Abstract:Grounded in analyses of two graphic memoirs, Ellen Forney's Marbles: Mania, Depression, Michelangelo and Me and Allie Brosh's "Depression (Parts One & Two)," this article draws from Sara Ahmed's 2006 book, Queer Phenomenology: Objects, Orientations, Others, in order to theorize the "queer phenomenology" of what gets called depression within many Western psychiatric, medical, and cultural discourses. Arguing that queer desires orient the subject away from (hetero)normative objects (or "happy objects," as Ahmed calls them, because they promise a life of happiness), Queer Phenomenology suggests that the subsequent turn toward queer objects produces feelings of dis-orientation in the subject. Noting the similarities between Ahmed's idea of queer disorientations and my own disorienting experiences of depression, this essay posits that depression similarly constitutes a turn away from"happy objects" andtoward objects which, through their newfound prominence in the depressed person's life, may appear as strange or even queer.

中文翻译：

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漫画、玉米和抑郁症的酷儿现象学

摘要：本文以对两本图形回忆录的分析为基础，Ellen Forney 的 Marbles: Mania, Depression, Michelangelo and Me 和 Allie Brosh 的“Depression (Parts One & Two)”，这篇文章来自 Sara Ahmed 2006 年的书，Queer Phenomenology: Objects, Orientations，其他人，为了将许多西方精神病学、医学和文化话语中所谓的抑郁症的“酷儿现象学”理论化。酷儿现象学认为酷儿欲望使主体远离（异性）规范客体（或艾哈迈德称之为“快乐客体”，因为它们承诺幸福的生活），酷儿现象学认为，随后转向酷儿客体会产生不悦的感觉。主题的方向。注意到艾哈迈德之间的相似之处