.Desire, Duras, and Melancholia: Theorizing Desire After The 'Affective Turn'

desire, Duras, and melancholia: theorizing desire after the 'affective turn' Author(s): Kristyn Gorton Source: Feminist
Review, No. 89 (2008), pp. 16-33 Published by: Palgrave Macmillan Journals Stable URL: http://www.jstor.org/stable/40663958 . Accessed: 12/12/2013 09:40
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Palgrave Macmillan Journals is collaborating with JSTOR to digitize, preserve and extend access to Feminist Review.
http://www.jstor.org
This content downloaded from 151.100.161.185 on Thu, 12 Dec 2013 09:40:16 AM All use subject to JSTOR Terms and Conditions
89
desire, Duras, and melancholia: theorizing desire after the Effective

Gorton Kristyn abstract
This article considers how the concept of desire can be theorized in light of recent workon emotionand affect. In so doing, it questions what desire does and howdesire withincinema. Instead of arguingthat we must move can be theorized, particularly of desire, I ask how this approach can be away froma psychoanalytic interpretation the revitalizedand reconsideredthroughworkon affect. This article also highlights set in opposition way in whichLacanian and Deleuzian models of desire are constantly to each other; in so doing, it seeks to move beyondthis impasse and gesturetowards within alternativeways of theorizingdesire. One of the central issues foregrounded and forgetting: the method psychoanalytictheory is the process of remembering whichthe subject can Metgo' and move forward. This relationshipis figured through in terms of the discourse between self and other. MargueriteDuras' work primarily questions this process of 'letting go' and offersan alternative conceptualization of desire throughher use of melancholia. Beyond an intrinsicinterest in her work, feminist and Deleuzian scholars, because Duras has been admired by psychoanalytic, to rethinka theorization of desire in light of her films present an opportunity In discussing melancholia in terms of Duras' work,this competing interpretations. paper also considers the extent to whichher use of Hiroshimaas a backdropto the affair presented in the filmcolonizes desire and its transformative potential.
turn1
keywords
desire; Duras; affect; psychoanalysis; film; melancholia
16
feminist review 89 2008

