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An other Kind of Home

Gender-Sexual Abjection, Subjectivity, and the Uncanny in Literature and Film


Kyle Frackman

In this study, the author examines works of German-language literature and film from the nineteenth and twentieth century in order to chart a certain kind of otherness. Common to all of the examined cultural products are aspects of gender, sexuality, a notion of home or belonging, and pressures of abjection. Other elements of identity include race and disease. The characters in the analyzed works encounter both mutual dependence and abhorrence, which complicate their experiences in space and time. This analysis demonstrates that acceptance and belonging are difficult to attain, particularly in the fraught power dynamics in these works. This book includes discussions of works by Frank Wedekind, Robert Musil, Kutluğ Ataman, and Pierre Sanoussi-Bliss.
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Chapter 5: Nation, HIV/AIDS, and Sexuality in Pierre Sanoussi-Bliss’s: Zurück auf los


Chapter 5: Nation, HIV/AIDS, and Sexuality in Pierre Sanoussi-Bliss’s Zurück auf los

[T]he wars against diseases are not just calls for more zeal, and more money to be spent on research. The metaphor implements the way particularly dreaded diseases are envisaged as an alien “other,” as enemies are in modern war; and the move from the demonization of the illness to the attribution of fault to the patient is an inevitable one, no matter if patients are thought of as victims. (Sontag 99)

In the first chapter of In a Queer Time and Place, Judith Halberstam writes “Queer time, as it flashes into view in the heart of a crisis, exploits the potential of what Charles-Pierre Baudelaire called in relation to modernism ‘The transient, the fleeting, the contingent’” (In a Queer Time and Place 2).1 Halberstam’s goal in this work is to theorize the relationships between queer time and space. In this chapter, I will utilize some of Halberstam’s formulations to examine the actions and construction of Sam, the protagonist, in Pierre Sanoussi-Bliss’s (b. 1962) film Zurück auf los (2000, Return to Go) in order to demonstrate the ways in which Sam functions in an other kind of time. Halberstam has defined “queer time” as “those specific models of temporality that emerge within postmodernism once one leaves the temporal frames of bourgeois reproduction and family, longevity, risk/safety, and inheritance” (In a Queer Time and Place 6). I find that Baudelaire’s quote above...

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