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Yvette Taylor</a> 346 <span class="post-date">December 6, 2020</span> 347 </li> 348 </ul> 349 350 </nav></aside><aside id="meta-2" class="widget widget_meta"><h2 class="widget-title">Meta</h2><nav aria-label="Meta"> 351 <ul> 352 <li><a href="https://www.lisadowning.co.uk/wp-login.php">Log in</a></li> 353 <li><a href="https://www.lisadowning.co.uk/feed/">Entries feed</a></li> 354 <li><a href="https://www.lisadowning.co.uk/comments/feed/">Comments feed</a></li> 355 356 <li><a href="https://en-gb.wordpress.org/">WordPress.org</a></li> 357 </ul> 358 359 </nav></aside> </div><!-- .widget-area --> 360 361 </div><!-- .secondary --> 362 363 </div><!-- .sidebar --> 364
365 <div id="content" class="site-content"> 366 367 <div id="primary" class="content-area"> 368 <main id="main" class="site-main"> 369 370 371<article id="post-72" class="post-72 page type-page status-publish hentry"> 372 373 <header class="entry-header"> 374 <h1 class="entry-title">About The Books</h1> </header><!-- .entry-header --> 375 376 <div class="entry-content"> 377 <p>Here is information about Lisa’s books, with the most recently published appearing first.</p> 378<p>If you buy a book using the links on this page, Lisa will receive commission as an Amazon.co.uk associate. Links to the publisher’s website are also provided in each case. (Links open in new windows.)</p> 379 380 381<p class="has-text-align-left"></p> 382 383 384<div class="wp-block-image"> 385<figure class="alignleft size-full is-resized"><img data-recalc-dims="1" fetchpriority="high" decoding="async" width="596" height="954" data-attachment-id="923" data-permalink="https://www.lisadowning.co.uk/my-books/9781496242303-3/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781496242303-2.jpeg?fit=596%2C954&ssl=1" data-orig-size="596,954" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="9781496242303" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781496242303-2.jpeg?fit=596%2C954&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781496242303-2.jpeg?resize=596%2C954&ssl=1" alt="" class="wp-image-923" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781496242303-2.jpeg?w=596&ssl=1 596w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781496242303-2.jpeg?resize=187%2C300&ssl=1 187w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781496242303-2.jpeg?resize=125%2C200&ssl=1 125w" sizes="(max-width: 596px) 100vw, 596px" /><figcaption class="wp-element-caption"><em>Against Affect</em> by Lisa Downing (Nebraska University Press, 2026)</figcaption></figure> 386</div> 387 388 389<p></p> 390 391 392 393<p></p> 394 395 396 397<p></p> 398 399 400 401<p></p> 402 403 404 405<p class="has-text-align-left"><em><strong>Against Aff</strong></em><strong><em>ect</em> </strong>interrogates shibboleths of feeling and reason and their relationship with ideas of identity, gender, and freedom in the twenty-first century. Lisa Downing starts with the familiar premise that emotion has been historically gendered and racialized since the Enlightenment, with women, people of color, and other nonnormative subjects associated with emotionality, and only white men with logic and reason. The âaffective turnâ in the academic humanities attempted to redress this injustice in the 1990s, and affect theory, ubiquitous today, revalorized precisely what was excluded from logos: the bodily, the emotive, and the experiential. But how effective has this strategy truly been in changing perceptions of marginalized forms of knowledge and subjectivity? <em>Against Affect</em> argues that the academic affective turn has prompted a broader cultural one, marked by increasing prioritizationâand exploitationâof feeling over reason, issuing from both the political left and right.</p> 406 407 408 409<p class="has-text-align-left">Using a series of case studies, <em>Against Affect</em> explores how the deployment of a language of emotion in both the academic and cultural spheres constitutes a new normativity. In thinking against affect, Downing questions the efficacy and desirability of idealizing feeling and proposes instead the redistribution of reason.<br><br>BUY <em>AGAINST AFFECT</em> <strong><a href="https://www.amazon.co.uk/Against-Affect-Provocations-Lisa-Downing-ebook/dp/B0FWPHSX2H?crid=201GC9D85PPAZ&dib=eyJ2IjoiMSJ9.SqL3ZEAjqEl2b1COtZyzTlELvWNTjZotBlKwwT8JJCqR7dgOBqpxKV3gkrX0pIeFMUN5rTRkeXqi2luwkt8a1jL_
409njYC2Ut54efPCU-L7ux5vkK20aSQ-WmAGAtghtVBa72qGRsPs0FsK0vmuEMCMxz9uJ-q53T49ke192wkwDJaFEb6uCntt8wQny4t30e_e8sesUkznUfGj_HhkrGU6sqV22GFkBsDy8Bo-_sYq-0.xjWPAA2MRm9N9A9r3nnWo55iEA-gxaZF8A5QesRdDlI&dib_tag=se&keywords=against+affect&qid=1763835411&sprefix=against+affect%2Caps%2C92&sr=8-1&linkCode=ll1&tag=lisdowautanda-21&linkId=5a9eca41a53047ca3ebd479e69742880&language=en_GB&ref_=as_li_ss_tl" data-type="link" data-id="https://www.amazon.co.uk/Against-Affect-Provocations-Lisa-Downing-ebook/dp/B0FWPHSX2H?crid=201GC9D85PPAZ&dib=eyJ2IjoiMSJ9.SqL3ZEAjqEl2b1COtZyzTlELvWNTjZotBlKwwT8JJCqR7dgOBqpxKV3gkrX0pIeFMUN5rTRkeXqi2luwkt8a1jL_njYC2Ut54efPCU-L7ux5vkK20aSQ-WmAGAtghtVBa72qGRsPs0FsK0vmuEMCMxz9uJ-q53T49ke192wkwDJaFEb6uCntt8wQny4t30e_e8sesUkznUfGj_HhkrGU6sqV22GFkBsDy8Bo-_sYq-0.xjWPAA2MRm9N9A9r3nnWo55iEA-gxaZF8A5QesRdDlI&dib_tag=se&keywords=against+affect&qid=1763835411&sprefix=against+affect%2Caps%2C92&sr=8-1&linkCode=ll1&tag=lisdowautanda-21&linkId=5a9eca41a53047ca3ebd479e69742880&language=en_GB&ref_=as_li_ss_tl" target="_blank" rel="noreferrer noopener">HERE</a></strong>.