feminist-review. com (16-33) 2008 FeministReview. 0141-7789/08 $30 www.
introduction
In their workon 'rethinking psychoanalysisin the postmodernera', Elliott and what is emergingtoday is a kind of 'psychoanalysisof Spezzano argue that * psychoanalysis'(1999: 28). One of the consequences of this developmentis a reconsideration of the relation between self and other. In traditional psychoanalysis the movement between unconscious fantasies and rational understandingis considered to be the foundation of the analytic process. Postmoderninterventions, however,emphasize the centralityof desire, affect and imagination as essential to the creation of 'personal meaning and (Elliott and Spezzano, 1999: 28). In otherwords, understanding' intersubjective one of the central issues withinpsychoanalysisconcerns that which can 'be (Elliott and Spezzano, 1999: 29). psychicallyprocessed and thus transformed' connectionbetweenremembering on a Focus on transformation places emphasis in order to cure the patient it is necessary to excavate the and forgetting: and talking psyche. This process establishes a model wherebyremembering throughor 'workingthrough' these memories (therapeutic cure) allows the turn calls this model into subject to 'let go' of past traumas. The postmodern and the attention to polyvalence of psychic 'heterogeneity question; drawing and dislocation inherentin representations',it embraces the 'fragmentation human experience' (Elliott and Spezzano, 1999: 31-32), which demand a of central concepts such as narcissism,hysteriaand melancholia. rethinking Elliottand Spezzano also suggest that the problem In rethinking psychoanalysis, of the scientificstatus of psychoanalysis,a problemaddressed specificallyin Lacan's TheFourFundamentalConceptsof Psychoanalysis(1977), is replaced by and fusion of existingparadigms' problemsof 'internal critique, cross-linking must in other (1999: 29) words,psychoanalysis update itselfin orderto remain some of the problems, a vital theory.In identifying questions and newformations that emerge within psychoanalysis after the postmodern turn, Elliott and that continuesto as a theoreticalframework Spezzano validate psychoanalysis have relevanceand usefulnessto scholars despite the challenges it faces in light of new theoreticaldevelopments.
1 Thanksto Paul Blackledge, Sara Ahmedand the participantsof the 'Decolonising Affect Theory'Symposium for their inspiration.
If there has been an 'affective turn', as theoristssuch as Woodward(1996), Berlant (1997) and Nicholson (1999) suggest, is this a turn away from Andifso, howdo we theorizethe concept of desire? Partof what psychoanalysis? I want to argue, followingElliott and Spezzano's reading of postmodernism's models are still viable, is that whilepsychoanalytic on psychoanalysis, influence emotionand affect. of work on the influence vital made more are through they Instead of turningaway from psychoanalysis,it is useful to consider how psychoanalysiscan be revitalizedthroughworkon emotion and affect and in withothertheoreticalmodels (in this case on the concept of desire). conjunction
Gortonfe m i n ist revi ew 89 2008 Kristyn 17
theorizing desire
To begin, I want to thinkabout how desire has been theorizedand what it does. One of the most useful definitions of desire can be found in Sartre's Being and (1956). Sartredescribes desire as trouble(1956: 387) and draws an Nothingness analogy between troubled water and the desiring consciousness as troubled. to Sartre's analogy, desire stirs thingsup frombelow, muddying the According surfaceand cloudingour perspective.Andyet, as Sartrepointsout, this 'troubled water' maintains its essential characteristics:its fluidity and viscosity. In this Sartre also draws attention to the transformations desire effects: way physical most of us will knowthat whenwe are lin love' we see, feel, taste, smell and (and usually more acutely). Our bodies feel experience things differently different to us; we can literally feel the effectdesire has on us. Sartrewrites:
Desire is defined as trouble. The notion of 'trouble' can help us better to determine the nature of desire. We contrast troubled water withtransparentwater, a troubled look witha clear look. Troubled water remains water; it preserves the fluidity and the essential characteristics of water; but its translucency is 'troubled' by an inapprehensible presence whichmakes one withit, whichis everywhere and nowhere,and whichis given as a clogging of the water by itself. [...] If the desiring consciousness is troubled, it is because it is analogous to the troubled water. (1956: 387)
Freuddefines desire in termsof movement and this emphasizes the connection betweendesire and drivethat is formulated in his theories. He also conceives of a lack, which is developed further in Lacan's workon desire. Lacan theorizes desire through the question of the Other,2 'Whatdoes the Other want?' and, in so doing, emphasizes the role of the analyst to find meaning,to establish a cure and an 'attempt to reintroduce a formof transcendence,the object of desire, instead of conceptualising the positivity of desire as a production of assemblages' (Khalfa, 1999: 78). Movingaway fromlack and fromthe primacy of the Oedipal complex, Deleuze and Guattari define desire in terms of production.Desire takes a central role in their assessment of capitalism and - and it becomes both life and death, as Claire Colebrookwrites: schizophrenia 'the death of this or that body is not at all negative. Without the death of therewouldbe no change,evolution or lifein its radical sense' (2006: 2). organisms Whatwe have here is a contrastbetweena negative conceptualizationof desire and a positiveor productive one and also a contrastbetweena (modern) search for meaning and a (postmodern) recognitionof multiple interpretations. This creates both a positive and vital aspect of desire, whichI will return to later. Desire has been understoodas both an emotionand an affect,as a drive,and as the essence of human subjectivity. It is associated with lack, production, sensation and force. An object of desire can be a person,place, thing intensity, or an ideal; it can refer to something in the past, presentor future.Likeshame, hate or loss emotions and affects that have been the subject of compassion,
18 feminist review 89 2008 and melancholia desire, Duras,
2 Lacan argues in Ecrits: lThat is why the Other's question [la question de l'Autre] - that comes back to the subject from the place from which he expects an oracular reply - which takes some such form as "Che vuoi?," "What do you want?," is the question that best leads the subject to the path of his own desire, assuming that, thanks to the knowhow of a partner known as a psychoanalyst, he takes up that question, even without knowing it, in the following form: "What does he want from me?"1 (2006: 690).
recent studies (ng and Kazanjian, 2003; Ahmed,2004; Berlant,2004; Probyn, 2005) - desire is somethingthat everyonewill have experiencedor is familiar with. And yet many will thinktheir relationshipwith their object of desire is unique and personal,whichis whysomeone mightsay 'I love you morethan she does' or 'I love you more than anyone else in the world'. The internalizationof desire has been taken up in recent work, both in psychoanalyticcircles and in those concerned with emotion and affect. The turn,as some theoristssuggest,is that paradox that comes afterthe postmodern instead of freeing to desire, it has alienated and commodified up our relationship it. We can see this paradox reflectedin the demands forenjoyment popularized by corporate America: Nike's Ojust do It!'), Coke's ('Enjoy!') and McDonald's (Tm lovingit!') suggest that it is up to us to enjoy, the demand is there, we need onlyto give in. In Todd McGowan'srecentworkon 'Lacan and the emerging he argues that the paradox is that 'there is less pleasure society of enjoyment', now than there ever was' (2003: 133). Interestingly, Claire Colebrookreaches a similarconclusionin her workon Deleuze, statingthat 'the powerof capitalism does not lie in its repressionof our pleasures, but in its coding of all those a surplusvalue of that code: forwe are pleasures into moneyand in producing now enslaved, not by beingdenied what we want, but by being manufactured to want. My desire must be for this or that purchasable pleasure' (2006: 133). Instead of being more accessible, desire has become more inaccessible. Lauren Berlant gestures towards this failure in her work on intimacy,arguing that no one knowshow to do intimacy; that everyonefeels expertabout it 'virtually (at least about other people's disasters); and that mass fascination withthe and ambivalence at the scene of desire aggression, incoherence,vulnerability, somehowescalates the demand forthe traditionalpromiseof intimatehappiness to be fulfilledin everyone'severydaylife' (Berlant, 2000: 2). It is clear that desire has been called into question by psychoanalytic,Deleuzian and affect theorists- and yet what is not clear, is how we are to theorize it. So what does desire do? I want to suggest that desire creates recognition and the gaze); it marksthe narrative;it highlights the (throughidentification momentwhen lovers' eyes meet; it affects the lives of characters; it marks their bodies, forcing them to move, act or react differently; and it transforms I want to suggest, moreover, people radicallyalters theirbeing-in-the-world. that we considerdesire as a way of thinking and as a kindof intelligence (Thrift, that supportsconnectionsand relationsand that produces 2004); as something an expressionthat is impossibleto contain or categorize.
theorizing desire in film

