By Angela Jones
This anthology is a symposium on queer area and queer utopias. in the course of the presentation of empirical paintings by means of modern queer theorists this ebook goals to create a serious discussion in regards to the emergence of queer areas and the ways that they target to extra queer futurity.
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Additional info for A Critical Inquiry into Queer Utopias
Fuchs’ critique also raises philosophical questions about performance and historical material that are relevant to a consideration of the play within the film. The assertion that the most famous parts of Bent represent “two scenes of phone sex” is prematurely misinformed. Rough, sexual dialogue constitutes for Max and Horst their humanity. As the characters embody the legacy of homosexual suffering during the Holocaust, Max and Horst’s sex is tactically radical. This is literalized in their postcoital conversation: Horst.
66. Translation mine. 67. Nir Barkan, “Yoter Garua Liyot Homo M’yehudi,” Globes Haerev, February 16–17, 2003. Translation mine. 68. Edelman, No Future, 30. 69. Edward Isser, Stages of Annihilation: Theatrical Representations of the Holocaust (Teaneck: Fairleigh Dickinson University Press, 1997), 151. 70. Muñoz, Cruising Utopia, 93. 71. Edward Isser, Stages of Annihilation: Theatrical Representations of the Holocaust (Teaneck: Fairleigh Dickinson University Press, 1997), 153. 72. , 153. 73. Sherman, Bent, 39.
62. Jill Dolan, “Performance, Utopia, and the ‘Utopian Performative,’” Theatre Journal 53, no. 3 (October 2001): 456. 63. Translation mine. 64. Michael Handelzletz, “Rigush im ta’am shel hachmatzah,” Haaretz, June 5, 1983. 65. Judith Halberstam, The Queer Art of Failure (Durham: Duke University Press, 2011), 2–3. 66. Translation mine. 67. Nir Barkan, “Yoter Garua Liyot Homo M’yehudi,” Globes Haerev, February 16–17, 2003. Translation mine. 68. Edelman, No Future, 30. 69. Edward Isser, Stages of Annihilation: Theatrical Representations of the Holocaust (Teaneck: Fairleigh Dickinson University Press, 1997), 151.