The Mastery of Submission: Inventions of Masochism 9781501732041, 1501732048

Table of contents :
Frontmatter
Illustrations (page vi)
Acknowledgments (page vii)
Introduction: Inventions of Masochism (page 1)
1 Beaten Women, Biology, and Technologies of Control: The Politics of Masochism (page 15)
2 Reason, Passion, and Nineteenth-Century Liberalism: Krafft-Ebing and Sacher-Masoch (page 50)
3 Technologies of Punishment, Penance, and Pleasure: The Invention of Universal Masochism (page 80)
4 Imperialist Man, Civilizing Woman, and the European Male Masochist (page 105)
5 Narratives of Mastery, Fantasies of Failure: Freud on Masochism (page 140)
6 Beyond the Death Instinct: History, Control, and the Gendering of Masochism (page 164)
7 Disappearing and Reappearing Subjects: Masochism, Modernity, Postmodernity (page 198)
Notes (page 223)
Bibliography (page 243)
Index (page 255)

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Lf 7 . - Prince . - RES SS aN Bis to ™ 2B RB codec ses veo CNSR oat Peon. FS ia enn ce iat mame sat ae near crt ate Ne aU EAR . = ¢ oA Pees aBAY (iS Soe ce Sa MEREN hy CNT RMN ARCS MRC NRO Ogey UN AC ag oe.Ree oermeme rs :ie# RIUM thORReSeRL MER RrUT, OS eeSaunier Bee CeCen SA LOR aes coh RUN RNR RON 3ee5tee: : Ree a.. SECT 2 Re aseer q TEMES =|Ne “SECURE: So tun tan a ACE ICRC aR sh st een Pa . ae eeORS eC Spencer’s racism is as self-contradictory as it is alarming. By exercising

the power of self-purification, nature reveals itself as the basest and most regressive aspect of human society. The old predatory instinct provides the conditions out of which human happiness may emerge by killing everything that stands in its path. But it has also “retarded civilization by giving rise to conditions at variance with those of social life” (416). By drawing a sharp line between social life and natural forces, Spencer allows himself to argue genocide while speaking of morality, restraint, and the advancement of civilization. The contradictory moments in Spencer’s argument did not prevent his readers from finding him overwhelmingly convincing. These contradic58 //| THE MASTERY OF SUBMISSION

tions are tied together by a concept of history virtually identical to KrafftEbing’s, a doctrine of civilization emerging from barbarism. Let not the reader be alarmed. Let him not fear that these admissions will excuse new invasions and new oppressions. . . . Rightly understood, they will do no such thing. That phase of civilization during which forcible supplantings of the weak by the strong, and systems of savage coercion, are on the whole advantageous, is a phase which spontaneously and necessarily gives birth to these things. . .. As soon, however, as there arises a perception that these subjugations and tyrannies are not right — as soon as the sentiment to which they are repugnant becomes sufficiently powerful to suppress them, it is time for them to cease. (417-18) The fulfillment of nature’s destructive forces gives rise to a human society infused with morality. It does so by providing the civilized individual with

the consciousness of what morality means and the willpower to suppress base nature within himself. In civilized society, “the private will of the citizen, not being so destructive of order, has more play. And further progress must be towards increased sacredness of personal claims, and a subordination of whatever limits them” (434). The advance of civilization is accompanied by a displacement of conflict from the blind struggle for survival to a struggle of individual will and morality against nature itself. Spencer’s understanding of the struggle against nature assigned woman a special status in human society. This is because the relations of men and women encapsulate the relations of men to one another, both relations being constitutive of a society’s degree of civilization. “Look where we will, we find that just as far as the law of the strongest regulates the relationships between man and man, does it regulate the relationships between man and woman. To the same extent that the triumph of might over right is seen in a nation’s political institutions, it is seen in its domestic ones. Despotism in the state is necessarily associated with despotism in the family” (161). — The imperative on civilized man to replace barbarism with moral action in his relation with other men is extended to his relation with women. This conviction allowed Spencer to adopt a liberal position concerning the need for the empowerment of women. “Proof has been given that the attitudes of mastery on the one side, and submission on the other, are essentially at variance with that refined sentiment which should subsist between husband and

wife. . . . {I]t has been shown that the objections commonly raised against giving political power to women, are founded on notions and prejudices that will not bear examination” (171). Krafft-Ebing was never that explicit about the need for giving women Reason, Passion, and Liberalism i $9

political power. But he shared Spencer’s conviction that the status of woman

is central in the progression of civilized society. When he describes the mechanisms through which morality has triumphed over instinct, it is woman who provides the focal point and developmental impetus. It is she who has raised humanity from the primitive state of the animals. And thus it is she who has allowed sexuality to advance from the violence that characterizes it in the animal world.

