Abstract:For the twenty-fifth anniversary of GLQ: A Journal of Lesbian and Gay Studies, this lyric essay returns to the first appearance of Eve Kosofsky Sedgwick’s much-anthologized article “Queer Performativity: Henry James’s The Art of the Novel” in the journal’s debut issue. Reading Sedgwick’s article through a biographical lens, the author argues that while readers have been more interested in Sedgwick’s neologism, queer performativity, than in her close reading of James’s prefaces, the real drama of Sedgwick’s article lies in her near-identification with James’s bouts of depression and shame surrounding his failures and blockages as a writer. Through her near-identification with James, Sedgwick finds a queer strategy for dealing with her shame and depression around her own writing as a poet. A doctoral student of Sedgwick’s, the author performs the same nearidentification with Sedgwick that Sedgwick performs with James in an attempt to deal with her death during the writing of his dissertation. In doing so, the author invites readers to reflect on the near-identifications at work in their own reading and writing practices.

中文翻译：

---

婴儿洗澡水

摘要：在 GLQ: A Journal of Lesbian and Gay Studies 25 周年之际，这篇抒情的文章回归了伊芙·科索夫斯基·塞奇维克 (Eve Kosofsky Sedgwick) 的多篇选集文章《酷儿表演：亨利·詹姆斯的小说艺术》在该杂志的首次亮相。首发问题。通过传记镜头阅读塞奇威克的文章，作者认为，虽然读者对塞奇威克的新词、奇怪的表演性更感兴趣，而不是她对詹姆斯序言的仔细阅读，但塞奇威克文章的真正戏剧性在于她与詹姆斯的近乎认同围绕着他作为作家的失败和障碍而感到沮丧和羞耻。通过她与詹姆斯的接近认同，塞奇威克找到了一种奇怪的策略来处理自己作为诗人的写作的羞耻和沮丧。塞奇威克的博士生，作者对 Sedgwick 进行了与 Sedgwick 相同的近乎认同，就像 Sedgwick 与 James 在撰写论文期间试图处理她的死亡一样。在此过程中，作者邀请读者反思在他们自己的阅读和写作实践中工作中的近认同。