From more broad and general ideas about desire, and theorizing desire, I will locate a theorization of desire more specifically in film, and in particular, in work Gortonfern n ist revi ew 89 2008 Kristyn 19
I would filmit is important, Duras. When'theorizing desire' within by Marguerite and contained readingsof film,but ratherto argue, not to fall into constrictive whenit is not most potently leave roomforthe ineffable.Desire comes through closed down; equally, theorizingdesire must involve leaving room for not Pence does a magnificent job of explainingwhat this Jeffrey understanding. filmtheory in his readingof the 'spiritualfilm'which, involves and demands from desire in cinema. Pence argues in manyways,holds deep resonancefortheorizing that '[a] criticismthat evades an open engagement with the limits of the knowable becomes instrumental; a criticism geared exclusively toward A moreproperanalytic response ultimately produces reification. dmystification is to attend to the ways in whichsuch filmsproduce experiences,and call for responses, at the edge of the knowable' (Pence, 2004: 29). This approach, of the need to remainat the 'edge of the knowable', alongside an understanding of desire in film.It is also one that drawson is particularly apt foran exploration Deleuze's understanding of the radical potential in cinema. In heranalysis of his cinema books, Colebrookwritesthat for Deleuze 'cinema is only cinema in its the ways in whichperception revolutionary potential, a potential to transform whenit is creative,whenit does is onlythinking ordersits images, and thinking not repeat the already formed and recognised' (2006: 15). Deleuze's of cinema's 'revolutionary way of potential' leads to a different understanding about the images exploringfilm. We are encouraged to think differently to these mages. As Deleuze presentedto us and to challenge our relationship argues: 'we must no longer ask ourselves, "What is cinema?" but "What is philosophy?"Cinemaitself is a new practice of mages and signs, whose theory mustproduceas conceptual practice' (1989: 280). Andthis call from philosophy Deleuze for a new approach to cinema has been embraced by scholars such as because Deleuze attends to the Barbara M. Kennedy and Laura U. Marksprecisely material. His suggestionthat we mightlook forwhat a text does instead of what withincinema studies to a certain extent. it means liberates interpretation In Kennedy'sDeleuze and Cinema, for instance, she attempts to map out an aesthetics of 'force and of sensation' (2000: 5) arguing that Deleuzian of desire show up psychoanalysisas ineffectivein terms of interpretations of the filmicexperience' (2000: 27). Kennedy the 'materiality argues explaining 'cannot account for the that psychoanalysis'semphasis on lack and negativity and vitalityof filmas a processual experience,encapsulated through viscerality we need to look formorecomplexaccounts movement and duration,whichis why of cinematic desire' (2000: 42). One of the limitationsin Kennedy'sapproach, however,is that her use and indeed celebration of Deleuze overlooksa more nuanced approach to desire whichdoes not simplycounterpoisepsychoanalytic approaches withDeleuzian models. and the In contrast,Marks' recentworkon 'inter-cultural cinema, embodiment senses', uses Deleuze to analyse the materialityand vitalityof film,but also
20 feminist review 89 2008 andmelancholia desire, Duras,
of the ways withworkon affectwhichallows us to think connectshertheorization in whichfilmmakers use cinema to transmita physicalsensation of home and culture. Marksuses the term 'haptic cinema' to describe a bodily relationship between the viewer and the image. Instead of invitingidentificationwith a figure,'haptic cinema' describes a 'dynamic subjectivitybetween looker and image' (Marks, 2000: 164). An example of a haptic image, offeredby Marks,is the opening of The English Patient (AnthonyMinghella, 1996) lin which the camera moves over a skin-likesurface that turnsout to be a close-up of rough watercolourpaper' (Marks, 2000: 177). Thereare two thingsI want to draw attentionto here: first,the use of Deleuze or lskin' of the film;second, and Guattarito theorizeaffect and the materiality and Deleuze and Guattariare held in oppositionto each the way psychoanalysis other and signified as negativityor lack and as positivityor production (frommakingmeaningor creatinga singularmeaning)to openingup respectively - production(reading for what the text does). Althoughworkon affect and emotion allows us to reconsiderthe material and physical of film,in terms of desire, the use of Deleuze often returnsus to the debate between theorizing desire as negative and desire as productive.
figuring desire
to note that this movementtowards Deleuze has been made It is important lesbian desire', for before, particularlywithinfeministtheory. In 'refiguring move a to instance,ElizabethGroszattempts 'ontologyof beyond psychoanalytic of becoming lack' towards the productivepotential in Deleuze's understanding (1994a). Grosz's workis key in initiatinga move withinfeministtheory,which arguably influenced scholars such as Kennedy and Marks, towards a reconsiderationof Deleuze's work and its productive potential to refigure concepts such as desire. As Groszexplains:
As production, desire does not provide blueprints, models, ideals, or goals. Rather, it experiments,it makes: it is fundamentallyaleatory, inventive.Such a theorycannot but be of interestfor feministtheoryinsofaras women are the traditional repositories of the lack constitutive of desire and insofar as the oppositions between presence and absence, between realityand fantasy, have conventionallyconstrained womento occupy the place of men's other. (1994a: 76)
lack Not onlydoes Groszestablish a rationale forthe move frompsychoanalytic it is also possible to detect the move towardsaffect in to Deleuzian production, to something that her use of Deleuze. Her attentionto desire as a movement, that concentrates causes bodies to move or 'to do', sets the scene forlater work this becoming. more specificallyon this movement,
Gortonfeminist review 89 2008 Kristyn 21