_ This civilizing function of feminine sexuality distinguishes the advanced races from their more feral cousins. In his description of primitive human existence, Krafft-Ebing paints a picture in which human beings allow their lives to be determined by their sexual needs. Much as it is among animals, sex among early humans is a biological drive played out in acts of aggression and violence. “Sexual intercourse is done openly,” he asserts, “and man and

woman are not ashamed of their nakedness. . .. Woman is the common property of man, the spoil of the strongest and the mightiest. . .. Woman is a ‘chattel,’ an article of commerce, exchange or gift, a vessel for sensual grati-

fication, an implement for toil” (PS, 2). | The seeds of civilization are sown at the moment when feelings of modesty emerge — when one experiences an unwillingness to display one’s own nakedness and a need to conceal the sexual act. Here Krafft-Ebing finds a convenient (and commonly held) motivation for claiming that the temperate regions of the earth produce advanced civilization earlier than the tropics. The cooler climate provides the cause for covering the naked human body, a

custom which very rapidly comes to be associated with modesty. Following |

| on the development of modesty is a changed status of woman, who “ceases to be a “chattel.” She becomes an individual being” (PS, 3). From now on, woman “is conscious of the fact that her charms belong only to the man of her choice.-She seeks to hide them from others” (PS, 3). Through the emergence of human modesty and female will, the sexual nature of humanity has acquired its ethical dimension. The cultivation of female choice in the selection of partners is essential if civilization is to advance. The prime institution which expresses choice in developed cultures is marriage, and the success of marriage in promoting the advance of the species depends upon the woman’s ability to exercise her civilizing choices over the man’s regressive passions.

This becomes clear in the closing pages of the introductory chapter of Psychopathia Sexualis, where Krafft-Ebing discusses fetishism. Fetishism is normal as long as it forces the civilized individual to transform biological urges into metaphysical impulses. Fetishism “of body and mind is of importance in progeneration, in so far as it facilitates natural selection and permits : 60 //i THE MASTERY OF SUBMISSION

the inheritance of positive spiritual and physical attributes” (PS, 23). When Krafft-Ebing discusses normal male fetishism, he lists those parts of a female body that may arouse impulses of sexual desire. When it comes to female fetishism, however, he refers to cases in which women are attracted not to a man’s physical characteristics, but to his mental and spiritual faculties. “In the upper ‘strata’ of society this is more apparent” (PS, 23). Since a woman chooses elevated qualities in a man, her fetishism can contribute to the advancement of the species. Nineteenth-century male liberalism’s pleas for women’s equality are dubious. Dijkstra claims that Spencer’s “arguments on behalf of women were more likely an attempt to maintain the logical continuity of his thesis in favor of the rights of the individual than a reflection of any special concern for the position of women in society.” ?° Krafft-Ebing can be criticized on a similar count for being more concerned with domesticating woman than with liberating her. In spite of this, in Krafft-Ebing’s scheme of historical develop-

ment, the emergence of a moral consciousness from the natural sexual in- } stinct is tied to the social, religious, and legal equality of women. If there are phenomena, opinions, and attitudes in his society that oppose the empowerment of women, he shows quite clearly that these attitudes must be identified as regressive. Woman is not only an emotional or mythological bearer of culture. The achievements of human civilization depend upon a statutory entrenchment of her equality with men, at least when it comes to her marital status. Just how far beyond this rudimentary equalization Krafft-Ebing was prepared to go remains unclear from a reading of Psychopathia Sexualis. Atno stage does he speak in favor of enfranchisement as explicitly as Spencer. He does hint that his concept of equality includes political equality, but he misses many fine opportunities to state this conviction — if indeed it was a convic-

tion — with force. |

Given Krafft-Ebing’s optimistic view of civilization’s advance, the persistence of perversion in his own time will require some explanation. If history

is the story of the continual progression of human morals away from the baser animal instincts, he will have to provide a historical account for the perversions he takes as the focus of his book. Again, the explanation he puts forward is very much in keeping with current popular thought. His primary

explanation is historical and could even be called dialectical. For KrafftEbing, the advancing morality of civilized individuals does not imply (as it does in Spencer’s thought) a change in the biological force of sexual desire. What changes is the individual’s genetic constitution, moral consciousness, and willpower, all of which in combination render him capable of sublimatReason, Passion, and Liberalism i 61

ing and resisting sexuality’s inherent violence. Instances of perversion or sexual degeneracy could even be a “positive force as it moves humanity to the necessary changes in forms of human interaction.” ’ The violence of sexuality persists as a substratum of social life. Some of life’s most intense experiences (most notably sexual and religious experience)

