Eve Kosofsky Sedgwick, Epistemology of the Closet (1990)
2015; University of Western Ontario Libraries; Volume: 41; Issue: 4 Linguagem: Inglês
10.1353/esc.2015.0062
ISSN1913-4835
Autores Tópico(s)Contemporary Literature and Criticism
ResumoEve Kosofsky Sedgwick, Epistemology of the Closet (1990) Eric Savoy No mere summary of Eve Sedgwick’s theoretical modeling can convey adequately the witty playfulness of her writerly writing, the warm personality of her critical voice, or the sheer contagious joy that she found in the literary. It is the openness to pleasures—of abstract thought and political engagement, of style, of words and books and ideas—that, more than anything else, defined Sedgwick’s mode of practicing criticism. Accustomed as one was in 1990 to the dry, expository mode of Anglo-American academic discourse—the approach to literary criticism as though it were (as Oscar Wilde said of Henry James) a painful duty —Sedgwick opened up the very scene of her literary predilections and, in a sense, came out of the closet of scholarly impersonality. Here she writes about Proust and the pleasures of the difficult, labyrinthine sentence: “I can only report here on my own reading life, but with Proust and my word processor in front of me what I most feel are Talmudic desires, to reproduce or unfold the text and to giggle. Who hasn’t dreamt that À la recherche remained untranslated, simply so that one could (at least if one knew French) by undertaking the job justify spending one’s own productive life afloat within that blissful and hilarious atmosphere of truth-telling.” Eric Savoy Professeur agrégé, Département de littératures et de langues du monde Université de Montréal Copyright © 2015 Association of Canadian College and University Teachers
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