Elspeth Probyn, for example, draws on Grosz's work to think more specifically about what desire does, how desire 'moves us at differenttimes and in different ways to engage' (1996: 151). In her figuration of 'becoming-horse', for instance, she considers desire as movement in an attempt to construct a queer use of desire. Instead of conceiving of desire as pointing towards one object (person, place or thing), and therefore falling into the negative polemics of lack, Probyn wants to consider the movement inherent to desire. Like Grosz, she turns to Deleuze, more specifically to his notion of 'becoming', in order to figure this movement. Drawing on images of 'girls and girls and horses' and work from Colette and Radclyffe Hall, she is interested in the 'lines of desire' that run through these intermingled images and how this way of approaching desire frees us from situating it in one object or reducing it to lack. As she argues: 'turning away fromthe game of matching signifiers to signifieds, we can begin to focus on the movement of images as effecting and affecting movement' (1996: 59). What is clear in both Grosz's and Probyn's Deleuzian refiguringsis an emphasis on understanding desire as movement. And this becomes very useful to scholars who want to think of alternative ways to theorize desire. Their figurations, as mentioned earlier, also work to inform projects such as Kennedy's and Marks' insofar as they emphasize movement and intensity. However, although these models are useful, both for feminist theory and cinema studies, they are still caught up in an intellectual stalemate between psychoanalysis and Deleuze, an impasse which is familiar to many by now. The other problem is that movement is just as much a part of the psychoanalytic conceptualization of desire as it is a part of Deleuzian production. As Grosz points out in her feminist introduction to Lacan: 'Desire desires the desire of an other. Desire is thus a movement, an energy that is always transpersonal, directed to others' (1994b: 65). In psychoanalysis desire is a movement, but one with a focal point, whereas in Deleuze's conceptualization this movement is more fluid and open-ended. However, what underlines both theories of desire is movement and therefore, instead of counterpoising these theoretical models, it seems more useful to examine the ways in which this movement functions and how it can be connected more specifically to recent work on affect. Indeed, as I am arguing, one of the possibilities work on affect offers is a way out of the impasse between psychoanalytic lack and Deleuzian production, which I will go on to explore through an analysis of Duras' work.
Marguerite
Duras
I have chosen to use Marguerite Duras' work, in particular Hiroshima Mon Amour (1959), because Duras' work has been used by psychoanalytic, feminist and Deleuzian interpretations of desire. Lacan wrote a 'Hommage' to Duras in which he claims that 'Duras proves to know without me what I teach'; feminist scholars have long been interested in Duras, as Karen Ruddy claims in her recent article on 22 feminist review 89 2008 andmelancholia desire, Duras, 3 Jacques Lacan, 'Hommage Fait
Duras, Du Marguerite Ravissementde Loi V. Stein1,Ca(s)hiers de la Compagnie Madeleine, Paris: Renard-JeanLouis, Vol. 52 (1965), pp. 7-15, (p. 9). 'C'est prcismentce que je reconnais dans le de Loi V. ravissement Stein, o Marguerite Duras s'avre savoir sans moi ce que j'enseigne'. The translation is my own. See JeanMichel Rabat's account interesting of this in Jacques Lacan: Psychoanalysisand the Subject of Literature(2001).
the 'ambivalence of colonial desire1 in Duras' The Lover: 'there has been a veritableexplosionof scholarshipon Duras' work,particularly amongstfeminists' (2006: 78); and Deleuze draws on both Duras' workand Resnais', who directed Hiroshima Mon Amour, in Cinema 2. Because Duras has been claimed by feminist and Deleuzian models of desire, her workallows us, as psychoanalytic, to think throughthese various models and to the theorists, an opportunity Her workalso gestures problemsthat surroundeach competinginterpretation. of the concept of desire, whichI will go on to towards her own understanding explain. of the concept of desire WhatDuras' filmspresentis a troubling understanding or endings. and of desire as a process that does not have any finitebeginnings The women in her films are representedas inhabitingdesire in a melancholic state. Desire is embodied in the characters and expressed in various ways: as that is contained in the past, that can release the past, as something something as something that producesconnectionsand forgesnew bonds and as something that is destructiveand annihilating.Desire is about the potential to cause all these things and is foremostan unsettlingaffect; it is characterized by its its intensity and its abilityto cause change. movement, The central female figuresin Duras' fictionare often housewives,mothersor and yet, as the texts reveal, schoolgirls;people whowould be consideredordinary they are enigmas to other characters as well as to their readers and critics. womancan be interpreted as a way of undermining Duras' choice of an 'ordinary' her male assumed and enculturatedimages of desirable women or as offering in a clichd a faceless woman who is interested solely voyeur fantasy: nameless, his own desires. Althoughsimilarities can be drawn between Duras' female characters and Lacan's theorizationof lack and 'woman', the 'lack' in Duras' fiction is not filled or constituted by male desire. The sense of absence that beginsthe text is still in place at the end of the narrative.Duras does not tryto 'cure' the 'lack' in eithercharacter.Instead, Duras' texts demonstratehowdesire creates connectionsand builds foundations.In other words, Duras' texts allow us, as readers, to thinkabout the productivepossibilities in the movementof about desire outside of desire. Duras' workgestures towards a way of thinking 'lack' and acquisition (Gorton,2003, 2007).
Hiroshima
Mon Amour
HiroshimaMon Amour,directed by Alain Resnais and writtenby Duras, is the and have a briefaffair.The storyof a man and woman who meet in Hiroshima in a filmabout peace; the man, an architect,is woman is in Hiroshima starring fromHiroshima. withchildren, but nonethelessfind Theyare both happilymarried
Gortonfe m i n ist revi e w 89 2008 Kristyn 23