<br>View on the publisher’s site <strong><a href="https://www.nebraskapress.unl.edu/nebraska/9781496242303/against-affect/?fbclid=IwdGRjcAN4wNNleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA8xNzM4NDc2NDI2NzAzNzAAAR6xLMdMPgeYsU_ZhCuL5BIAMMFuM4kkZOvPDGbc34a8LZopGEN-1lbiHHFm9g_aem_P0FFW7afd12xtxYjOFlbcA" data-type="link" data-id="https://www.nebraskapress.unl.edu/nebraska/9781496242303/against-affect/?fbclid=IwdGRjcAN4wNNleHRuA2FlbQIxMQBzcnRjBmFwcF9pZA8xNzM4NDc2NDI2NzAzNzAAAR6xLMdMPgeYsU_ZhCuL5BIAMMFuM4kkZOvPDGbc34a8LZopGEN-1lbiHHFm9g_aem_P0FFW7afd12xtxYjOFlbcA" target="_blank" rel="noreferrer noopener">here</a>.</strong></p> 410 411 412<div class="wp-block-image"> 413<figure class="alignleft size-large is-resized"><img data-recalc-dims="1" decoding="async" width="660" height="991" data-attachment-id="931" data-permalink="https://www.lisadowning.co.uk/my-books/screenshot/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?fit=834%2C1252&ssl=1" data-orig-size="834,1252" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"Screenshot","created_timestamp":"1762624417","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"Screenshot","orientation":"1"}" data-image-title="Screenshot" data-image-description="" data-image-caption="<p>Screenshot</p> 414" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?fit=660%2C991&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?resize=660%2C991&ssl=1" alt="" class="wp-image-931" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?resize=682%2C1024&ssl=1 682w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?resize=200%2C300&ssl=1 200w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?resize=133%2C200&ssl=1 133w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?resize=768%2C1153&ssl=1 768w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/Screenshot-2025-11-08-at-17.53.07-1.jpeg?w=834&ssl=1 834w" sizes="(max-width: 660px) 100vw, 660px" /><figcaption class="wp-element-caption"><em>Critical Freedoms</em>, edited Lisa Downing (Edinburgh University Press, 2023)</figcaption></figure> 415</div> 416 417 418<p class="has-text-align-left"></p> 419 420 421 422<p class="has-text-align-left"><strong><em>Critical Freedoms</em></strong><br>The articles in this volume take as their object the concept of freedom broadly â and of freedom of expression in particular â and view them through the lens of insights from modern critical theory and the continental philosophical tradition. Some articles revisit works of key theorists to shine fresh light on their conceptual understanding of “freedom”, examining how they articulate it and how they arrived at it in genealogical terms. Others link concepts and ideas from critical theory to live contemporary debates, such as those concerning online freedom, campus no-platforming, and so-called “cancel culture”, and use the tools of critical theory to nuance discourse surrounding these often sensationalized and polarizing topics. A critical awareness of how power operates in the deployment of the language of freedom â who is allowed to align themselves with that virtue along sexed, gendered, racialized, and class lines â permeates the articles<br><br>BUY <em>CRITICAL FREEDOMS</em> <a href="https://amzn.to/4ihFGHg" data-type="link" data-id="https://amzn.to/4ihFGHg" target="_blank" rel="noreferrer noopener"><strong>HERE</strong>.</a><br>View on the publisher’s website <strong><a href="https://edinburghuniversitypress.com/book-critical-freedoms-pb.html" target="_blank" rel="noreferrer noopener">here</a></strong>.</p> 423 424 425<div class="wp-block-image is-resized"> 426<figure class="alignleft"><img data-recalc-dims="1" decoding="async" width="660" height="995" data-attachment-id="563" data-permalink="https://www.lisadowning.co.uk/2019/02/21/selfish-women-to-be-published-this-year/ade8b935-cd3a-44f3-a53a-d104ee6f2b3b/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?fit=940%2C14
42618&ssl=1" data-orig-size="940,1418" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"1550498923","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?fit=660%2C995&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B-679x1024.jpeg?resize=660%2C995" alt="" class="wp-image-563" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?resize=679%2C1024&ssl=1 679w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?resize=133%2C200&ssl=1 133w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?resize=199%2C300&ssl=1 199w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?resize=768%2C1159&ssl=1 768w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/ADE8B935-CD3A-44F3-A53A-D104EE6F2B3B.jpeg?w=940&ssl=1 940w" sizes="(max-width: 660px) 100vw, 660px" /><figcaption class="wp-element-caption"><em>Selfish Women</em> by Lisa Downing (Routledge, 2019)<br></figcaption></figure> 427</div> 428 429 430<p class="has-text-align-left"><strong><em>Selfish Women</em></strong><br>This book proceeds from a single and very simple observation: throughout history, and up to the present, women have received a clear message that <em>we are not supposed to prioritize ourselves</em>. Indeed, the whole question of “self” is a problem for women â and a problem that issues from a wide range of locations, including, in some cases, feminism itself. When women espouse discourses of self-interest, self-regard, and selfishness, they become illegible. This is complicated by the commodification of the self in the recent Western mode of economic and political organization known as “neoliberalism,” which encourages a focus on self-fashioning that may not be identical with self-regard or self-interest. <br>Drawing on figures from French, US, and UK contexts, including Rachilde, Ayn Rand, Margaret Thatcher, and Lionel Shriver, and examining discourses from psychiatry, media, and feminism with the aim of reading against the grain of multiple orthodoxies, this book asks how revisiting the words and works of selfish women of modernity can assist us in understanding our fraught individual and collective identities as women in contemporary culture. And can women with politics that are contrary to the interests of the collective teach us anything about the value of rethinking the role of the individual?