Kevin Kopelson
| Kevin Kopelson | |
|---|---|
 | |
| Born | 1960 |
| Academic background | |
| Influences | Roland Barthes |
| Academic work | |
| Main interests | Gender studies literary criticism cultural studies 20th century in literature |
| Notable works | Neatness Counts |
Kevin Kopelson, born in 1960, is an American literary critic. He received a B.A. from Yale University, a J.D. from Columbia University, and a Ph.D. from Brown University.[1] Currently, he is Professor of English at The University of Iowa.
Fields
Kopelson has published extensively in the (related) fields of sexuality studies, critical theory, cultural studies, and 20th-century literature.
Career
Kopelson's first three books are nostalgic, concerning supposedly passé art forms and ideologies. Love’s Litany examines ways in which 19th-century conceptions of romantic love have shaped 20th-century conceptions of homosexuality,[2] as seen in work by Oscar Wilde, Ronald Firbank, André Gide, Virginia Woolf, Gertrude Stein, Marguerite Yourcenar, Mary Renault, and Roland Barthes. Beethoven’s Kiss examines ways in which the performance of 19th-century piano music has shaped that of 20th-century homosexuality, with special attention paid to the erotic anxieties of amateurism (that of Gide and Barthes in particular), the sexualization of the child prodigy (young Franz Liszt in particular), the sexualization of the male virtuoso (Liszt, Vladimir Horowitz, Arthur Rubinstein, Van Cliburn), castrating figurations of the female teacher, and the convergence, in Liberace, of issues concerning class, the “closet,” and the “camp” sensibility. The Queer Afterlife of Vaslav Nijinsky examines the modern reception of this classical ballet dancer (yet another “sexual virtuoso” – as well as the most important gay celebrity after Wilde).[3] It performs an impressionistic (or Paterian) account of Nijinsky’s career as well, also considering the limits of the predominantly deconstructive (or Barthesian) methodology of all three books.
Recent work
Kopelson’s recent work is humanistic. Neatness Counts is the first full-length study of the poetics of the modern writer’s workspace. It looks at Barthes, Marcel Proust, Elizabeth Bishop, Tom Stoppard, and Bruce Chatwin. Sedaris relates roles played in life by David Sedaris with ones that this most confessional of contemporary satirists plays with his readers.[4] Confessions of a Plagiarist, part of which first appeared in the London Review of Books, relates Kopelson's own life to his work as an academic. Adorno and the Showgirl relates to itself, in some way, as a somewhat belated work. It looks, as well, at Theodor Adorno, Charles Rosen, Federico Fellini, Friedrich Nietzsche, and Joseph Cornell.
Works
- Love’s Litany: The Writing of Modern Homoerotics (Stanford University Press, 1994).
- Beethoven’s Kiss: Pianism, Perversion, and the Mastery of Desire (Stanford University Press, 1996).
- The Queer Afterlife of Vaslav Nijinsky (Stanford University Press, 1997).
- Neatness Counts: Essays on the Writer’s Desk (University of Minnesota Press, 2004).
- Sedaris (University of Minnesota Press, 2007).
- Confessions of a Plagiarist: And Other Tales from School (Counterpath Press, 2012).
- Adorno and the Showgirl: Or Late Style (2016)
References
- ↑ http://www.english.uiowa.edu/people/kevin-kopelson Kopelson Profile, University of Iowa
- ↑ Dennis W. Allen, "Love's Litany: The Writing of Modern Homoerotics," Modern Fiction Studies, Volume 41, Summer, 1995, pp. 403-405.
- ↑ Penny Farfan, "Man as Beast: Nijinsky's Faun," South Central Review, Volume 25, Spring, 2008, pp. 74-92
- ↑ Kimberly Alsopp, "Sedaris," Culture and the Media, February 18, 2007. (Alsopp calls the work "a must-read for those who are already a fan of Sedaris, and for those about to dip their toe into the work of one of America's finest satirical writers.")