passion and comfort with each other. Neither character is given a name, and we never find out how they met. The film begins with the couple in bed together, their bodies indistinguishable from each other and covered in a sparkling mist, which Duras writes can represent 'ashes, rain, dew, or sweat, whichever is preferred' (1961: 15). Emma Wilson argues that the 'shots of the lovers exist as a metonym... which functions both as part of the film, and as a sequence of images which sums up the film's themes' (2000: 35). According to Duras, the mage of the embrace should 'produce a violent, conflicting feeling of freshness and desire' (1961: 15). The first line of the film: 7ou saw nothing in Hiroshima. Nothing' (1961: 15) evokes the notion of remembering, forgetting and loss which dominates the text. However, the historical event of Hiroshima becomes secondary to the love affair between the man and woman, a problematic aspect of the film that I will return to later. The couple meet again during a peace march, and return to the man's home. There the woman begins to remember the traumatic loss of her first love, a German soldier who is killed just as the war comes to an end. The process of her remembering and 'letting go' dominate the narrative and is the primaryfocus of their conversations. Whenthey move from his house to a local caf, she continues to tell the man the story of how she met this German soldier, how she was physically and verbally abused by the townspeople from Nevers when they discovered her transgression, how her parents kept her hidden in the cellar, and eventually how she left Nevers and the tragedy behind her and went to Paris. As she tells the man her story she begins to become hysterical, and as she shouts, 'He was my first love...', the Japanese man slaps her (1961: 65-66). One of the reasons I refer to this scene in particular is that it responds well to Marks' ideas of the 'skin of the film'. There is a materiality to the scene that draws the viewer in and involves her, so much so that the slap is almost experienced by the viewer. The snap return of the sounds of the caf slap us back in to the social reality in the film; it returns us from the past to the present and to the forgettingthat is taking place. Deleuze suggests that 'whether it is visual or of sound, the mage already has harmonics which accompany the perceived dominant image, and enter in their own ways into suprasensory relations' (2000: 158). There is a tension produced here with the quick cut from the flashback to the scene in the caf. The pace of cutting speeds up and we are presented with close-up shots of the present landscape having been in the world of both the past and of Nevers. The contrast between these two worlds, both of Hiroshima and Nevers, and the past and present, are ruptured through the physicality of the slap. It draws us out of the past, out of remembering/forgettingand into the process of 'letting go' that is presented to us. We can also understand this moment to function as what Deleuze refers to as an 'interval' 'which divides immediate action and reaction (what Deleuze refers to as a 'degree zero' of 24 feminist review 89 2008 andmelancholia desire, Duras,
affects (whereI feel but do not act) and acts (where I respond perception)from for this sense I have of what life ought to be)' (Colebrook,2006: 75). In other actions: 'I feel but do not act, or I recall another words,it dividesthe image from I how that alters might respond' (Colebrook, 2006: 75-76). Resnais image us from the action of the slap and the reaction this interval, constructs dividing the reactionsof people in the caf intothe of the womanbysplicingmages from and delays pause. This alters howwe, as viewers,mighthave respondedinitially to the close-up shot of the woman and her our reaction untilwe are returned smile. In the screenplaythe stage directionsread: 'TheJapanese slaps perplexing crushes her hands in his]. She acts as thoughshe didn't her. [Or, if you prefer, knowwhereit had come from.But she snaps out of it, and acts as thoughshe realised it had been necessary' (Duras, 1961: 66). to knowhow we, as and it is difficult The woman's ambiguoussmile is troubling that she has been slapped. She to to the fact viewers,are supposed respond seems to appreciate the way it draws her back, keeps her fromenteringinto a on the part of the fit. Andyet we mightresentthis action, particularly hysterical woman. It creates a tension and unease, and constructsa limitto how far the Following Japanese man is willingto participate/collaboratein the forgetting. Butler'sworkon melancholia and power,we could read the scene as a kind of 'acting out', lan aggressionthat break[s] out of that circuitonlyto heap itself, ..the remainsof the lost other' displacement,on objects whichsignify. through (1997: 162). In the flashbacksto the woman's past, we are invitedintothe waythe trauma of losingherbeloved not onlymade herexperiencegriefand loss, but also shame at the hands of the womenin the town.Theycut herhair,a symbolof herbeauty,in in manyways here: as Desire functions orderto punishherforhertransgression. a mode of self-definition- the young girl falls in love with a German soldier, goes against everyoneshe has knownin her town, and risks losing - and eventuallydoes. It functions as a rite of passage, a becoming everything in the presentas something and as a mode of destruction.Desire also functions both in that can retrieve the trauma of the past and let it go, and this is signified whenshe startsto see thingsagain and herrecollectionof the past (the moment 'winteris over') and in the momentwiththe Japanese man ('I trembleat the so much love') (Duras, 1961: 63-64). thoughtof havingforgotten This is where problemsbegin to emerge howeverand we see the limitationsof and the intervention of workon affect. Freudargues that l[i]n psychoanalysis melancholiathe relationto the object is no simple one; it is complicated bythe conflictdue to ambivalence' and this 'ambivalence' is either somethingthat resides in the person or 'else it proceeds preciselyfromthose experiencesthat the threatof losingthe object' (2001 [1957]: 256). In otherwords,it is involved a relationthat is always there, in the person,or is presentin the situationthat
Gortonfe m in ist revi ew 89 2008 Kristyn 25
preceded falling in love'. The ambivalence structuresboth the feeling of loss, of desire. and I would argue the expression/affect
desire and melancholia

