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Sex Changes with Kleist
The Germanic Review: Literature, Culture, Theory Pub Date : 2020-07-02 , DOI: 10.1080/00168890.2020.1794349
Olivia Landry 1
Affiliation  

Katrin Pahl’s recent study offers compelling new readings of Heinrich von Kleist’s dramatic works, in particular The Broken Jug, Penthesilea, The Battle of Herrmann, and Katie from Heilbronn as queer and trans explorations avant la lettre. At a moment in history when the paradigm of sexual binarism was gaining immense purchase, Kleist, it seems, was writing against the grain. But while scholars such as Catriona MacLeod have previously drawn our attention to the androgyny and homoeroticism present in Kleist’s work, Sex Changes with Kleist develops this objective further and propels things in wildly unexpected directions. Drawing on Thomas W. Lacqueur, Pahl reminds us that the eighteenth century witnessed a significant shift in thinking about sex. This historical sex change is, as Pahl indicates, “central to this study” (7). From the one-sex model of the male body and its incomplete version in the female body to the two-sex model of male and female, modernity established the sexual binary. This model became critical to the construction and socialization of the bourgeois subject. Kleist reacted to this increasingly dominant paradigm with “revolutionary eruptions” (9). Indeed, according to Pahl, “Kleist puts an end to the model before it became hegemonic” (14). Sex Changes with Kleist is as much a critical example of LGBTQþ historic practice as it is a literary study, insofar as it reclaims and repairs a lost history. What is noteworthy about Pahl’s mostly reparative study, however, is its engagement with psychoanalytic theories, especially those of Jacques Lacan. Overall, Lacan’s theories turn to the negative and the unknowable about sex. But at the site of the negative there is also an assertion of jouissance with its equal parts pleasure and pain. This sums up much of what Pahl presents and analyzes from Kleist’s dramatic texts. In this sense, Sex Changes with Kleist is of a piece with the works of Leo Bersani and Lee Edelman, two theorists Pahl cites at various points. Aside from its novel close readings, what is most exhilarating about Sex Changes with Kleist is its creation of a new vernacular through a number of neologisms. Pahl plays with language, or in Kleistian fashion even tears it apart, in order to re-build it anew. But she also offers a creative toolbox of methods for her linguistic operations. Pahl applies the term “mackle,” employed frequently throughout, to name the phenomenon of repetition and layering of slightly different scenes in the production of a multiple impression (20). The mackle is a shift that blurs representation and shakes the sense of perception of both reader and spectator. Everything becomes diffuse. Through the diffusion of reality and representation, queer and trans possibilities open up and things begin to multiply—or at least double. Beginning with form, Sex Changes with Kleist examines the doubling of drama under Kleist. Following Beda Allemann, Pahl draws attention to Kleist’s established penchant for dramatic doubling. The conventional “drama of action” is layered with a “stationary drama” (also a counterdrama), which concerns itself with character development and ultimately undermines the action of the former (44). Distinct from, but perhaps anticipating, the much later Artaudian polemic of the theater and its double, Kleist’s doubled drama empties the substance of pathos, inviting parody and paralysis. That is, even if the drama of action

中文翻译:

与克莱斯特的性别变化

卡特琳·帕尔 (Katrin Pahl) 最近的研究为海因里希·冯·克莱斯特 (Heinrich von Kleist) 的戏剧作品提供了引人入胜的新解读,特别是《破碎的壶》、《彭忒西勒亚》、《赫尔曼之战》和来自海尔布隆的凯蒂 (Katie),将其作为同性恋和跨性别探索先锋。在性别二元主义范式获得巨大购买的历史时刻,克莱斯特似乎正在反对。但是,尽管卡特里奥娜·麦克劳德 (Catriona MacLeod) 等学者之前曾让我们注意到克莱斯特作品中存在的雌雄同体和同性恋,但克莱斯特的性变迁进一步发展了这一目标,并将事情推向了出乎意料的方向。帕尔借鉴 Thomas W. Lacqueur 的观点提醒我们,十八世纪见证了性观念的重大转变。正如帕尔指出的那样,这种历史性的性别变化是“这项研究的核心”(7)。从男性身体的单一性别模型及其在女性身体中的不完整版本到男女两性模型,现代性确立了性二元。这种模式对资产阶级主体的建构和社会化变得至关重要。克莱斯特以“革命性的爆发”(9)对这种日益占主导地位的范式作出反应。事实上,根据 Pahl 的说法,“克莱斯特在模型成为霸权之前就结束了它”(14)。克莱斯特的性别变化既是 LGBTQþ 历史实践的重要例子,也是文学研究,因为它恢复和修复了丢失的历史。然而,帕尔的主要修复性研究值得注意的是它与精神分析理论的联系,尤其是雅克·拉康的理论。总的来说,拉康的理论转向了对性的否定和不可知。但是在否定的地方,也有一种对享乐的断言,它具有同等的快乐和痛苦。这总结了帕尔从克莱斯特的戏剧文本中呈现和分析的大部分内容。从这个意义上说,《克莱斯特的性变迁》与 Leo Bersani 和 Lee Edelman 的作品有关,这两位理论家 Pahl 在不同方面引用了这本书。除了小说细读之外,《克莱斯特的性变迁》最令人振奋的是它通过许多新词创造了一种新的方言。帕尔玩弄语言,或者以克莱斯敦的方式,甚至将其撕碎,以重新构建它。但她也为她的语言操作提供了一个创造性的方法工具箱。帕尔应用了“mackle”这个词,在整个过程中经常使用,命名在多重印象的制作中略有不同的场景的重复和分层现象(20)。mackle 是一种转变,它模糊了表现,动摇了读者和观众的感知。一切都变得弥散。通过现实和表象的扩散,酷儿和跨性别的可能性打开了,事情开始成倍增加——或者至少成倍增加。从形式开始,克莱斯特的性别变化研究了克莱斯特领导下的戏剧性翻倍。在Beda Allemann 之后,Pahl 将注意力引向了Kleist 对戏剧性加倍的既定嗜好。传统的“动作剧”与“静止剧”(也是反剧)叠加,后者关注角色发展,最终破坏了前者的动作(44)。不同于,但也许是预期的,晚得多的阿尔托德式的戏剧论战及其双重、克莱斯特的双重戏剧清空了悲情的实质,引来了模仿和麻痹。也就是说,即使是动作戏
更新日期:2020-07-02
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