exist in close proximity to nature’s violence. This renders them extremely perilous with respect to individual willpower and morality. When it comes to religious or sexual impulses, the higher love so cherished by Krafft-Ebing can easily degenerate “into acts of cruelty, either actively exercised, or passively endured” (PS, 10). In the sphere of sexuality or religion, this is intensified by the fact that advancing civilization is accompanied by an increased

| constitutional instability of the individual. “Nervousness” was the favorite epithet for this instability, and it resulted in part from the burdens that civilization placed on the individual. The civilized individual, as conceived by Krafft-Ebing, Spencer, and others of their day, was weighed down with the responsibility of resolving the intense conflict between nature’s forces and civilization’s restraint. George M. Beard, the American neurologist whohad =~ coined the term “neurasthenia” in 1880, saw “modern nervousness” as “the cry of the system struggling with its environment.” 7* This environment was seen to be increasingly conducive to pathological regression into the realm of violence. Nervousness and its attendant pathological symptoms were also due to the changing quality of life in the modern world. The interaction between the organic system and its environment thus became a major theme for articulating fundamental doubts about the ability of the (male) individual to master his biological instincts by willpower alone. Not even Krafft-Ebing’s historical optimism was exempt. Like virtually all of his contemporaries, he saw the environment of his time as conducive to a softening and weakening of the human constitution. For him the metropolises of the day were “hotbeds in which neuroses and low morality are bred,” comparable to Babylon, Nineveh and Rome (PS, 7). The problem was that human history may indeed be constantly progressing toward new moral and intellectual heights, but within this general advancement individual societies reach a zenith and then weaken and fade. The episodes of moral decay always coincide with the progression of effeminacy, lewdness and luxuriance of the nations. These phenomena can only be ascribed to the higher and more stringent demands which circumstances make upon the nervous system. Exaggerated tension of the nervous system stimulates sensuality, leads the individual as well as the masses to excesses, and undermines the very foundations of society, and the mo62 /// THE MASTERY OF SUBMISSION

rality and purity of family life. The material and moral ruin of the community is readily brought about by debauchery, adultery, and luxury. Greece, the Roman Empire, and France under Louis XIV and XV, are striking examples of this assertion. In such periods of civil and moral decline the most monstrous excesses of sexual life may be observed, which, however, can always be traced to psycho-pathological or neuropathological conditions of the nation involved. (PS, 6) The stage is now set for a theory of the perversions compatible with the theory of human advancement. The debilitating environment of modern metropolitan life, compounded with the inherent weakening of the willpower of susceptible individuals, calls forth the aberrations in sexual behaviour that Krafft-Ebing examines. Faced with this assault from the environment, the individual either adapts or succumbs and perishes. This is the tenor of the monumental work on degeneration by Max Nordau, published in German in 1892 and translated into English in 1895. For Nordau, degeneration is symptomatic of an inability to adapt to progressive changes in the environment of the modern world. Lawrence Baron explains that “as a Darwinian, Max Nordau believed that the inhabitants of modern industrial cities would eventually adapt to the myriad of stimuli which incessantly assaulted their senses. He diagnosed all those who could not adapt to this commotion as ‘degenerates, hysterics, and neurasthenics.’” *°

Whether the urban environment was regarded as the appropriate environment of a civilized race or a monstrous source of pathology, the manifestation of urbanity’s negative side depended upon the individual’s susceptibility. For Krafft-Ebing, the idea of the susceptible individual was a key concept in explaining why certain persons fall prey to their environment while others survive and flourish. It also provided the conceptual link with social Darwinist ideas. According to Frank Sulloway, “Krafft-Ebing’s theory of hereditary perversion was really just an elaboration of Charles Darwin’s views in the Descent of Man (1874) concerning the hereditary transmission of marked moral qualities within the same family.” *° Darwin was convinced that criminal behavior and insanity were transmitted by inheritance within the same family. In his case studies, Krafft-Ebing places a great deal of emphasis upon the individual’s genetic susceptibility for pathological conditions. These are just a few typical examples of how he introduces his cases:

Case 25. Mr. X, aged twenty-five; father syphilitic, died of paretetic dementia; mother hysterical and neurasthenic. He was a weak individual, constitutionally neuropathic, and presented several anatomical signs of degeneration. (PS, 106) Reason, Passion, and Liberalism it 63

Case 50. Mr. Z, age twenty-nine, technologist, came for consultation because of fear of tabes. Father nervous, died tabetic. Father’s sister insane. Several relatives very nervous and peculiar. (PS, 134) Case 67. Mr. Z, aged twenty-two, single, was brought to me by his father for medical advice, because he was very nervous and plainly sexually abnormal. Mother and maternal grandmother were insane. His father begat him at a time when he was suffering from nervousness. (PS, 162)