<br><br>BUY <em>SELFISH WOMEN</em> <strong><a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2BPsC90" target="_blank" rel="noreferrer noopener">HERE</a></strong>.<br>View on the Publisher’s website <strong><a aria-label="here (opens in a new tab)" href="https://www.routledge.com/Selfish-Women-1st-Edition/Downing/p/book/9780367249892?fbclid=IwAR1_TLhP8LrNUFTznZzOU3OjUVcFz7rPxE9CB9OpvtgYbFtxqo1-QDpvo68" target="_blank" rel="noreferrer noopener">here</a></strong>.<br></p> 431 432 433<div class="wp-block-image is-resized"> 434<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="650" height="973" data-attachment-id="616" data-permalink="https://www.lisadowning.co.uk/my-books/9781474439404_1_4-2/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/9781474439404_1_4-1.jpg?fit=650%2C973&ssl=1" data-orig-size="650,973" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="9781474439404_1_4" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/9781474439404_1_4-1.jpg?fit=650%2C973&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/9781474439404_1_4-1.jpg?resize=650%2C973" alt="" class="wp-image-616" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/9781474439404_1_4-1.jpg?w=650&ssl=1 650w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/9781474439404_1_4-1.jpg?resize=134%2C200&ssl=1 134w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/9781474439404_1_4-1.jpg?resize=200%2C300&
434ssl=1 200w" sizes="auto, (max-width: 650px) 100vw, 650px" /><figcaption class="wp-element-caption"><em>Queering the Second Wave</em>, edited Lisa Downing and Lara Cox (Edinburgh University Press, 2018)</figcaption></figure> 435</div> 436 437 438<p><em><strong>Queering the Second Wave</strong></em> explores a series of unsung â and sometimes counterintuitive â resonances between second-wave feminism and queer theory in both Anglophone and Francophone contexts. It considers the works and ideas of feminists including Monique Wittig, Shulamith Firestone, Andrea Dworkin, Marilyn Frye, Donna Haraway, Gloria Anzaldúa, and CherrÃe Moraga as precursors of queer theoretical writings by names such as Judith Butler, José Esteban Muñoz, Lee Edelman, Paola Bacchetta, and Judith Jack Halberstam. While acknowledging some of the problems and blindspots of second-wave politics and writing, we nevertheless seek to challenge the assumption that second-wave feminism is politically outdated or invalid. Instead, we imagine cross-generational and cross-discursive dialogues, and trace a genealogy of influence between the second-wave past and the queer present, while also speculating, in some cases, on previously unimagined queer-feminist futures.<br><br>BUY <em>QUEERING THE SECOND WAVE</em> <strong><a href="https://amzn.to/2GHzwBj" target="_blank" rel="noreferrer noopener">HERE</a></strong>.<br>View on the publisher’s website <strong><a href="https://edinburghuniversitypress.com/book-queering-the-second-wave-anglophone-and-francophone-contexts-pb.html" target="_blank" rel="noreferrer noopener">here</a></strong>.<br></p> 439 440 441<div class="wp-block-image is-resized"> 442<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="458" height="688" data-attachment-id="534" data-permalink="https://www.lisadowning.co.uk/my-books/after-foucault/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2018/10/After-Foucault.jpg?fit=458%2C688&ssl=1" data-orig-size="458,688" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="After Foucault" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2018/10/After-Foucault.jpg?fit=458%2C688&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2018/10/After-Foucault.jpg?resize=458%2C688" alt="" class="wp-image-534" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2018/10/After-Foucault.jpg?w=458&ssl=1 458w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2018/10/After-Foucault.jpg?resize=133%2C200&ssl=1 133w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2018/10/After-Foucault.jpg?resize=200%2C300&ssl=1 200w" sizes="auto, (max-width: 458px) 100vw, 458px" /><figcaption class="wp-element-caption"><em>After Foucault</em>, edited by Lisa Downing (Cambridge University Press, 2018)</figcaption></figure> 443</div> 444 445 446<p class="has-text-align-left"><strong><em>After Foucault</em></strong><br>The work of Michel Foucault is much read, widely cited, and occasionally misunderstood. In response to this state of affairs, this collection aims to clarify, to contextualize, and to contribute to Foucauldian scholarship in a very specific way. Rather than offering either a conceptual introduction to Foucault’s work, or a series of interventions aimed specifically at experts, <em>After Foucault</em> explores his critical afterlives, situates his work in current debates, and explains his intellectual legacy. As well as offering up-to-date assessments of Foucault’s ongoing use in fields such as literary studies, sexuality studies, and history, chapters explore his relevance for urgent and emerging disciplines and debates, including ecology, animal studies, and the analysis of neoliberalism. Written in an accessible style, by leading experts, <em>After Foucault</em> demonstrates a commitment to taking seriously the work of a key twentieth-century thinker for contemporary academic disciplines, political phenomena, and cultural life.<br><br>BUY <em>AFTER FOUCAULT</em> <strong><a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2EajZGb" target="_blank" rel="noreferrer noopener">HERE</a></strong>.