25–27, 64–65, 95–96, Houdini, Harry 146 104–105 House of Commons Protest 155 Futurity 47–48 Hunger Artist, The 154–155 Hypermasculinity 42, 55, 57, 60–61, Galperin, William 181 64–65, 72–74, 76, 78, 80–81, 83, Geller, Jay 41 115, 170 Genet, Jean 128 Hysteria 17, 28, 160, 177–178, Gibson, Mel, See chapter 2 187 Girard, René 4, 12, 36, 55–57, 141–142 I’m Not Your Babe 136–138 Glengarry Glen Ross 4 Iceman Cometh, The 149 Greatest Story Ever Told, The 36 Identification 12, 13, 15, 17–19, Green, André 127 21–28, 32, 45, 49–50, 56, 59, 64–68, Gross, Martin 87–88, 97 70, 75, 78–79, 81, 87, 89, 91, 93, Guantánamo 128–129 95–97, 100, 104–105, Guattari, Félix 92, 137, 173 112, 121, 128, 130, 133, 141, Guerrilla performance 2, 11, 146, 170, 178, 148, 155, 158 Impotency 59–60, 62, 65, 76, Gutenberg, Andrea 140 80–81, 83 Gynophobia 122 In A Little World of Our Own 5 Incorporation 18, 27–28, 50, 123, Hamlet 91 170, 181 Harvie, Jen 148 Incorruptible Flesh 111, 112, Heddon, Dee 110 123–128 Hegel, Georg W.F. 16, 81–82 Indestructibility 142–145, 165, 172 Hegemony 8, 11, 15, 38, 69, 78, 90, Infantilization 115, 130–132, 160, 91, 93, 188 171, 177 Heterosexism 119, 124 InterMission 7, 12, 32. See chapter 3 Heterosexuality 7, 10, 25, 89, Interpellation 19, 23, 91 97, 119, 126, 160, 169, 170, Introjection 27, 32, 170 174–176, 179 Irigaray, Luce 22, 44 232 Index

Jackass 13–14, 31, 157. MacCormack, Patricia 188 See chapter 7 Made in China 5, 12, 96. Jakobsen, Janet R. 38 See chapter 3 James, Henry 176 Mama I Can’t Sing 133–136 Jameson, Fredric 13, 87–89, 104 Mamet, David 4 Jarman, Derek 7, 34 Man Without a Face, The 40 Jeffords, Susan 9 Mangan, Michael 9 Jenks, Chris 179 Margera, Bam 171–172 Jesus of Nazareth 36 Martyrs and Saints 112–123 Johnston, Adrian 185 Masochism 7, 10, 14–15, 29 31–32, Jones, Amelia 13, 121, 129–130, 34, 70, 80, 93, 95, 111, 125, 175, 142 178 Jouissance 16, 33, 43, 51, 80, 107, Maternity 21, 26, 66–67, 80, 112, 141, 146–147, 155, 177, 184, 121, 131, 133, 136, 141 187, 196n122 McGhehey, Ehren 164–165 Joyce 112 McNally, Terence 5 Judas Cradle 128–130 McPherson, Conor 59 Judeo-Christian 39 Melancholia 17–18, 24–28 Messner, Michael 14 Kafka, Franz 154 Micropolitics 104 Kahn, Coppélia 21 Middleton, Peter 64–65 Kane, Sarah 5 Miglietti, Francesca Alfano 144 Kaplan, Ann 174 Mikkel Borch-Jacobsen 68, 81 Keidan, Lois 5–6 Miller, David 175 Kimmel, Michael 14 Miller, Toby 73 King of Kings 36 Misogyny 14, 59–61, 65, 73, 112, Knoxville, Johnny 161–163, 114, 125, 143, 156 165–168, 171–174 Mitchell, Gary 5 Kojève, Alexandre 81–82 Mosse, George 9 Kristeva, Julia 12–13, 22–24, 26, 33, Mourning 17–18, 24–25, 27, 79, 96, 45, 58, 67–68, 78, 80, 88–89, 124, 123, 138–139 126, 133, 144, 164–165, 180. MTV 14, 87, 105, 161, 168, 174, See abject and abjection 181 Kubiak, Anthony 109 Mulvey, Laura 6, 76–77 Kushner, Tony 5 Muñoz, José Esteban 13, 17, 109–110, 142 Labour Party 11 Murphy, Tom 5 Lacan, Jacques 13, 17–21, 23–26, Murray, Timothy 125 32–34, 38, 43–44, 51, 61, 66, 68, 71, 77, 81–82, 84, 87–88, 91, 95–96, Narcissism 139, 145, 184 105–107, 119, 126, 146–147, 158, National Theatre of Ireland 163, 167, 169, 178, 182, (Abbey) 59 186–187 Neilson, Anthony 5 Laddism 13–14, 160–162, 171–172, Nietzsche, Friedrich 113, 144 175–176 Laing, Stewart O’Rowe, Mark 5, 12. See chapter 3 Last Temptation of Christ, The 36 Objet a 77, 81–82 Lenau, Nikolaus 97 Oedipus complex 18–24, 29, 32–33, Lion King, The 91 87, 95–96, 170, 176 Index 233