Krafft-Ebing’s case studies are littered with descriptions of mentally ill parents, deranged relatives, fathers with manic depression, mothers with menstrual mania, neuropathological patients with cerebral deformations, compulsive masturbators, and various individuals struck with tuberculosis, neurasthenia, or drunkenness. One of his favorite terms is vorbelastet (genetically tainted), used to describe a patient affected with a hereditary deficiency. This deficiency renders the individual incapable of resolving the internal conflict between the instincts and the institutions of civilization, which require their healthy bridling. The precariousness of the bridling process results from the fact that there

exists a fluid transition from the normal to the perverse. The perversions and pathologies that Krafft-Ebing investigates are all shown to have their roots in normal sexual behavior. They are exclusively founded in the biological drive for preservation of the species. The distinction between normal sexual behavior and perversion is to be understood in economic not formal terms. While normal sexual behavior may have a wide variety of manifestations, many of which appear deviant to the point where the uninformed observer would be tempted to speak of perversion, the distinction remains quite clear for Krafft-Ebing. As long as the goal of the individual is coitus, and any eccentric behavior is intended solely to heighten the pleasure associated with coitus, then although this behavior may be abnormal, it is not yet perverse. The abnormal behavior is, in the imagination of its perpetrator, no more than the means to an end, an end which is biologically normal. It is only when the abnormal behavior is in itself associated with pleasure, when it becomes the goal of sexual activity, that Krafft-Ebing speaks of perversion. The sexual drive is per-verted, turned in the wrong direction. The modern individual is particularly susceptible to perversion, since he is subject to a more complex social inhibition of the drives. His attention is

focused upon a wide range of ritualized acts mediating the sexual instinct and its goal. The modern environment and the proliferation of nervousness makes it increasingly difficult for him to develop the strength of character and willpower to sublimate sensual pleasure in the name of morality. In cer64 (if THE MASTERY OF SUBMISSION

tain individuals this difficulty is compounded by hereditary deficiencies. The perversions are thus best understood as the modern degenerate individual’s incapability of performing the ritualized sublimation of the sexual instincts required by civilized society. This is quite a neat explanation of the emergence of perversion, and it ties the empirical evidence gathered so meticulously in Psychopathia Sexualis to the rudimentary concept of history outlined above. But masochism is a special case, or at least it should be. If the persistence of civilization is dependent upon the empowerment — or at least the equality — of women, then the problem of masochism will require a special kind of solution. In contrast to the other pathologies listed in Psychopathia Sexu-

alis, masochism seems to adopt an explicit position in the development of | humanity, since it involves an enactment of the sexual empowerment of women. In a certain sense it could even be seen as a result of this empowerment. How does Krafft-Ebing then come to classify masochism together with the other perversions? Are there limits and forms assigned to the empowerment of women, outside of which this moralizing tendency becomes perverse? Krafft-Ebing never managed to explain how women are to be understood within the scheme of male masochism and of advancing civilization. He left this to Sacher-Masoch, whose attempts to develop a coherent idea of woman were so torturous they must have caused him almost as much pleasure as one of his whippings. Psychopathia Sexualis says two different things about woman, depending on whether the context is history or perversion. In the grand scheme of things, women were what Auguste Comte called “Priestesses of Humanity in the family circle, born to mitigate by affection the rule, the necessary rule, of strength.” ?! But in the great fall of man, woman appeared remarkably unable to arrest his plunge into the perverse. Instead, she becomes increasingly dominant, while infecting man with her own weakness. Consequently, she becomes a disciplinary force, the object of a swooning effeminate male masochist. By the time Krafft-Ebing comes around to discussing masochism, he is so thoroughly embroiled in his understanding of perversion that questions of gender have slipped into the background. For him, masochism is almost exclusively male masochism. This is because biologically women are predestined to masochism anyway, so it cannot be a perversion in woman in the

same way it can in man. In the male it is “a manifestation of psychical characteristics of the feminine type,” or put more strongly, “a pathological growth of specific feminine mental elements,” and an “abnormal intensification of certain features of the psychosexual character of women” (PS, 196). Reason, Passion, and Liberalism it 65