and melancholia' (1917) 'challenges JoanneBrown argues that Freud's'Mourning i.e. the sharp divisionbetweenthe body [Freud's] Cartesianframeof reference, and the mind...and betweenthe split subject/object' (2000: 41), in herworkon the 'psychoanalytic sociologyof emotion'. This confusionis visuallyrepresented in the scene between the Japanese man and Frenchwoman: she confuses the soldier. She talks to the Japanese man as Japanese man withherbeloved German herdesire from the In so were the German soldier. he doing,she transfers though lost object (Germansoldier) to the Japanese man. Freudsuggests that 'each single struggleof ambivalence loosens the fixationof the libido to the object by disparaging it, denigratingit and even as it were it' (2001: 257) and this is clear in Hiroshima:the woman is aware of the killing willlead to a second death of her and howthis forgetting way she is 'forgetting' beloved (this time in her mind). One death is physical(she could not tell which body was hers) and one is mental (she begins to own her own desires again). In her workon 'unbecoming'sexual becomingsin CatherineBreillat's films,Liz Constable argues that throughshame, Breillat's female characters are able to 'let go' of past trauma. FollowingEmmanuel Ghent's work on 'Masochism, Submission and Surrender:Masochism as a Perversionof Surrender'(1990), Constable argues that: 'surrender, quite distinctfrommasochistic submission, defines experiences of being "responded to" or "acted on" in adult life, experiences when subjects feel "met", or "known" without having given themselvesto the needs that the otherarticulatesforthemand helps expression them construct' (2004: 692). I see a similar model operating in Duras' work, where the woman and man feel 'met' for whatever reason, and that this connection,forgedthroughdesire, allows them each to unfreezepast psychic trauma; to 'let go'. Andyet, I am cautious here because I do not thinkthat this 'lettinggo' should be givensuch a precedent,nor do I thinkDuras' workinsists upon this kindof reading. Duras' womenare melancholicand this is something that irritatesKristevain Black Sun (1989). Kristevaargues that Duras' women have a 'sicklycore': 'It is a non-dramatic,wilted,unnameable sadness. A mere that producesdiscreettears and elliptical words' (1989: 239) and yet, it nothing is this 'unnameable sadness' that moves the narrativealong. In other filmsby Duras such as India Song (1975) and ModeratoCantabile (i960), the womenare leftwiththis 'sicklycore'; theyare not as redeemedor liberatedas the womanin oftenwantto read forthis kind Hiroshima we, as feminists appears to be. I think of ending. And this call to a positive or joyful conceptualizationof desire has
been expressedby Rosi Braidotti.She tells us that 'I activelyyearnfora recently morejoyfuland empowering concept of desire and for a political economythat not (2005: 57; see also Braidotti, 2006: 230). positivity, gloom' foregrounds as Sara Ahmed has However, suggested: 'the veryassumptionthat good feelings are open and bad feelingsare closed... allows historicalformsof injusticeto of stubbornness disappear. Or iftheydo appear, theywouldbe read as symptoms We need rather than presentand ongoingaspects of the worldwe have inherited. to think about how histories of injurystay alive and how the demand for happiness can make those historiesdisappear or projectthem onto others,as a as melancholic...' (2006: 16). In an excellentcollection kindof bad inheritance: L. and David David Judith KazanjianentitledLoss: ThePoliticsof Mourning, by ng Butlerargues that: 'Loss becomes conditionand necessityfora certain sense of where community does not overcome the loss, where community community, cannot overcomethe loss withoutlosingthe verysense of itself as community' in place and I think (2003: 468). I wouldargue that Duras' texts keep melancholy this is linkedto her theorizationof desire, whichI will go on to explain further. In their introduction to Loss, ng and Kazanjian suggest that: 'melancholia the inability to resolvethe griefand ambivalenceprecipitatedbythe resultsfrom loss of the loved object, place or ideal' (2003: 3) (hence whythey divide their collection into 'bodilyremains','spatial remains'and 'ideal remains'). Andthere is clearly a referenceto the remains of loss in Hiroshima.The two characters are named by the places wherethey have endured loss: Hiroshimaand Nevers; they are haunted by the loss and by the discoveryof a loved object. Desire attaches themto this object and to the grief that accompanies losingthis object. ifnot its owndance' (2003: 469) Butler suggeststhat loss has its own'dynamism, in TheRavishing and this is a persistent theme in Duras' work,particularly of Loi V Stein and in India Song. The entirenarrativeof Ravishingrevolvesaround the nightof the South Tahla Ball whenMichael Richardsonleaves his fiance, Loi V. - a figurewho haunts most of Stein, in orderto dance withAnneMarie Stretter Duras' texts. In India Song, the centralfemale figureis constantlydancingwith of different men in slow, tiredwaltzes, whichevokes both the heat and humidity India and the languorousmovement of desire Duras captures. Butlerargues that: 'If suffering,if damage, if annihilation produces its own pleasure and that persistence,it is one that takes place against the backdrop of a history of bodies is over,that emergesnowas a setting,a scene, a spatial configuration that move in pleasure or fail to move, that move and fail to move at the same time' (2003: 472). Hiroshima emergesin the filmas a setting,a scene and as a betweenthis to the backdrop verypersonal, individualand intimaterelationship man and woman.Whatis the effectof usingHiroshima as this kindof landscape? to the failure EmmaWilson MonAmour seems to testify suggeststhat: 'Hiroshima of memory and the artificeof representation' and goes on to suggest that: 'For at the female protagonist, seems to bringlittlesolace but onlyhorror forgetting
Gortonfe m in ist revi e w 89 2008 Kristyn 27
the loss of memory traces whichhave allowed her to remainpresentin her own past history'(Wilson, 2000: 33). Deleuze argues that: 'HiroshimaMon Amour complicates mattersstill more.Thereare two characters,but each has his or her own memory whichis foreign to the other. There is no longeranything at all in common.It is like two incommensurable and Nevers. regionsof past, Hiroshima And whilethe Japanese refusesthe woman entryinto his own region('Tve seen You've seen nothing in Hiroshima,nothing...), the everything... everything... woman draws the Japanese into hers, willingly and with his consent, up to a certainpoint. Is this not a wayforeach of themto forgethis or herownmemory, and make a memory fortwo, as if memory was now becomingworld,detaching itselffromtheirpersons?' (Deleuze, 2000: 117-118) In citingthese interpretations I wantto draw attentionto two things:firstly, the suggestionWilsonmakes that 'forgetting' bringslittle solace to the woman; and secondly, Deleuze's notion of memorybecoming 'world', of memorybecoming detached from the individual and entering the social. Whatis illustratedhere is a contrast between a feminist longstanding reading which perceives lack as something negative: Wilsonis concerned,as Kristevahas been beforeher,about how Duras leaves her female characters with melancholia, how her narratives keep this in place. In contrast, Deleuze offersa productivereading of the loss that remains(and therefore we can understand filmscholars, whymanyfeminist such as Kennedyand Marks, have turned to Deleuze to re-theorizefeminist of materiality and desire). However, what I want to draw from understandings this is Duras' use of melancholia as a fundamental part of desire and as that has its own movement,its own intensity. As ngand Kazanjian something if we suggest, melancholiais oftenperceivedas static and stagnating,however, thinkcounter-intuitively we mightbeginto appreciate the way in whichthe loss whichremainsbecomes part of the desire whichemerges.
