Sexuality and Form: Caravaggio, Marlowe, and Bacon

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University of Chicago Press, 2002 M12 15 - 219 pages
This ambitious, wide-ranging study of sexuality, aesthetics, and epistemology covers everything from the aesthetics of war to the works of Caravaggio, Michaelangelo, Christopher Marlowe, and Francis Bacon, synthesizing queer theory and psychoanalysis and demonstrating the role of the body and the flesh as both a problem and a promise within the narrative arts.
 

Contents

Introduction History and the Time of Sexuality
1
A Poiesis of the Body
5
History Theory and Sexuality
13
Reading Bodies Recognition and the Violence of Form
24
Posing and Judgment
27
Logistics and the Fold
40
History and the Flesh Caravaggios Queer Aesthetic
63
Sublimation and Social Fantasy
81
Sodomy and Exnomination
112
On the Soul
121
Sexuality at the Epochal Threshold Baconian Science and the Experience of History
128
Jurisprudence Counterjurisprudence and the Baconian Body Politic
139
The Body that Does Not Convert
159
Conclusion Thinking Sexualities and Beyond
169
Notes
179
Bibliography
203

Traversing History through Paint
90
The Forme of Faustus Fortunes Knowledge Spectatorship and the Body in Marlowes Doctor Faustus
97
Faustus Form and Subjectivity
103

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About the author (2002)

Graham L. Hammill is an associate professor of English at the University of Notre Dame.

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