<br>View on the publisher’s website <a aria-label="here (opens in a new tab)" href="https://www.cambridge.org/core/books/after-foucault/B396F76DF41542F9FC793F6E13E9B6D2" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br></p> 447 448 449<div class="wp-block-image is-resized"> 450<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="660" height="991" data-attachment-id="428" data-permalink="https://www.lisadowning.co.uk/my-books/attachment/9780226186610/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780226186610-e1413555363760.jpg?fit=180%2C270&ssl=1" data-orig-size="180,270" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="9780226186610" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780226186610-e1413555363760.jpg?fit=660%2C991&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780226186610-682x1024.jpg?resize=660%2C991" alt="" class="wp-image-428"/><figcaption class="wp-element-caption"><em>Fuckology: Critical Essays on John Money’s Diagnostic Concepts</em> by Lisa Downing, Iain Morland, and Nikki Sullivan (University of Chicago Press, 2015)</figcaption></figure> 451</div> 452 453 454<p><strong>Fuckology</strong><br>One of the twentieth centuryâs most controversial sexologistsâor âfuckologists,â to use his own memorable termâJohn Money was considered a trailblazing scientist and sexual libertarian by some, but damned by others as a fraud and a pervert. Money invented the concept of gender in the 1950s, yet fought its uptake by feminists. He backed surgical treatments for transsexuality, but argued that gender roles were set by reproductive capacity. He shaped the treatment of intersex, advocating experimental sex changes for children with ambiguous genitalia. He pioneered drug therapy for sex offenders, yet took an ambivalent stance towards pedophilia. In his most publicized case study, Money oversaw the reassignment of David Reimer as female following a circumcision accident in infancy. Heralded by many as proof that gender is pliable, the case was later discredited
454when Reimer revealed that he had lived as a male since his early teens. <br><br>In <em>Fuckology</em>, the authors contextualize and interrogate Moneyâs writings and practices. The book focuses on his three key diagnostic concepts, âhermaphroditism,â âtranssexualism,â and âparaphilia,â but also addresses his lesser-known work on topics ranging from animal behavior to the philosophy of science. The result is a comprehensive collection of new insights for researchers and students within cultural, historical, and gender studies, as well as for practitioners and activists in sexology, psychology, and patient rights.<br><br>BUY <em>FUCKOLOGY</em> <strong><a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2NrZB80" target="_blank" rel="noreferrer noopener">HERE</a></strong>.<br>View on the publisher’s website <strong><a aria-label="here (opens in a new tab)" href="https://www.press.uchicago.edu/ucp/books/book/chicago/F/bo18991189.html" target="_blank" rel="noreferrer noopener">here</a></strong>.<br></p> 455 456 457<div class="wp-block-image is-resized"> 458<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="518" height="778" data-attachment-id="109" data-permalink="https://www.lisadowning.co.uk/?attachment_id=109" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?fit=518%2C778&ssl=1" data-orig-size="518,778" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="hi res cover" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?fit=518%2C778&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?resize=518%2C778" alt="" class="wp-image-109" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?w=518&ssl=1 518w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?resize=133%2C200&ssl=1 133w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?resize=199%2C300&ssl=1 199w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/hi-res-cover.jpg?resize=300%2C450&ssl=1 300w" sizes="auto, (max-width: 518px) 100vw, 518px" /><figcaption class="wp-element-caption"><em>The Subject of Murder: Gender Exceptionality, and the Modern Killer</em> by Lisa Downing (University of Chicago Press, 2013)</figcaption></figure> 459</div> 460 461 462<p><strong><em>The Subject of Murder</em></strong><br>Murder has always held a particular fascination for us. But, since at least the nineteenth century, we have seen the murderer as different from the ordinary citizenâa special individual, like an artist or a genius, who exists apart from the moral majority, a sovereign self who obeys only the destructive urge, sometimes even commanding cult followings. In contemporary culture, we continue to believe that there is something different and exceptional about killers, but is the murderer such a distinctive type? Are they degenerate beasts or supermen as they have been depicted on the page and the screen? Or are murderers something else entirely?<br><br>In <em>The Subject of Murder</em>, Lisa Downing explores the ways in which the figure of the murderer has been made to signify a specific kind of social subject in Western modernity. Drawing on the work of Foucault in her studies of the lives and crimes of killers in Europe and the United States, Downing interrogates the meanings of media and texts produced about and by murderers. Upending the usual treatment of murderers as isolated figures or exceptional individuals, Downing argues that they are ordinary people, reflections of our society at the intersections of gender, agency, desire, and violence.<br><br>BUY <em>THE SUBJECT OF MURDER</em> <strong><a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2U1EITq" target="_blank" rel="noreferrer noopener">HERE</a></strong>.<br>View on the publisher’s website <a aria-label="here (opens in a new tab)" href="https://www.press.uchicago.edu/ucp/books/book/chicago/S/bo14637101.html" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br></p> 463 464 465<div class="wp-block-image is-resized"> 466<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="660" height="900" data-attachment-id="148" data-permalink="https://www.lisadowning.co.uk/my-books/copyright/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?fit=3805%2
