Abstract

In All’s Well That Ends Well , Shakespeare imagines a common enough situation—someone you love, if ambivalently, will never love you—and in doing so suggests how unrequited love might become an art, a practice of sustaining relationship with those who prefer no relationship whatsoever and who might not merit our investment to begin with. How, Shakespeare asks, can you have a relationship with someone whose heart is corrupt and who, anyway, would prefer to flee? Shakespeare’s answer: by making scenes, and, it turns out, by being a masochist. Helena’s art, I argue, indeed looks forward to the art of masochism as outlined by Gilles Deleuze. For Deleuze, the works of Sacher-Masoch outline an art defined not in the familiar Freudian sense, by finding pleasure in pain, but by a masochistic constellation manifested in scenes of disavowal, suspense, and waiting.

pdf

Additional Information

ISSN
1538-3555
Print ISSN
0037-3222
Pages
pp. 215-240
Launched on MUSE
2018-02-13
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.