In the chapter entitled “Attempt at an Explanation of Masochism,” Krafft-

Ebing identifies two etiologies of masochism. True masochism, “genuine, , complete, deep-rooted masochism,” is hereditary (PS, 207). It is described as a “congenital sexual perversion,” a “functional sign of degeneration in (almost exclusively) hereditary taint,” and an “original abnormality” (PS, 209). This is deduced from those cases in which masochistic tendencies arise without any indication that the patient has acquired masochistic sexual habits through associating punishment with pleasure. Krafft-Ebing does not seem to have been able to find very many genuine masochists. Most cases he identified were what he called acquired masochism. This results from excessive indulgence in deviant practices, or from experiences in which pain has been commingled with pleasure. These cases have often acquired their masochistic habits by way of “a sexually stimulating effect by punishment received in youth” (PS, 209). Or they have come to associate auto-flagellation with sexual stimulation. Or they associate affection with subordination to a be-loved person. As an acquired perversion, masochism arises gradually from normal sex-

ual impulses, both physiological and psychological. In support of this, Krafft-Ebing claims that “in situations of sexual excitement, any impulse issuing from the person who is the source of sexual stimulation” is received as a pleasurable stimulus. Even more important than this is “the very prevalent fact that in innumerable instances, which occur in all varieties, one individual becomes dependent on another of the opposite sex, in a very extraordinary and remarkable manner, — even to the loss of all independent will-power; a dependence which forces the party in subjection to acts and suffering which greatly prejudice personal interest, and often enough lead to offences against both morality and the law” (PS, 202). Such cases are abnormal, but they are

not perverse. Instead, Krafft-Ebing tells us, they are to be regarded as intensifications of those quasi-normal relationships that Western European culture has preserved in stereotypes such as the hen-pecked husband, the self-sacrificing lover, the infatuated customer who weds a prostitute, or the husband who abandons a happy home to pursue a wayward nymph. Such common modes of self-defeating behavior are classed under the category “sexual submissiveness,” and they form the “soil from which the main root of masochism springs” (PS, 205). The mechanism whereby the abnormal yet common syndrome of sexual submissiveness transforms into acquired masochism is described as follows:

Anyone living for a long time in sexual submissiveness becomes disposed

to acquire a slight degree of masochism. Love that willingly bears the 66 /i/ THE MASTERY OF SUBMISSION

tyranny of the loved one then becomes an immediate love of tyranny. When the idea of being tyrannised is for a long time closely associated with the lustful thought of the beloved person, the lustful emotion ts finally transferred to the tyranny itself, and the transformation to perversion is completed.*

These cases are not considered to represent true masochism. In his discussion of what constitutes true masochism, Krafft-Ebing is vague. The gist of his argument is that as long as masochistic behavior is associated in the mind of the masochist with sexually normal goals (coitus or ejaculation), it is not possible to speak of true masochism. Hereditary masochism is considered true masochism because the genetic moment replaces the moment of association. Whatever effects associating habits may have on possible cases of acquired

masochism, the same effects are produced by the varying tricks of heredity upon original masochism. No new element is added to submissiveness, but on the contrary the very element, the reasoning, is deleted which cements love and dependence, and thereby distinguishes submissiveness from masochism and abnormality from perversion. It is quite natural that only the instinctive element is transmitted.? __

With this argument, Krafft-Ebing sets up a tension between a masochism that is biologically founded, and thus borne by the force of instinct alone, and a masochism based on association, founded in reason. In this way, he allows his theory of the perversions to be determined by the same fundamental opposition that governs his philosophy of history — the forces of nature in conflict with the workings of reason. If it is allowed to run rampant,

reason can divert the sexual drive and then abandon this diverted and per- | verted drive to the laws of genetics, which then propagate it as if it were human nature. Reason for Krafft-Ebing is either an accomplice of the civilized individual, guarding him from the debasing forces of nature, or it is a sly manipulator of these forces, leading them into a perverse formal substitution for their natural goal. As the former, it stands between the individual

and his race. It guards him from the instincts of his ancestors, and it guards | his descendants from his own instincts. As the latter, it perverts the ancestral instinct, abandons it, and transmits it in a biologically determined form to his descendants. Which are we now to believe? That masochism is a malfunction of reason, an acquired perversion, as most of his cases seemed to confirm, or that it is a hereditary disorder? Is the masochist the victim of a quirk in his sexual in-

stincts, or is he simply misusing his powers of reason? The impulse for Reason, Passion, and Liberalism i 67

Krafft-Ebing’s rather convoluted combination of acquired and genetic explanations in the emergence of masochism is to be found in his gradual accession to Morel’s concept of congenital neurological disorders. Morel had argued for a theory of degeneracy inherent in the human condition. “He adduced the primitive as a straightforward proof that deviancy abided as a potential in all humankind. ... The presence of the degenerate is an anagoge for the eternal potential for the fall from grace.” ** This solution remained highly controversial, as is apparent in Binet’s and Schrenck-Notzing’s energetic rejection of hereditary explanations of the origins of the sexual perversions.®* Krafft-Ebing only reluctantly admitted to the primacy of genetically transmitted neuropathology, as opposed to acquired perversion.** He seemed to want the best of both worlds in specifying both an acquired and a hereditary masochism. The contradictions in the etiology of masochism are remedied by giving it a distinct gender. For Krafft-Ebing, masochism has to be male masochism. As an originary perversion, it is degenerate and “an inheritance of the submissiveness of feminine ancestry” (PS, 208n1). As an acquired perversion, it results from a misuse of reason, that prime faculty that distinguishes civilized European man from the beasts, from primitive man, and from woman. The story of male masochism as a malfunction of reason is told by Leopold von Sacher-Masoch in the book that made him famous, Venus in Furs?” This book, and indeed his entire corpus, can be read as an experiment with the Spencerian idea that human society is founded upon a struggle between man and woman, and that the degree of a society’s civilization is given by the degree of equality between the sexes. Venus in Furs was published in 1870 as part of the first volume of The Legacy of Cai, which Sacher-Masoch intended