466C5182&ssl=1" data-orig-size="3805,5182" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"Stylus CX3200","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="copyright" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?fit=660%2C900&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright-751x1024.jpeg?resize=660%2C900" alt="" class="wp-image-148" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?resize=751%2C1024&ssl=1 751w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?resize=146%2C200&ssl=1 146w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?resize=220%2C300&ssl=1 220w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?resize=300%2C408&ssl=1 300w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?w=1320&ssl=1 1320w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/copyright.jpeg?w=1980&ssl=1 1980w" sizes="auto, (max-width: 660px) 100vw, 660px" /><figcaption class="wp-element-caption"><em>Queer in Europe</em>, edited by Lisa Downing and Robert Gillett (Ashgate, now Routledge, 2011)</figcaption></figure> 467</div> 468 469 470<p><em><strong>Queer in Europe</strong></em> takes stock of the intellectual and social status and treatment of queer in the New Europe of the twenty-first century, addressing the ways in which the Anglo-American term and concept ‘queer’ is adapted in different national contexts, where it takes on subtly different overtones, determined by local political specificities and intellectual traditions. Bringing together contributions by carefully chosen experts, this book explores key aspects of queer in a range of European national contexts, namely: Belgium, Cyprus, England, France, Germany, Hungary, Ireland, Italy, The Nordic Region, The Netherlands, Poland, Russia and Spain. Rather than prescribing a universalizing definition, the book engages with a wide spectrum of what is meant by ‘queer’, as each chapter negotiates the contested border between direct queer activist action based on identity categories, and more plural queer strategies that call these categories into question. The first volume in English devoted to the exploration of queer in Europe, this book makes an important intervention in contemporary queer studies.<br><br>BUY <em>QUEER IN EUROPE</em> <a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2STqJCT" target="_blank" rel="noreferrer noopener"><strong>HERE</strong></a>.<br>View on the publisher’s website <a aria-label="here (opens in a new tab)" href="https://www.routledge.com/Queer-in-Europe-Contemporary-Case-Studies/Gillett-Downing/p/book/9781409404644" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br></p> 471 472 473<div class="wp-block-image is-resized"> 474<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="200" height="300" data-attachment-id="76" data-permalink="https://www.lisadowning.co.uk/my-books/9780415409278-2/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780415409278.jpeg?fit=200%2C300&ssl=1" data-orig-size="200,300" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="Film and Ethics" data-image-description="<p>Film and Ethics</p> 475" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780415409278.jpeg?fit=200%2C300&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780415409278.jpeg?resize=200%2C300" alt="Film and Ethics" class="wp-image-76" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780415409278.jpeg?w=200&ssl=1 200w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/9780415409278.jpeg?resize=133%2C200&
475ssl=1 133w" sizes="auto, (max-width: 200px) 100vw, 200px" /><figcaption class="wp-element-caption"><em>Film and Ethics: Foreclosed Encounters</em> by Lisa Downing and Libby Saxton (Routledge, 2009)</figcaption></figure> 476</div> 477 478 479<p><em><strong>Film and Ethics</strong> </em>considers a range of films and texts of film criticism alongside disparate philosophical discourses of ethics by Levinas, Derrida, Foucault, Lacanian psychoanalysts and postmodern theorists. While an ethics of looking is implicitly posited in most cinema theory, there is no established body of work that might be called ethical film criticism. This book, therefore, redresses the reluctance of many existing works to address cinema from an explicitly ethical perspective. <br><br>Readings range across popular Hollywood films, such as <em>Thelma and Louise</em>, Alfred Hitchcock’s canonical corpus, and films from European and World cinemas, including Dreyer’s <em>The Passion of Joan of Arc</em> and the little-known African film <em>Bamako</em>. The book engages with debates concerning censorship and pornography, the ethical implications of ‘positive representation’, the ethics of making and viewing images of atrocity and suffering, and the relationship between ethics and aesthetics. Lisa Downing and Libby Saxton re-invigorate debates in film studies by foregrounding the ethical dimensions of the moving image, and create dialogues between ostensibly incompatible philosophical and political trends of thought without seeking to reconcile their differences.<br><br>BUY <em>FILM AND ETHICS</em> <a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2XkHrcL" target="_blank" rel="noreferrer noopener"><strong>HERE</strong></a>.