Abstract The Summer Without Men (2011) brings together several strands of thought that have characterized Siri Hustvedt’s oeuvre, exemplifying most notably the manner in which Husvedt’s fictional strategies are informed by her favorite conceptual triad of aesthetics, gender and psychiatry. The structure of transgressions in TSM is crucial to the text’s peculiar enunciation of gender, and this paper seeks to explore the potential criticality to the term ‘transgression’ because it allows us to consider something like a ‘partial subject’ that escapes gender itself. Driven mostly by the centrality of mental illness and convalescence to the plot, my own animation of the term here is derived largely from Deleuze & Guattari’s concept of ‘partial subjectivation’, from which I also borrow the possibility of thinking esthetically, rather than politically or representationally, about gender. This paper identifies to that effect, a series of Deleuzian ‘becomings’ in the novel which constitute its esthetics of transgression, forming its own peculiar treatment of gender as a creative flux rather than a juridical concept.

中文翻译：

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Siri Hustvedt 的《没有男人的夏天》中的违犯美学

摘要 《没有男人的夏天》（2011 年）汇集了 Siri Hustvedt 全部作品的几个特征，最显着地体现了 Husvedt 的虚构策略是如何通过她最喜欢的美学、性别和精神病学概念三元组来体现的。TSM 中越界的结构对于文本对性别的特殊阐述至关重要，本文试图探索“越界”一词的潜在批判性，因为它允许我们考虑诸如逃避性别本身的“部分主体”之类的东西。主要是受精神疾病和康复对情节的中心影响，我自己对这个词的动画主要来自德勒兹和加塔利的“部分主观化”的概念，我也从中借用了美学思考的可能性，而不是政治或代表性，关于性别。为此，本文确定了小说中一系列德勒兹式的“生成”，它们构成了其越界的美学，形成了它自己独特的将性别视为一种创造性的流动而不是一种法律概念的处理方式。