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I would like to thank the archivists John Smith and Matt Wrbican at the Andy Warhol Museum in Pittsburgh, Martine Ollion and the staff at the Centre Michel Foucault and IMEC (Institut Mémoires de l’Édition Contemporaine ) library, and the librarians at the Bibliothèque nationale de France and Inathèque for their assistance with my research. I am grateful for the generous support of a University of Minnesota Doctoral Dissertation International Research Grant and a Cultural Studies and Comparative Literature Departmental Early Dissertation Stage Summer Fellowship. I also wish to thank the organizers of the Roland Barthes Exposition at the Centre Georges Pompidou (November 27, 2002–March 10, 2003), and the colloquium “Roland Barthes, ou la traversée des signes” (January 17– 18, 2003), and in particular I thank Diana Knight for her presence at the colloquium and for subsequent correspondence and assistance. For giving me the opportunity to present some of this material, I am grateful to the organizers of UCLA’s QGrad conference on sexuality and gender (and for the encouragement I received from Richard Meyer there), the UCLA Art History graduate conference Migrations of Art: Scripting and Staging Subjectivities, the Technologies of Memory in the Arts conference at Radboud University in Nijmegen, as well as the Modern Language Association and Society for French Studies. I thank my students at the University of Minnesota and the University of North Florida for helping me work out some of the problems addressed here, particularly in my courses “Gay Men and Homophobia in American Culture,” “Sex, 165 Acknowledgments Confession, and Autobiography,” “The Warhol ’60s,” and “The Pleasure of Roland Barthes.” I have benefited enormously from conversations with John Mowitt, especially regarding his wealth of knowledge about Tel Quel, and I am very grateful for his guidance with this project. Cesare Casarino’s seminars on AIDS and philosophy, Foucault, Blanchot, and Deleuze have energized my thinking more than I can say. In the best possible sense, his thought has represented for me a “disturbance,” and he has left here “his (multiple) traces.” I learned practically everything I know about Andy Warhol from Liz Kotz, and she encouraged and contributed to my thinking about Warhol and language, for which I am very grateful. Gary Thomas has always helped to put my critique of the closet metaphor in historical and political perspective. He is a great source of inspiration and encouragement , and I am grateful for his mentorship. Tom Pepper’s seminars on Freud, Lacan, Derrida, and Proust have also had a great impact on me, for which I thank him. I could not have hoped for a smoother transition or for a more collegial department than UNF’s Department of English. Many thanks go to Sam Kimball for his advice, editorial feedback, and belief in this project. I would like to thank Richard Morrison at the University of Minnesota Press for his enthusiasm and guidance. I also must thank the two manuscript readers and the copyeditor, Sue Breckenridge, for helping me in my revisions with the difficult task of transforming what was once “written at white heat . . . into a nice cold dish” (as Barthes says in “Deliberation”). I am grateful to Duane Michals and the Pace/MacGill Gallery for generously granting me permission to reproduce Michals’s portrait of Andy Warhol. I also thank Greg Burchard at the Andy Warhol Museum for helping me obtain permission for the cover image of Warhol’s Time Capsules . I thank Nancy and Bob Grote for their hospitality in Pittsburgh. Thanks go to John Troyer for sharing many tidbits of Warhol information with me, including a video about the Andy Warhol robot. Many thanks go to Tom Roach, Michelle Stewart, Susan Andrews, and Robert Summers for their friendship and intellectual solidarity. My parents have supported me in so many ways, for which I am grateful beyond words. Finally, I would like to thank Sam Trask for remaining steadfast in his encouragement and for traveling with me. 166 ACKNOWLEDGMENTS ...

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