<br>View on publisher’s website <a aria-label="here (opens in a new tab)" href="https://www.routledge.com/Film-and-Ethics-Foreclosed-Encounters/Downing-Saxton/p/book/9780415409278" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br><br></p> 480 481 482<div class="wp-block-image is-resized"> 483<figure class="alignleft size-large"><img data-recalc-dims="1" loading="lazy" decoding="async" width="660" height="994" data-attachment-id="961" data-permalink="https://www.lisadowning.co.uk/my-books/712dztr72wl-_sl1500_/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?fit=996%2C1500&ssl=1" data-orig-size="996,1500" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="712Dztr72wL._SL1500_" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?fit=660%2C994&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?resize=660%2C994&ssl=1" alt="" class="wp-image-961" style="width:677px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?resize=680%2C1024&ssl=1 680w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?resize=199%2C300&ssl=1 199w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?resize=133%2C200&ssl=1 133w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?resize=768%2C1157&ssl=1 768w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/712Dztr72wL._SL1500_.jpg?w=996&ssl=1 996w" sizes="auto, (max-width: 660px) 100vw, 660px" /><figcaption class="wp-element-caption"><em>The Cambridge Introduction to Michel Foucault</em> by Lisa Downing (Cambridge University Press, 2008)</figcaption></figure> 484</div> 485 486 487<p><strong><em>The Cambridge Introduction to Michel Foucault</em></strong><br>French philosopher and historian Michel Foucault is essential reading for students in departments of literature, history, sociology and cultural studies. His work on the institutions of mental health and medicine, the history of systems of knowledge, literature and literary theory, criminality and the prison system, and sexuality has had a profou
487nd and enduring impact across the humanities and social sciences. This introductory book, written for students, offers in-depth critical and contextual perspectives on all of Foucault’s major published works. It provides ways in to understanding Foucault’s key concepts of subjectivity, discourse, and power and explains the problems of translation encountered in reading Foucault in English. The book also explores the critical reception of Foucault’s works and acquaints the reader with the afterlives of some of his theories, particularly his influence on feminist and queer studies. This book offers the ideal introduction to a famously complex, controversial and important thinker.<br><br>BUY <em>THE CAMBRIDGE INTRODUCTION TO MICHEL FOUCAULT</em> <a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2NrL1gQ" target="_blank" rel="noreferrer noopener"><strong>HERE</strong></a>.<br>View on publisher’s website <a aria-label="here (opens in a new tab)" href="https://www.cambridge.org/core/books/cambridge-introduction-to-michel-foucault/32F134516A0073686839963A4DC3179F" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br></p> 488 489 490<div class="wp-block-image is-resized"> 491<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="378" height="604" data-attachment-id="630" data-permalink="https://www.lisadowning.co.uk/my-books/from-perversion-to-purity-2/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/From-perversion-to-purity.jpg?fit=378%2C604&ssl=1" data-orig-size="378,604" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="From perversion to purity" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/From-perversion-to-purity.jpg?fit=378%2C604&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/From-perversion-to-purity.jpg?resize=378%2C604" alt="" class="wp-image-630" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/From-perversion-to-purity.jpg?w=378&ssl=1 378w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/From-perversion-to-purity.jpg?resize=125%2C200&ssl=1 125w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/From-perversion-to-purity.jpg?resize=188%2C300&ssl=1 188w" sizes="auto, (max-width: 378px) 100vw, 378px" /><figcaption class="wp-element-caption"><em>From Perversion to Purity: The Stardom of Catherine Deneuve</em>, edited by Lisa Downing and Sue Harris (Manchester University Press, 2007)</figcaption></figure> 492</div> 493 494 495<p><strong><em>From Perversion to Purity: The Stardom of Catherine Deneuve</em></strong><br>Catherine Deneuve is indisputably one of the world’s most celebrated actresses, both in her native France and throughout the world. Her career has spanned five decades during which she has worked with the most significant of French auteurs, as well as forging partnerships with international directors such as Buñuel and Polanski. The Deneuve star persona has attained such iconic status that it now symbolises the very essence of French womanhood and civic identity. In this wide-ranging and authoritative collection of essays by a selection of international film academics and writers, the Deneuve persona is scrutinised and illuminated. Beyond the glamorous iconographic status of Yves Saint Laurent’s muse, and the epitome of sexual inviolability, Deneuve’s status as actress is foregrounded. The book will be essential reading for students and lecturers in star studies.<br><br>BUY <em>FROM PERVERSION TO PURITY</em> <a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2Nlcwsj" target="_blank" rel="noreferrer noopener"><strong>HERE</strong></a>.<br>View on publisher’s website <a aria-label="here (opens in a new tab)" href="http://www.manchesteruniversitypress.co.uk/9780719073397/" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br></p> 496 497 498<div class="wp-block-image is-resized"> 499<figure class="alignleft size-full"><img data-recalc-dims="1" loading="lazy" decoding="async" width="350" height="526" data-attachment-id="963" data-permalink="https://www.lisadowning.co.uk/my-books/9781855759176-2/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781855759176.webp?fit=350%2C526&ssl=1" data-orig-size="350,526" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="9781855759176" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781855759176.webp?fit=350%2C526&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781855759176.webp?resize=350%2C526&ssl=1" alt="" class="wp-image-963" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781855759176.webp?w=350&ssl=1 350w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781855759176.webp?resize=200%2C300&ssl=1 200w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2025/11/9781855759176.webp?resize=133%2C200&