Oedipus Rex 4 Royal Court (theatre) 87 Oh Lover Boy 138–140, 156 Rude Guerrilla (theatre company) 98 Optimism (queer) 183 Ordinary Decent Criminal 73 S.W.A.T. 73 Out of Joint (theatre company) 87, Sacrifice 7, 10, 12–13, 21–22, 29, 89, 94 33–35, 58, 107, 112–113, 117, 121, 130–131, 136, 140–142, 178, 182– Pane, Gina 6 184. See chapter 2. Passion of the Christ, The 12, 31. Sadism 42, 70 See chapter 2 Sadomasochism 69–71, 179 Pêcheux, Michel 27 Saint Paul 33, 38, 53 Pellegrini, Ann 38 Saved 5 Penetrator 5 Savran, David 14–15, 30 Peterson, Alan 167 Scarry, Elaine 103 Pettitt, Lance 83 Scatology 59, 65, 68, 162–168, Phallic masculinity 21, 35, 61, 199n10, 144–145, 182 Scatontological 12, 71, 192n33, Phallocentrism 22–23, 143, 184, 201n52 186 Schizophrenia and schizoid Phallogocentrism 43 subjectivity 13, 87–88. Phantasy 20, 31, 187 See Gilles Deleuze and Félix Phantom 123 Guattari Phelan, Peggy 114 Schmitt, Richard 60 Philadelphia Here I Come 5 Schneemann, Carolee 6 Phillipou, Nick 97 Schneider, Rebecca 144 Phillips, Adam 146, 184 Sebastiane 7 Pinter, Harold 5 Sedgwick, Eve Kosofsky 67, 175–176, Pitchfork Disney 96 200n34, 216n4 Prisoner of Love 128 Segal, Lynn 7–8, 14 Prohibition 128 Self-harm 13, 98, 105, 112–116, 125, Prothero, Stephen 55 128, 130, 133, 144, 161, 172, 175 Psychosis 186–187 Self-shattering 169–170, 183–184 Shoot 6, 168 Quinn, Michael 73 Shopping and Fucking 5, 13. See chapter 4 Raab, Chris 163 Sick 140 Rancière, Jacques 147, 188 Sierz, Aleks 5, 97 Rank, Otto 186 Silverman, Kaja 15 Ravenhill, Mark 5, 13, 34. Snapper, Julia 128 See chapter 4 Snead, Matthew 188–189 Reik, Theodor 139, 169 Snediker, Michael D. 183, 189 Republican administrations 11, South Park 37 38, 56 Spacey, Kevin 149 Ressentiment 72, 113 Stallybrass, Peter 15–16, 69, 152 Rich, Frank 38–39 Stam, Robert 180 Richards, Mary 119–120,124, 143 Steger, Lawrence 123–128 Ridley, Philip 96 Stein, Gertrude 112 Robertson, Pamela 7–8 Steve-O 163–164, 169–171, 173–174, Rose, Jacqueline 22, 27 176 234 Index

Stewart, Suzanne R. 93 Vertigo 149–155 Stylites 150 Victimization 9, 10, 12, 15, 34, Superhero 155–159 59, 72, 74–76, 78–79, 82–83, 111, 113, 116, 122, 178, Tait, Peta 153 182–183 Tarantino, Quentin 7 Viennese Aktionists 6 Taylor Mac 12, 14, 188–190 Virtuality 102–103, 106–107, Taylor, Charles 8 205n72 Temporality 185–190, 217n21 Visiting Hours 6 Theweleit, Klaus Viva La Bam 161 Thin Red Line, The 184 This Lime Tree Bower 5 Weakness 53–54, 63, Thomas Lips 6 177–178 Thomas, Calvin 1, 12, 15, 71, Wegner, Peter 127–128 157–158 Whannel, Garry 160 Three Tall Women 5 When Brendan Met Trudy 7 Tigerland 73 White, Allon 15–16, 69, 152 Torok, Maria 27–28, 122–123, 170 Wildboyz 161 Tower Bridge Protest 155 Working through 126–128, 131, Trademarks 6 136, 143 Trans-fixed 140 Wounded attachment 109, 111, Trauma 9, 11, 34, 111–113, 115–116, 140, 142, 145 122–123, 125,127–128, 130–131, 133, 135–136, 145, 154, 183, 187 You Make My Heart Go Boom 140 Young, Iris Marion 89–90 Universalism 185, 187 Up To And Including Her Limits 6 Žižek, Slavoj 12, 33–34, 36, 38, 44, Urban, Hugh 52–53 51, 53, 102, 122, 141, 160, 176–178, Utopia 142, 217n21 181, 184–187, 215n65