to be his magnum opus.** The central theme of volume 1 is the conflict of man and woman in a society strongly marked by class differences. This is part of the masochistic thematics in Venus in Furs. The figure of Venus, which gives the book its title, is an overdetermined

mélange of erotic allegory, personal prosopopoeia, and historical symbolism — a commingling which is intended to yield Sacher-Masoch’s concept of woman. The Goddess of Love is transposed to the northern lands in the modern age, where she symbolizes the failures of modern sensuality to live out the natural erotic impulse of the ancient world. Echoing Krafft-Ebing’s myth of the origin of modesty, Sacher-Masoch’s Venus is forced to clothe her nakedness as a guard against the weather. As a result, she comes to “believe the incredible and understand the incomprehensible, namely the philosophy of the German people and the qualities of their womenfolk. It no longer surprises me in the least that you Northerners are not able to love” 68 //i THE MASTERY OF SUBMISSION

(VF, 125). But where Krafft-Ebing sees perversion as a lack of modesty and a failure of reason, Sacher-Masoch has Venus reverse the causes. In Germany, she tells us, love has been removed from the realm of the erotic and rendered perverse by the development of modesty and introspection. Modernity is in this view caught in a “secret craving for a life of sheer paganism.” You modern men, you children of reason, cannot begin to appreciate love as pure bliss and divine serenity; indeed, this kind of love is disastrous for men like you, for as soon as you try to be natural you become cruel. To

you, Nature is an enemy. You have made devils of the smiling gods of Greece and you have turned me into a creature of evil. You may cast anathemas on me, curse me or offer yourself in sacrifice like frenzied bacchants at my altar.%°

Sacher-Masoch situates the natural erotic drive in the age of classical antiquity, not in Krafft-Ebing’s murky prehistoric age. Both agree that, in its origin, the sexual drive is naive, since it is unreflective and hence requires no modesty. But Sacher-Masoch has a different story of how perversion arose. As soon as the Christian age takes hold and the erotic impulse is transposed

to the North, it becomes perverted and enters a perverse accord with violence. This perversion seizes upon the biological predisposition of the sexes,

casting man into a role of natural submission to woman’s natural cruelty.

Venus continues: ,

I admit that I am cruel — since the word gives you so much delight — but am I not entitled to be so? It is man who desires, woman who is desired; this is woman’s only advantage, but it is a decisive one. By making man so vulnerable to passion, nature has placed him at woman’s mercy, and she who has not the sense to treat him like a humble subject, a slave, a plaything, and finally to betray him with a laugh — well, she is a woman of little wisdom. (VF, 121)

Christianity, nature, reason, modesty — everything Krafft-Ebing had held sacred in the battle against perversion is suddenly responsible for the masochistic urge. Modern introspective man and inherently cruel woman provide the fatal historical and biological combination, the fertile ground in which male masochism can flourish. Woman can reveal herself as nature has made her, and man can step forward in his overcultivated glory, boasting

the passion of the idealist. The protagonist Severin is supersensual man, der Ubersinnliche, characterized by the “fanatical, burning eyes of a martyr” (VF, 123). Reason, Passion, and Liberalism In 69

At the beginning of the novel it is clear that when he succumbs to masochistic desire, Severin is doing so as an act of free choice. Sacher-Masoch frames his tale of masochistic desire in a parable of reason’s triumph over the senses. At the beginning of the tale Severin’s idealistic passion causes him to claim emphatically his desire to be chastised by a beautiful woman: “Goethe’s words, ‘Be the anvil or be the hammer’ are never more true than when applied to the relations between man and woman. . .. Woman’s power lies in the passions she can arouse in man. .. . Man has only one choice: to be a slave or to be a tyrant” (VF, 125). This testifies to a curious constellation of nature, passion, and reason. Nature condemns humanity to an agonistic relation of the sexes; and yet, the balance of power in the resultant struggle is rendered one-sided by the passion of man. Woman’s empowerment results from man’s passion. In spite of this, the deployment of passion is subject to the faculty of reason. Man has a choice. Later, in conversation with the female protagonist and dominatrix Wanda von Dunajew, Severin restates this idea: “Marriage can only be founded on equality and mutual understanding, but great passions are born from the meeting of opposites. It is because we are opposites — indeed almost enemies — that my love for you is part hatred, part fear. But in such relations one person must be the hammer, the other, the anvil. I choose to be the anvil” (VF, 143). Where Krafft-Ebing can imagine masochism as a perversion only by describing it as a biological short-circuiting of reason, Sacher-Masoch under-