499ssl=1 133w" sizes="auto, (max-width: 350px) 100vw, 350px" /><figcaption class="wp-element-caption"><em>Perversion: Psychoanalytic Perspectives/ Perspectives on Psychoanalysis</em>, edited by Dany Nobus and Lisa Downing (Karnac, now Routledge, 2006)</figcaption></figure> 500</div> 501 502 503<p><em><strong>Perversion</strong></em> – its ubiquity in infantile life and its persistence in the psychical and sexual lives of some adults – was a central element of Freud’s lifelong work. The problem of perversion has since been revisited by many psychoanalytic schools with the result that Freud’s original view of perversion has been replaced by numerous – often contradictory – perspectives on its aetiology, development and treatment. The concept of perversion has also been significant for the disciplines of cultural studies and gender and queer theory, which have explored the creative and dissident powers of perversion, while expressing a suspicion of its operation as a pathological category. This bi-partite collection offers a series of perspectives on perversion by a range of psychoanalytic practitioners and theorists (edited by Dany Nobus), and a selection of papers by scholars who work with, or critique, psychoanalytic theories of perversion (edited by Lisa Downing). It stages a serious dialogue between psychoanalysis and its commentators on the controversial issue of non-normative sexuality.<br><br>BUY <em>PERVERSION</em> <a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2SRRmrA" target="_blank" rel="noreferrer noopener"><strong>HERE</strong></a>.<br>View on publisher’s website <a aria-label="here (opens in a new tab)" href="https://www.routledge.com/Perversion-Psychoanalytic-Perspectives-Perspectives-on-Psychoanalysis/Downing/p/book/9781855759176" target="_blank" rel="noreferrer noopener"><strong>here</strong></a>.<br></p> 504 505 506<div class="wp-block-image is-resized"> 507<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="316" height="499" data-attachment-id="636" data-permalink="https://www.lisadowning.co.uk/my-books/51y0mxnx7zl-_sx314_bo1204203200_/" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/51Y0MXNX7ZL._SX314_BO1204203200_.jpg?fit=316%2C499&ssl=1" data-orig-size="316,499" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="51Y0MXNX7ZL._SX314_BO1,204,203,200_" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/51Y0MXNX7ZL._SX314_BO1204203200_.jpg?fit=316%2C499&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/51Y0MXNX7ZL._SX314_BO1204203200_.jpg?resize=316%2C499" alt="" class="wp-image-636" style="width:680px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/51Y0MXNX7ZL._SX314_BO1204203200_.jpg?w=316&ssl=1 316w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/51Y0MXNX7ZL._SX314_BO1204203200_.jpg?resize=127%2C200&ssl=1 127w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2019/02/51Y0MXNX7ZL._SX314_BO1204203200_.jpg?resize=190%2C300&ssl=1 190w" sizes="auto, (max-width: 316px) 100vw, 316px" /><figcaption class="wp-element-caption"><em>Patrice Leconte</em> by Lisa Downing (Manchester University Press, 2004)</figcaption></figure> 508</div> 509 510 511<p><em><strong>Patrice Leconte</strong></em><br>Lisa Downing’s comprehensive study of the films of Patrice Leconte, the maverick chameleon of contemporary French cinema, traces lines of continuity and revision through a body of apparently disparate films whose ‘messages’ often appear both contradictory and controversial. Pursuing a close reading of the recurrent themes, styles, intertexts and techniques which structure Leconte’s filmmaking, Downing re-evaluates Leconte’s status as an enigmatic artist offering complex and paradoxical commentary on contemporary questions of sexuality, ethics and identity. She indicates for the first time the ways in which Leconte’s cinematic concerns mirror significant trends in modern and postmodern thought. In the light of her readings, Leconte’s hybridity reappears not as indecision or a lack of substance – as certain critics have argued – but as a valid and challenging ethical and aesthetic strategy. This book is the first full-length critical work in English on Leconte’s cinema. It provides essential reading both for enthusiasts of French cinema and for those fascinated by the relationship between popular culture and ‘high’ theory. Harnessing a critical approach that combines clarity and intellectual rigour, it invites students, researchers and interested filmgoers to consider anew this rich and understudied body of films.<br><br>BUY <em>PATRICE LECONTE</em> <a aria-label="HERE (opens in a new tab)" href="https://amzn.to/2SRRWFM" target="_blank" rel="noreferrer noopener"><strong>HERE</strong></a>.<br>Publisher’s website view unavailable.<br></p> 512 513 514<div class="wp-block-image is-resized"> 515<figure class="alignleft"><img data-recalc-dims="1" loading="lazy" decoding="async" width="657" height="1024" data-attachment-id="84" data-permalink="https://www.lisadowning.co.uk/?attachment_id=84" data-orig-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600.jpg?fit=819%2C1276&ssl=1" data-orig-size="819,1276" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="Desiring the dead" data-image-description="" data-image-caption="" data-large-file="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600.jpg?fit=657%2C1024&ssl=1" src="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600-6