colonializing desire
Workby Homi Bhabha, GayatriChakravorty Spivak and EdwardSaid constitute what Robert J.C. young refers to as the "Holy trinityof colonial-discourse of analysis' (1995: 163) and have inspired analyses that considerthe implications colonialismon desire and desire on colonialism. In this section, I want to return to Deleuze's suggestionthat the two memoriesbecome 'world' and make a link here with Ranjanna Khanna's work on 'worlding' in Dark Continents. I am conscious that I have not addressed the colonizingaspect of Duras' film,and although I do not have room to adequately explore these ideas, I want to consider ideas that are inherent to the rethinking of psychoanalysis offeredin Khanna's workand to referto the potentiallyproblematicway in whichDuras uses Hiroshima as a landscape.
on workby Heideggerand Spivak, Khannaoffersan understanding First,drawing of 'worlding'that positions psychoanalysisas a 'colonial discipline' (2004: 6). and the individual's Second, she argues that the 'individualisationof memory to remember historical events for the sake of the group enables responsibility themwith "successive generationsto mediate theirculturalmyths by inculcating theirdesires" ...the group or nation is to remember to forgetin orderthat the future can be willedintoexistence' (2004: 12). Partof whatHiroshima exploresis the way in whichmemory, desire and melancholia are fused togetherand linked the woman's narrative of to the process of remembering and forgetting. However, loss dominates the text, and begins to take precedence over the landscape of As Duras writes:'Theirpersonalstory,however briefit may be, always Hiroshima. If this premisewere not adhered to, this would be just one dominatesHiroshima. more made-to-order picture... If it is adhered to, we'll end up with a sort of moredeeplythan any that will probethe lesson of Hiroshima false documentary made-to-orderdocumentary'(1961: 10). Duras imaginesthe love storyand its it can be of Hiroshima; dominanceto give greaterdepth to the history however, to the background argued that the precedenceof the love storymoves Hiroshima and privileges a white,Western woman's loss and griefoverthe loss and suffering of those who experienced and continue to experience the devastation of Hiroshima. Indeed, it can be argued that Duras' female charactermaintainsher positionas 'other' and as 'stranger' to the landscape; she is able to leave her mourning behind.At the end of the filmthe Japanese man calls her 'Nevers' as if to name At yet she calls him'Hiroshima'whichsuggeststhe herdistance fromHiroshima. closeness betweenthem. In her workon 'strange encounters'Sara Ahmedargues that colonial encounters necessarily involve a complex relationshipbetween 'Colonial encountersdisruptthe identityof the "two" distance and proximity: - the meetingof the the veryprocess of hybridisation cultureswho meet through and closeness is "two" that transformseach "one"'. This intermingling the form and the way in demonstrated the intimate relationship couple through whichtheirmelancholiaaffectseach other.Andyet, as Ahmedgoes on to argue: involves 'just as the conditionsof meetingare not equal, so too hybridisation differentiation (the two do not co-mingle to produce one). How others are constituted and transformedthrough such encounters is dependent upon of force' (2000: 12). Although the two are affected by each other, relationships for the the woman is able to leave she does not need to take responsibility distance and difference betweenthem. In her article on the ambivalence of colonial desire in Duras' The Lover,Karen Ruddyargues that the 'city of Saigon provides not only the backdrop for the of herdesire... Saigon itselfis producedin the text as a narrator's reconstruction inscribed withthe flowsof colonial desire' (2006: 82). Following Ruddy's territory to the love affair it is to that as Hiroshima, backdrop analysis, possible suggest
Gorton fe m i n i st Kristyn revi e w 89 2008 29
4 In her reading of feminism and Ahmed globality, argues that 'Cultural relativism assumes and distance difference in order precisely not to take for responsibility and that distance
betweenthe man and woman,becomes a space forremembering and forgetting. difference'(2000: Atthe end of the film,it is clear that the womanwillleave both her loverand her 167). Hiroshima as a repository of loss. This argument past behind,thus constructing throws the notion of the woman's liberation from her past through her involvement withthe Japanese man into racialized borders.As Ruddygoes on to in terms of The Lover: 'Duras elaborates a fantasy of the Orientthat suggest discourse by presenting and recuperatesOrientalist the simultaneously ruptures whitewomanas the subject of colonial desire' (2006: 83). Readingthe girlin The Lover as melancholicallyattached to her whiteness, Ruddy argues that this attachment highlights the 'ambivalence of both white identityand colonial desire' (2006: 93). in her Marie-Paule Ha also finds a contradictionin Duras' work,particularly of women she 'both characters, who, representation argues, challenge and reaffirm the colonial hegemonicdiscourse' (2000: 95). Exploring the roles of womenin Duras' Asian novels,Ha argues that 'in her representation of whiteand the gendercode that regulates nativewomenDuras both reproducesand subverts the colonial society' (2000: 106-107). in leaving her female characterswithan 'unnameable sadness', Duras However, the keeps melancholyin place; she does not seek to clarifythis ambivalence, ratherto maintainthe messiness. Whatthis does is suggest a kind of agency within those feelings,emotionsand desires that cannot be melancholy regarding resolved. As Khanna suggests, there is a critical agency in melancholia: 'melancholia represents the ghostlyworkings of unresolvableconflictwithin the colonial subject' (2004: 30). Far fromsimplifying or overlooking the affects of colonialism,Duras' workillustratesthe unresolvableconsequences they have on desiringsubjects. Instead of thinkingthrough desire and colonialism through the lens of it maybe usefulto think the ambivalencewithregardsto psychoanalysis, through workby Deleuze and Guattari,whichRobertJ.C. young does in Colonial Desire that Deleuze and Guattari'sworkhas been relatively absent from (1995). Noting discussionsregarding that their work postcolonialtheory, youngargues produces a social theory of desire that 'cuts throughthe problematic psychic-social opposition of orthodox psychoanalysis' (1995: 168). For young, Deleuze and Guattari's representation of capitalism as a desiringmachine in Anti-Oedipus but also the violentprocess reflectsnot onlythe development of industrialization of colonialization.Deleuze and Guattari'sfiguration of the desiringmachineand their concept of territorialization allow youngto map out an 'ethnography of colonial desire' which is marked by a 'dialectic of attraction and repulsion' Khanna and young approach the notion of colonial (1995: 174-175). Although desire throughdifferent theoretical registers(psychoanalysisand Deleuze and of desire. Guattari)theyeach stress the ambivalencethat marksthe movement
desire and affect