stands it as the workings of reason in the service of the erotic drive. For Sacher-Masoch masochism is not primarily the product of blind necessity or biological forces. For him it is a choice, a staging, a seduction. Sacher-Masoch’s favorite device in establishing masochistic desire as a staging and a seduction is the masochistic contract. The function of the contract in Sacher-Masoch’s writing provides an important key to understanding masochistic desire. Gilles Deleuze goes so far as to state that “there is no doubt that masochism cannot do without a contract, either actual or in the mind of the masochist.” In Venus in Furs the contract paradoxically allows

the protagonist to command the violence that Sacher-Masoch believes is inherent in sexual relations. It allows the subject to partake consciously in sexuality’s violence and at the same time to submit to a fantasy of selfdestruction. In both of these gestures, reason struggles to retain control over desire, while working out its own pleasurable demise. Sacher-Masoch’s interest in contractual formulations indicates the importance he assigns to juridical reason. But he uses juridical reason to hold his male masochist suspended between a forbidden desire and a statutory regime 70 {il THE MASTERY OF SUBMISSION

of punishment. His contracts define not only what conduct but also what desire is permissible for the subject. They allow him to imagine himself as the object of a socially sanctioned chastisement, and ultimately they present him with a specter of his own annihilation. In its punitive mode, juridical reason thinly veils a statutory violence. In Sacher-Masoch’s conception, subjectivity becomes an erotic detour from a violence of the instincts to a violence of the law. In Venus in Furs the contract is intended to set the stage for a pleasurable self-destruction of the juridical subject. The contract is the form of writing

which Sacher-Masoch believes capable of holding reason in a controlling dialectic over its own erotic demise. And it is a form whose limits he explores.

The contract Severin concludes with Wanda grants her “the right to maltreat him according to her humour or even simply to amuse herself; she is also entitled to kill him if she so wishes” (VF, 185). Koschorke refers to the ‘anner impossibility of this act of juristic self-annihilation,” pointing out that the law does not allow for a self-initiated obliteration of the legal subject.*! As he goes on to show, the masochistic contract dramatizes the violence on which the law is founded. Liberalism likes to believes that the law in general,

and the contract in particular, binds civilized human beings together in a voluntary, mutual agreement, allowing them to overcome the inherent violence of human relationships. Sacher-Masoch uses the contract to return the myth of contractually subdued violence to its violent origins. ‘The result is a liberal parody of liberal law. The contract mobilizes the free will of its parties

in order to create a legally binding relationship. What is produced in the process is a regime of rights and obligations from which punishment has been removed. The masochistic contract uses a contractual form to produce voluntary relations whose foundation is the very violence that the contract wants to banish. In the words of Deleuze, the masochist “attacks the law on another flank.” The parodic and humoristic move here is no longer the ascension from the law “towards a transcendent higher principle — it is a downward movement from the law to its consequences.” ”

, For Krafft-Ebing the name of this descent is perversion. And his theory of perversion allows him to observe it, describe it, and ultimately, to control it. For Sacher-Masoch, the contract serves a similar purpose. It is a form of articulation of a legal relation in which the surrender of reason to passion is subject to a carefully reasoned framing. For Sacher-Masoch the masochistic scene is pleasurable only where it can be framed in an act of writing. The most extreme evidence of this is probably the contract that he concluded

together with Fanny Pistor. On 8 December 1869 Sacher-Masoch committed himself to become Fanny Pistor’s slave for a period of six months. Reason, Passion, and Liberalism in 1

