Abstract:This article examines the role of pugilistic gesture and form in queer performance, focusing on Franko B's Milk & Blood (2015) and Cassils's Becoming an Image (2012). Walsh considers how pugilism functions as a mode for "working out" queer fights—personal and cultural—that offers us a performative complement or reverse-orientation to Sigmund Freud's psychologically centered idea of "working-through" (1914). Reading these pugilistic performances along the slide between working through and working out—their psychic and material practices and effects—allows us to perceive the body as both the object of loss and trauma and, in practiced form, the key instrument of processing change. It compels us to keep the body at the center of debates of traumatic intervention and negotiation in queer studies and beyond, as the fighting bodies themselves appear to insist.

中文翻译：

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拳击酷儿表演

摘要：本文考察了拳击姿势和形式在酷儿表演中的作用，重点关注 Franko B 的 Milk & Blood (2015) 和 Cassils 的 Becoming an Image (2012)。沃尔什考虑了拳击运动如何作为一种“锻炼”酷儿战斗的模式——个人和文化——为我们提供了对西格蒙德·弗洛伊德的以心理为中心的“解决”(1914) 思想的表演性补充或反向定位。沿着锻炼和锻炼之间的滑动阅读这些拳击表演 - 它们的精神和物质实践和影响 - 让我们将身体视为损失和创伤的对象，并且在实践形式中，是处理变化的关键工具。它迫使我们将身体置于酷儿研究及其他领域创伤干预和谈判辩论的中心，