...Anne Dwyer This essay investigates the linguistic play and geopolitical scenarios in the work of Austrian writer Leopold von Sacher-Masoch (author of Venus in Furs and the man who gave his name to “masochism”) and his younger contemporary, the German-Jewish writer Karl Emil Franzos. Both men grew...

... . ____. Razos and Troubadour Songs . London and New York: Garland, 1990 . Deleuze, Gilles. Coldness and Cruelty. In Masochism . Trans. Jean McNeil. New York: Zone, 1989 . ____. “De Sacher-Masoch au masochisme.” Arguments 5 . 21 ( 1961 ): 40 -46. ____. “From Sacher-Masoch to Masochism.” Trans...

... by Braginskaia Nina Moss Kevin . Translated by Moss Kevin , Harwood Academic Publishers , 1997 . Finke Michael . “ Sacher-Masoch, Turgenev, and Other Russians .” One Hundred Years of Masochism: Literary Texts, Social and Cultural Contexts . Edited by Finke Michael Niekerk Carl...

... “consolidates and fortifies the closet for John Marcher” (205, 204, 206). Sedgwick examines only very briefly May Bartram’s desire, which she suggests represents a specifically heterosexual feminine masochism; in the course of this analysis she also equates James with his narrator (cf. Savoy). Many...

... that masochism, pornography, and queerness provide frames of reference that enable us to understand how the “art of pain might . . . have created spaces for the exploration of desire, notably sexual desire” (18). Even though the names we apply to these forms of behavior came into being long after...

... that masochism, pornography, and queerness provide frames of reference that enable us to understand how the “art of pain might . . . have created spaces for the exploration of desire, notably sexual desire” (18). Even though the names we apply to these forms of behavior came into being long after...

... that masochism, pornography, and queerness provide frames of reference that enable us to understand how the “art of pain might . . . have created spaces for the exploration of desire, notably sexual desire” (18). Even though the names we apply to these forms of behavior came into being long after...

... that masochism, pornography, and queerness provide frames of reference that enable us to understand how the “art of pain might . . . have created spaces for the exploration of desire, notably sexual desire” (18). Even though the names we apply to these forms of behavior came into being long after...

... suggests a different kind of masochism in her relationship with Rodolphe. Like the moneyed arriviste Rodolphe, like the docile restored nobility in the stage set chateau at Vaubyessard, the celebrity tenor Lagardy merely playacts the when his body is discovered in Silas Marner; he has both...

... on masochism as humor, which he describes as the most logical result of a law that is completely arbitrary and illegible. The masochist inverts the law of desire, according to which it is because we transgress and take pleasure that we are punished. Masochistic humor, Deleuze argues, takes the punishment first...

...: A Critical Edition . Ed. Curnow Maureen C. . 2 vols. Diss. Vanderbilt University , 1975 . Print . Cohen Jeffrey Jerome . “Masoch/Lancelotism.” Medieval Identity Machines . Minneapolis : U of Minnesota P , 2003 . 78 – 115 . Print . Coontz Stephanie . Marriage, A History...

... of masochism, an imperceptible but active jouissance —not pleasure, but (following Lacan) the death drive, the unconscious annihilation of a possibility at once subjective, political, and cosmological—that prevented the fulfillment of the Copernican revolution’s promise. At the exact place...

... earlier chapters on writers and painters as characteristic of the decadent, which includes hysteria, impotence, homosexuality, masochism, androgyny, thrill-seeking, sadism, and crime, to name but a few. For at the root of these affects is the fixation by these male writers on the woman as castrated...

... the terms castration, fetishism, and phallic mother; two, the set of terms that Bernheimer induces from his earlier chapters on writers and painters as characteristic of the decadent, which includes hysteria, impotence, homosexuality, masochism, androgyny, thrill-seeking, sadism, and crime, to name...

..., impotence, homosexuality, masochism, androgyny, thrill-seeking, sadism, and crime, to name but a few. For at the root of these affects is the fixation by these male writers on the woman as castrated male (and hence as marked by lack) and castrator of the male, bent madly, passionately on surrogation...

... earlier chapters on writers and painters as characteristic of the decadent, which includes hysteria, impotence, homosexuality, masochism, androgyny, thrill-seeking, sadism, and crime, to name but a few. For at the root of these affects is the fixation by these male writers on the woman as castrated...

... earlier chapters on writers and painters as characteristic of the decadent, which includes hysteria, impotence, homosexuality, masochism, androgyny, thrill-seeking, sadism, and crime, to name but a few. For at the root of these affects is the fixation by these male writers on the woman as castrated...

... Clover on masochism and voyeurism, open up a complex and highly original perspective on the novel’s spectacular violence. In her commitment to blurred boundaries, however, she largely neglects and even at times obscures —​she speaks, for instance, of “the lovers undergo[ing] their public trials...

... of film theorists such as Kaja Silverman and Carol Clover on masochism and voyeurism, open up a complex and highly original perspective on the novel’s spectacular violence. In her commitment to blurred boundaries, however, she largely neglects and even at times obscures —​she speaks, for instance...

.... The book consists of a series of “virtual encoun- ters” highlighting different approaches to freedom: Boym reads Aeschylus and Euripides alongside Kafka and Mandelshtam, Pushkin with and against Tocqueville, Dostoevsky with Sacher-Masoch. Kierkegaard’s renunciation of romantic love opens onto Arendt’s...