Marjorie Garber

The turn to ethics

What We Talk About When We Talk About Ethics, Lawrence Buell Yielding, Submitting, and Other Ethical Quandaries, Judith Butler the Ethical Practice of Modernity, John Guillory Using People: Kant with Winnicot, Barbara Johnson The Best Intentions, Perri Klass, MD Which Ethics for Democracy?, Chantal Mouffe Redistribution, Recognition and Ethics, Nancy Fraser Ethics of the Other, Beatrice Hanssen Cultural Choice, Homi H. Bhabha Attitude, Its Rhetoric, Doris Sommer Cosmopolitan Ethics, Rebecca L. Walkowitz

Patronizing the Arts

Preface xi Chapter 1: The Paradox of Patronage 1 Chapter 2: Governing Assumptions 42 Chapter 3: Minding the Business of Art 97 Chapter 4: Arts or Sciences 140 Chapter 5: The University as Patron 178 Notes 197 Index 221

Fallen Landscape: The Art of Milton and Poussin

N the spring of 1638, John Milton, then twenty-nine years of age, set out upon what was to be his only visit to the European continent. The voyage was for him an “Italian journey” in the sense in which the phrase is usually applied to painters-a pilgrimage to the birthplace of Western civilization, the source of Western literature, philosophy, and art. Painters, of course, are obliged to make such pilgrimages if they are to see the works of their predecessors; poets might reasonably stay at home and read printed copies of works written in distant lands. But for Milton this journey was, at least in part, a conscious voyage into the past, an attempt to inhabit the ancient, animate worlds of the Georgics, Eclogues, and Metamorphoses, as well as the modem Arcadian landscape of Sannazaro and the epic countryside of Tasso and Ariosto. Modem Italy had much to offer the young poet in the way of intellectual excitement. He traveled to Naples to visit Manso, the famous patron of Tasso and Marino. In Florence he “contracted an intimacy with many persons of rank and learning, and was a constant attendant at their literary parties; a practice which prevails there, and tends so much to the diffusion of knowledge and the preservation of friendship”; and in Rome he “experienced the most friendly attentions from Lucas Holstein, and other learned and ingenious men.”’ The only difficulty he seems to have encountered was in matters of re-

Vested Interests: Cross-Dressing and Cultural Anxiety.

Part 1 Transvestite logics: dress codes, or the theatricality of difference cross-dress for success the transvestites progress spare parts - the surgical construction of gender fetish envy breaking the code - transvestism and gay identity. Part 2 Transvestite effects: fear of flying, or why is Peter Pan a woman? Cherchez la Femme - cross-dressing in detective fiction religious habits phantoms of the opera - actor, diplomat, transvestite, spy black and white TV - cross-dressing the colour line the chic of araby - transvestitism and the erotics of cultural appropriation the transvestite continuum - Liberace-Valentino-Elvis.