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Ideas about human sexuality and sexual development changed dramatically across the first half of the 20th century. As scholars such as Magnus Hirschfeld, Iwan Bloch, Albert Moll, and Karen Horney in Berlin and Sigmund Freud, Wilhelm Stekel, and Helene Deutsch in Vienna were recognized as leaders in their fields, the German-speaking world quickly became the international center of medical-scientific sex research—and the birthplace of two new and distinct professional disciplines, sexology and psychoanalysis.
 
This is the first book to closely examine vital encounters among this era’s German-speaking researchers across their emerging professional and disciplinary boundaries. Although psychoanalysis was often considered part of a broader “sexual science,” sexologists increasingly distanced themselves from its mysterious concepts and clinical methods. Instead, they turned to more pragmatic, interventionist therapies—in particular, to the burgeoning field of hormone research, which they saw as crucial to establishing their own professional relevance. As sexology and psychoanalysis diverged, heated debates arose around concerns such as the sexual life of the child, the origins and treatment of homosexuality and transgender phenomena, and female frigidity. This new story of the emergence of two separate approaches to the study of sex demonstrates that the distinctions between them were always part of a dialogic and competitive process. It fundamentally revises our understanding of the production of modern sexual subjects.
 

Contemporary discourse seems to provide a choice in the way sexual identities and sexual difference are described and analyzed. On the one hand, much current thinking suggests that sexual identity is fluid—socially constructed and/or performatively enacted. This discourse is often invoked in the act of overcoming an earlier patriarchal era of fixed and naturalized identities. On the other hand, some modern discourses of sexual identity seem to offer a New Age Jungian re-sexualization of the universe—"Men are from Mars, and women are from Venus"—according to which there is an underlying, deeply anchored archetypal identity that provides a kind of safe haven in the contemporary confusion of roles and identities.

In this volume, contributors discuss a third way of thinking about sexual identity and sexual difference—a direction opened by Jacques Lacan. For Lacan, what we all recognize as sexual difference is first and foremost representative of a certain fundamental deadlock inherent in the symbolic order, that is, in language and in the entire realm of culture conceived as a symbol system structured on the model of language. For him, the logical matrix of this deadlock is provided by his own formulas of sexuation. The essays collected here elaborate on different aspects of this deadlock of sexual difference. While some examine the role of semblances in the relation between the sexes or consider sexual identity not as anatomy but still involving an impasse of the real, others discuss the difference between sexuation and identification, the role of symbolic prohibition in the process of the subject’s sexual formation, or the changed role of the father in contemporary society and the impact of this change on sexual difference. Other essays address such topics as the role of beating in sexual fantasies and jouissance in feminine jealousy.

Contributors. Alain Badiou, Elizabeth Bronfen, Darian Leader, Jacques Alain Miller, Genevieve Morel, Renata Salecl, Eric L. Santner, Colette Soler, Paul Verhaeghe, Slavoj Žižek, Alenka Zupancic

In the late nineteenth century, scientists, psychiatrists, and medical practitioners began employing a new experimental technique for the study of neuroses: hypnotism. Though the efforts of the famous French neurologist Jean-Martin Charcot to transform hypnosis into a laboratory science failed, his Viennese translator and disciple Sigmund Freud took up the challenge and invented psychoanalysis. Previous scholarship has viewed hypnosis and psychoanalysis in sharp opposition or claimed that both were ultimately grounded in the phenomenon of suggestion and thus equally flawed. In this groundbreaking study, Andreas Mayer reexamines the relationship between hypnosis and psychoanalysis, revealing that the emergence of the familiar Freudian psychoanalytic setting cannot be understood without a detailed analysis of the sites, material and social practices, and controversies within the checkered scientific and medical landscape of hypnotism.

          
Sites of the Unconscious analyzes the major controversies between competing French schools of hypnotism that emerged at this time, stressing their different views on the production of viable evidence and their different ways of deploying hypnosis. Mayer then reconstructs in detail the reception of French hypnotism in German-speaking countries, arguing that the distinctive features of Freud’s psychoanalytic setting of the couch emerged out of the clinical laboratories and private consulting rooms of the practitioners of hypnosis.

In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers—Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley—to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other—intersubjective, pre-discursive, and sensuous—forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.

Responding to the ongoing “objectal turn” in contemporary humanities and social sciences, the essays in Subject Lessons present a sustained case for the continued importance— indeed, the indispensability—of the category of the subject for the future of materialist thought.

Approaching matters through the frame of Hegel and Lacan, the contributors to this volume, including the editors, as well as Andrew Cole, Mladen Dolar, Nathan Gorelick, Adrian Johnston, Todd McGowan, Borna Radnik, Molly Anne Rothenberg, Kathryn Van Wert, and Alenka Zupančič—many of whom stand at the forefront of contemporary Hegel and Lacan scholarship—agree with neovitalist thinkers that material reality is ontologically incomplete, in a state of perpetual becoming, yet they maintain that this is the case not in spite of but, rather, because of the subject.

Incorporating elements of philosophy, psychoanalysis, and literary and cultural studies, Subject Lessons contests the movement to dismiss the subject, arguing that there can be no truly robust materialism without accounting for the little piece of the Real that is the subject.

Subjects on Display explores a recurrent figure at the heart of many nineteenth-century English novels: the retiring, self-effacing woman who is conspicuous for her inconspicuousness. Beth Newman draws upon both psychoanalytic theory and recent work in social history as she argues that this paradoxical figure, who often triumphs over more dazzling, eye-catching rivals, is a response to the forces that made personal display a vexed issue for Victorian women. Chief among these is the changing socioeconomic landscape that made the ideal of the modest woman outlive its usefulness as a class signifier even as it continued to exert moral authority.

This problem cannot be grasped in its full complexity, Newman shows, without considering how the unstable social meanings of display interacted with psychical forces-specifically, the desire to be seen by others that is central to both masculine and feminine subjectivity. This desire raises an issue that feminist theorists have been reluctant to address: the importance of pleasure in being the object of the look. Their reluctance is characteristic of cultural theory, which has tended to equate subjectivity with the position of the observer rather than the observed.

Through a consideration of fiction by Charlotte Brontë, Charles Dickens, George Eliot, and Henry James, Newman shifts the inquiry toward the observed in the experience of being seen. In the process she reopens the question of the gaze and its relation to subjectivity.

Subjects on Display will appeal to scholars and students in several disciplines as it returns psychoanalysis to a central position within literary and cultural studies.