In conclusion, I want to gesture towards the ways in which work on affect and moves it of desire in psychoanalytic interpretations dislodges the centrality along a registerof emotions fromdesire to loss, desire to anxiety,desire to the effectdesire has on melancholia.5WhatDuras' filmsevoke is the importance one's emotionalstate and the waythese affects (melancholia, loss) act together or change within the subject. Once the subject has lost to producetransformation her coordinates of desire she must re-map them,6and this is what Duras' films present: a way in which desire is re-mapped, re-coordinated through loss, and melancholia. In this way,desire is both an individualand a social forgetting model of desire whichposes the question of experience.Unlikea psychoanalytic desire in termsof the Other,and in termsof the individual,desire is figuredin termsof what it does and how it moves people. Finally,I would also argue that Duras' presentationof desire's effect on the subject affects her viewers. Viewers are moved by the desire, loss and melancholia withinthe film and, in a sense, can begin to appreciate the self and culture.Herworkcaptures the affect desire has on identity, importance and translates this 'feeling' to her viewers.In so doing, of desire as movement what desire does and howit to reconsider herworkpresentsa unique opportunity is theorized.
5 Thanksto Jackie Stacey for her help these in formulating ideas. 6 The notion of recoordinatingdesire comes fromSlavoj Zizek's workin The Pervert'sGuide to Cinema (director: Sophie Fiennes,Film
Four Cinema, 2006).
author biography
Gorton is Lecturerin the Departmentof Theatre, Film & Television, Kristyn of York.She has publishedworkon Marguerite Duras, television,film University and feministtheory.She is the author of Psychoanalysisand the Portrayalof Fiction:A FeministCritique(2007) and is currently Desire in Twentieth-Century to Film Desire: FromFreudto Feminism titled a Theorising completing monograph (2008). Recent and forthcoming publications include articles in the Journalof FeministTheory, Studies in European Cinema and BritishCinema and Television, CriticalStudies in Television.
references
Ahmed, S. (2000) Strange Encounters: Embodied Others in Post-Coloniality, London and New york: Routledge. Press. Ahmed, S. (2004) The Cultural Politics of Emotion, Edinburgh:EdinburghUniversity Ahmed, S. (2006) 'The politics of good feelings' Unpublishedpaper delivered at the 'Decolonising of BritishColumbia, 25 June. AffectTheory1 Colloquium, University Press. Berlant, L. (1997) The Queen of America goes to WashingtonCity, Durham: Duke University of Chicago Press. Berlant, L. (2000) Intimacy, Chicago: The University Berlant, L. (2004) editor Compassion: The Cultureand Politics of an Emotion, New York: Routledge.
Gortonfe m n ist revi e w 89 2008 Kristyn
31
Braidotti, R. (2005 [2002]) Metamorphoses: Towardsa Materialist Theory of Becoming, Cambridge: Polity Press. Braidotti, R. (2006) Transpositions: On Nomadic Ethics, Cambridge: Polity Press. Brown,J. (2000) 'What is a psychoanalyticsociology of emotion?' Psychoanalytic Studies, Vol. 2, No. 1: 35-49. Butler, J. (1997) The Psychic Life of Power: Theories in Subjection, Stanford: Stanford University Press. Butler, J. (2003) 'Afterword:after loss, what then?' in Eng, D.L. and Kazanjian, D. (2003) editors, Loss: The Politics of Mourning, Berkeley: University of California Press, 467-474. Colebrook, C. (2006) Deleuze: A Guide for the Perplexed, London: Continuum. Constable, L. (2004) 'Unbecoming sexual desire for women becoming sexual subjects: Simone de Beauvoir (1949) and Catherine Breillat (1999)' MLN,Vol. 119: 672-695. Deleuze, G. (2000, 1989) Cinema 2, Translated byTomlinson,H. and Galeta, R., London: The Athlone Press. Duras, M. (1961) HiroshimaMon Amour,Translated by Seaver, R., New York: Grove Press. Duras, M. (1966) The Ravishingof Loi V. Stein, Translated by Seaver, R., New York: Pantheon Books and Grove Press. Elliott, A. and Spezzano, C. (1999) 'Rethinking psychoanalysis in the postmodern era' in Psychoanalytic Studies, Vol. 1, No. 1: 27-33. of Eng, D.L. and Kazanjian, D. (2003) editors Loss: The Politics of Mourning,Berkeley: University California Press. Freud, S. (2001 [1957]) VolumeXIV (1914-1916) On the Historyof the Psycho-Analytic Movement, Papers on Metapsychologyand Other Works,The Standard Edition of the Complete Worksof Sigmund Freud,Translated by Strachey,J., London: Vintage. Gorton,K. (2003) 'Critical scenes of desire: MargueriteDuras's Le ravissement de Loi V. Stein and Moderato Cantabile' Dalhousie FrenchStudies, Vol. 63(Summer): 100-119. Fiction: A Gorton, K. (2007) Psychoanalysis and the Portrayal of Desire in Twentieth-Century FeministCritique, Lewiston, NY: The Edwin Mellen Press. lesbian desire' in Doan, L. (1994a) editors, The Lesbian Postmodern, Grosz, E. (1994a) 'Refiguring New York: Columbia University Press, 67-84. Grosz, E. (1994b) Jacques Lacan: A FeministIntroduction,London and New York: Routledge. Ha, M. (2000) 'Durasie: women, natives, and other' in Williams,J.S. (2000) editor, Revisioning Duras: Film, Race, Sex, Liverpool: Liverpool University Press, 95-112. Kennedy, B.M. (2000) Deleuze and Cinema: The Aesthetics of Sensation, Edinburgh: Edinburgh Press. University Khalfa, J. (1999) 'An impersonal consciousness' in Khalfa, J. (1999) editor, An Introductionto the Philosophyof Gilles Deleuze, London: Continuum,64-82. Khanna, R. (2004) Dark Continents: Psychoanalysis and Colonialism, Durham: Duke University Press. Kristeva,J. (1989) Black Sun: Depression and Melancholia, Translated by Roudiez, L.S., New York: Columbia University Press. Lacan, J. (1965) 'Hommage Fait MargueriteDuras, Du Ravissement de Loi V. Stein' Ca(s)hiers de la Compagnie Madeleine, Vol. 52: 7-15. Lacan, J. (1977) The Four Fundamentals of Psychoanalysis, Translated by Sheridan, A., London: Penguin. Lacan, J. (2006, 1970) crits The FirstComplete Edition in English,Translated by Fink,B., NewYork: W.W.Norton& Company.
32
feminist
review
89
2008
and melancholia desire, Duras,
Marks, LU. (2000) The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Press. Durham: Duke University McGowan, T. (2003) The End of Dissatisfaction: Jacques Lacan and the EmergingSociety of of New York Press. Enjoyment,New York: State University Nicholson, L (1999) The Play of Reason: From the Modern to the Postmodern, Buckingham:Open Press. University Pence, J. (2004) 'Cinema of the Sublime: Theorizingthe Ineffable' Poetics Today, Vol. 25, No. 1: 29-66. Probyn,E. (1996) Outside Belongings, New Yorkand London: Routledge. of Minnesota Press. Probyn,. (2005) Blush Faces of Shame, Minneapolis: University Rabat, J. (2001) Lacan: Psychoanalysis and the Subject of Literature, Basingstoke: Palgrave. Ruddy, K. (2006) 'The Ambivalence of Colonial Desire in Marguerite DurasY The Lover' Feminist Review, Vol. 82, No. 1: 76-95. Sartre, J. (1956) Being and NothingnessAn Essay on Phenomenological Ontology,Translated by Barnes, H.6., New York: Philosophical Library. Thrift,N. (2004) 'Intensities of feeling: towards a spatial politics of affect' GeografiskaAnnaler, Vol. 86, No. 1: 57-78. and Survival: The FrenchCinema of Krzysztof Kieslowski,Oxford:Legenda. Wilson,E. (2000) Memory Woodward, K. (1996) 'Global cooling and academic warming: long-term shifts in emotional weather' American LiteraryHistory,8, No. 4 (Winter): 759-779. in Theory, Cultureand Race, London and New York: Young, R.J.C. (1995) Colonial Desire: Hybridity Routledge.
films
The English Patient (1996) directed by Anthony Minghella. Miramax Films. HiroshimaMon Amour (1959) writtenby MargueriteDuras, directed by Alain Resnais, Argos Films. India Song (1975) writtenand directed by MargueriteDuras, Paramount Films. Moderato Cantabile (1960) writtenby MargueriteDuras, directed by Peter Brook,Les FilmsArmorial. The Pervert'sGuide to Cinema (2006) writtenby Slavoj Zizek, directed by Sophie Fiennes, Film Four Cinema.
doi:10.1057/fr.2008.10
Gortonfe m in iSt feVe W 89 2008 Kristyn
33

.Desire, Duras, and Melancholia: Theorizing Desire After The 'Affective Turn'

Diunggah oleh

Informasi Dokumen

Judul Asli

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

.Desire, Duras, and Melancholia: Theorizing Desire After The 'Affective Turn'

Diunggah oleh

Hak Cipta:

Format Tersedia

desire, Duras, and melancholia: theorizing desire after the 'affective turn' Author(s): Kristyn Gorton Source: Feminist

desire, Duras, and melancholia: theorizing desire after the Effective

feminist review 89 2008

theorizing desire in film

desire and melancholia

desire and affect

Gortonfe m n ist revi e w 89 2008 Kristyn

and melancholia desire, Duras,

Gortonfe m in iSt feVe W 89 2008 Kristyn

Anda mungkin juga menyukai