Abstract

This article explores the work of theorist, activist, and performer Mario Mieli through the lens of fashion, unearthing the central function that radical dress occupies in his gay communist project. I focus in particular on how, within Mieli's queer utopianism, radical transvestism operates as an ethico-political praxis with the purpose of challenging capitalism and liberating Eros. On the one hand, fashion is condemned by Mieli with arguments attuned to those used by the Frankfurt School against the culture industry. On the other, dress – intended as a signifier of politicised self-fashioning – emerges as a force incorporated by the crossdresser to establish modes of intersubjectivity rooted in polymorphous desire as well as collective forms of resistance against the Norm. For Mieli, critique is corporeally embodied. On this ground, dress permits the material articulation of embodied critical instances of queer insurrection. I conclude by explaining why, within Mieli's transsexual utopia, crossdressing should be read in alignment with non-normative sexual practices such as coprophagy.

摘要

本文从时尚的角度探讨了理论家，激进主义者和演员马里奥·米埃利（Mario Mieli）的工作，发掘了激进服装在其同性恋共产计划中所扮演的核心职能。我特别关注在米耶利的古怪的乌托邦主义中，激进的易装癖主义是作为一种政治政治实践来运作的，目的是挑战资本主义和解放爱罗斯。一方面，时尚被米埃利（Mieli）谴责，并与法兰克福学派针对文化产业的论点相吻合。另一方面，服装（旨在作为政治化的自我塑造的象征）应运而生，成为反穿装者整合起来的一种力量，以建立植根于多种多样的欲望以及对规范的集体抵抗形式的主体间性模式。对于米埃利（Mieli）而言，批评是肉体的体现。在这个基础上，着装可以使酷儿叛乱的具体关键实例具有实质性的表达。作为结束语，我最后解释了为什么在Mieli的变性乌托邦中，应根据不规范的性行为（如共病）阅读更衣。