51557x1024.jpg?resize=657%2C1024" alt="" class="wp-image-84" style="width:690px;height:auto" srcset="https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600.jpg?resize=657%2C1024&ssl=1 657w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600.jpg?resize=128%2C200&ssl=1 128w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600.jpg?resize=192%2C300&ssl=1 192w, https://i0.wp.com/www.lisadowning.co.uk/wp-content/uploads/2012/12/Desiring-the-dead-e1356021709600.jpg?w=819&ssl=1 819w" sizes="auto, (max-width: 657px) 100vw, 657px" /><figcaption class="wp-element-caption"><em>Desiring The Dead: Necrophilia and Nineteenth-Century French Literature</em> by Lisa Downing (European Humanities Research Centre, University of Oxford, 2003)</figcaption></figure> 516</div> 517 518 519<p><em><strong>Desiring the Dead: Necrophilia and Nineteenth-Century French Literature</strong></em><br>During the nineteenth century, literature shared with the medical and psychological sciences a strategy of examining the most extreme manifestations of human desire. </p> 520 521 522 523<p><span style="font-size: revert;">In this groundbreaking study, Lisa Downing rescues necrophilia from the margins of sexuality, relocating it as a symptom and pervasive fantasy of modern subjectivity. Drawing case material from the nineteenth-century French canon, the author brings works by Baudelaire and Rachilde into dialogue with foundational European texts of sexology and psychoanalysis. She reads against the grain of traditional Freudian theories of sexuality, of conventions of nineteenth-century literary scholarship and of feminist critiques of the ‘masculine’ morbid aesthetic in order to bring to light a model of desire whose problematic nature afflicts existing discourses about sexuality and gender in nineteenth-century France and beyond.</span></p> 524 </div><!-- .entry-content --> 525 526 527</article><!-- #post-72 --> 528 529 </main><!-- .site-main --> 530 </div><!-- .content-area --> 531 532 533 </div><!-- .site-content --> 534 535 <footer id="colophon" class="site-footer"> 536 <div class="site-info"> 537 <a href="https://wordpress.org/" class="imprint"> 538 <p>Powered by wolves and Lipizzaner stallions.</p> </a> 539 </div><!-- .site-info --> 540 </footer><!-- .site-footer --> 541 542</div><!-- .site --> 543
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721<script type="module"> 722/*! This file is auto-generated */ 723var e="script#wp-emoji-settings",t=document.querySelector(e);if(!(t instanceof HTMLScriptElement))throw new Error("Element missing: "+e);const r=JSON.parse(t.text),s=(window._wpemojiSettings=r,"wpEmojiSettingsSupports"),o=["flag","emoji"];function i(e){try{var t={supportTests:e,timestamp:(new Date).valueOf()};sessionStorage.setItem(s,JSON.stringify(t))}catch(e){}}function c(e,t,n){e.clearRect(0,0,e.canvas.width,e.canvas.height),e.fillText(t,0,0);t=new Uint32Array(e.getImageData(0,0,e.canvas.width,e.canvas.height).data);e.clearRect(0,0,e.canvas.width,e.canvas.height),e.fillText(n,0,0);const r=new Uint32Array(e.getImageData(0,0,e.canvas.width,e.canvas.height).data);return t.every((e,t)=>e===r[t])}function p(e,t){e.clearRect(0,0,e.canvas.width,e.canvas.height),e.fillText(t,0,0);var n=e.getImageData(16,16,1,1);for(let e=0;e<n.data.length;e++)if(0!==n.data[e])return!1;return!0}function u(e,t,n,r){switch(t){case"flag":return n(e,"\ud83c\udff3\ufe0f\u200d\u26a7\ufe0f","\ud83c\udff3\ufe0f\u200b\u26a7\ufe0f")?!1:!n(e,"\ud83c\udde8\ud83c\uddf6","\ud83c\udde8\u200b\ud83c\uddf6")&&!n(e,"\ud83c\udff4\udb40\udc67\udb40\udc62\udb40\udc65\udb40\udc6e\udb40\udc67\udb40\udc7f","\ud83c\udff4\u200b\udb40\udc67\u200b\udb40\udc62\u200b\udb40\udc65\u200b\udb40\udc6e\u200b\udb40\udc67\u200b\udb40\udc7f");case"emoji":return!r(e,"\ud83e\u1fac8")}return!1}function f(e,t,n,r){let a;const s=(a="undefined"!=typeof WorkerGlobalScope&&self instanceof WorkerGlobalScope?new OffscreenCanvas(300,150):document.createElement("canvas")).getContext("2d",{willReadFrequently:!0}),o=(s.textBaseline="top",s.font="600 32px Arial",{});return e.forEach(e=>{o[e]=t(s,e,n,r)}),o}function a(e){var t=document.createElement("script");t.src=e,t.defer=!0,document.head.appendChild(t)}r.supports={everything:!0,everythingExceptFlag:!0},new Promise(t=>{let n=function(){try{var e=JSON.parse(sessionStorage.getItem(s));if("object"==typeof e&&"number"==typeof e.timestamp&&(new Date).valueOf()<e.timestamp+604800&&"object"==typeof e.supportTests)return e.supportTests}catch(e){}return null}();if(!n){if("undefined"!=typeof Worker&&"undefined"!=typeof OffscreenCanvas&&"undefined"!=typeof URL&&URL.createObjectURL&&"undefined"!=typeof Blob)try{var e="postMessage("+f.toString()+"("+[JSON.stringify(o),u.toString(),c.toString(),p.toString()].join(",")+"));",r=new Blob([e],{type:"text/javascript"});const a=new Worker(URL.createObjectURL(r),{name:"wpTestEmojiSupports"});return void(a.onmessage=e=>{i(n=e.data),a.terminate(),t(n)})}catch(e){}i(n=f(o,u,c,p))}t(n)}).then(e=>{for(const n in e)r.supports[n]=e[n],r.supports.everything=r.supports.everything&&r.supports[n],"flag"!==n&&(r.supports.everythingExceptFlag=r.supports.everythingExceptFlag&&r.supports[n]);var t;r.supports.everythingExceptFlag=r.supports.everythingExceptFlag&&!r.supports.flag,r.supports.everything||((t=r.source||{}).concatemoji?a(t.concatemoji):t.wpemoji&&t.twemoji&&(a(t.twemoji),a(t.wpemoji)))}); 724//# sourceURL=https://www.lisadowning.co.uk/wp-includes/js/wp-emoji-loader.min.js 725</script>
725 726 727</body> 728</html>
Line numbers count LF bytes from the start of the resource, as the search results do. Vendor segments are library code the classifier recognised; they are stored but not indexed. Bytes are shown as Latin1 characters, one per byte.