During this time, Sacher-Masoch agreed to relinquish any rights and privileges he may have had and to conduct himself entirely according to the desires of Pistor. Transgressions were subject to punishment. This abandonment of individual will in the services of masochistic pleasure was, however, subject to careful control. First of all, the stipulated time period limits Sacher-Masoch’s submission, giving it a definite beginning and end. Any masochistic scenes arising as a result of the contract thereby acquire a staged quality, firmly contained within the first act and the final curtain call. After the six months have elapsed, both partners agree not to make any reference to what has happened. Second, the seeming abandon of restraint is limited by a shared moral code. In spite of all his musings on how delectable the basest forms of humiliation must be, Sacher-Masoch cannot refrain from including a clause in which Frau Fanny von Pistor agrees not to require “any dishonorable acts from [Sacher-Masoch] (which might dishonor him as a human being and a citizen).”’* Finally, the production of masochistic pleasure is framed by the act of writing itself — the writing in which Sacher-Masoch will later present his masochistic scenes. This limitation happens in the strict division between the work of writing and the experience of pleasure. One clause of the contract requires that Fanny Pistor “shall allow [Sacher-Masoch] six hours daily for his work, and shall never look at his letters or writing.” * When we read Venus in Furs, we are reading the results of this daily allotment, the reward Sacher-Masoch reaped after _ Fanny had hung up the whip and wiped the saliva from her boots. The contract not only sets a context for the masochistic scene, it lends it meaning as a complex form of play. But at the same time it problematizes meaning. This is probably the most radical aspect of Sacher-Masoch’s writing, and one which will serve ultimately to trouble the theory of masochism that developed in his wake. The closer we examine this context, the more problematic is the apparently easy series of polarities that dominate the masochistic scene. The act of contextual and contractual framing reverses the apparent relation of power between a chastising perpetrator and a dominated victim. The victim plays an active role in training the perpetrator to abuse him. Deleuze observes that the masochist has to “fashion the woman into a despot, . . . persuade her to co-operate and get her to ‘sign.’ He is essentially an educator.”’** Sacher-Masoch’s depictions of degradation and cruelty are scenes in which the gestures of cruelty are being mimicked under the careful direction of a dominant code of consent. Domination in Sacher-Masoch’s masochistic scenes is controlled not by the desire of the dominatrix but by the contractual agreement. Dominatrix and masochist are bound in a regime of domination whose controlling force 72 ill THE MASTERY OF SUBMISSION

is juridical reason. And yet, the contract is being applied only to render its mechanisms of authority ineffectual. In this way it upsets another of the apparently easy polarities of the masochistic scene — that between transgression and punishment. In the masochistic fantasy, transgression does not measure itself against the law; it takes its cues from an economy of pleasure in which it ceases to have any meaning as transgression. In the contract the negation of transgression is matched by a similar negation of punishment. Punishment is what the masochist wants. Gender is treated in a similar way. When Sacher-Masoch has his male masochists try out the pleasure potential of dominant women, the images he uses are stereotypes strongly in currency at the time. Dijkstra is certainly correct in reading Venus in Furs as a book that tries hard to restore stereotypes of woman as a dangerous animal who must be dominated, and man as a meek intellectual who must learn to dominate. The book is framed in a tale which restores the more comforting stereotype of the age. But the focus in Venus in Furs is on how these stereotypes fail. The part of the book which describes the unconditional loss of masculine power is not only by far the bulk of the novel, it is also obviously the part Sacher-Masoch enjoyed writing most. If his writing is about pleasure at all, then it is a pleasure that depends

on implementing the male’s statutory domination in order to relinquish domination. What is achieved in the process is a fictionalization of gender, a reduction of gender roles to a constellation of stereotypes that may be chosen and adopted at will. By reversing the roles of perpetrator and victim, by defusing the dialectic of transgression and punishment, and by casting rep-

resentations of gender into the realm of play, the masochist has found a strategy to remove his economy of pleasure from the realm of history and reason, from the places in which power works. Sacher-Masoch’s presentation of the masochistic fantasy shifts the field in which masochism is understood away from his century’s beloved conflicts of

nature and civilization, recasting its central problems in terms of play, display, and performance. It raises a number of questions concerning the relations of gender, desire, and the body. The framing of the masochistic fantasy

| produces the body as a place where desire can be named and to which desire accrues in the masochistic scene. It constructs the identity of the players in the masochistic scene as caught between this accrual of desire and the demands of reason which seek to control it. And finally, it launches a process of parody, mimicking the production of the subject as a social being and a historical being — a being whose biological foundation can express itself only within historically determined discourses of control.

This reallocation of a definitive function to reason in Sacher-Masoch’s Reason, Passion, and Liberalism it 73

conception of male masochism represents an important theme in the invention of masochism. Krafft-Ebing rearticulates it in his theory of masochism, but his literary model fails to recognize a central problem of reason. KrafftEbing has committed masochistic reason to a complex interaction of biological and social forces, and its vicissitudes can be best described — at least this is what he believes — within medical discourses of sexuality. When Krafft-Ebing presented his cases in Psychopathia Sexualis, he was removing case histories from the domain where he had obtained them, the domain of juridical thought.** They are then articulated in a discourse of reason. For Krafft-Ebing, reason has to take sides. Either it masters nature, or it succumbs to it. In Venus in Furs, reason appears to celebrate Krafft-Ebing’s Enlightenment-style triumph over nature. Where nature strays from the path of normality, it does so in a manner that is so tightly controlled by reason that it precludes any questions concerning the individual’s responsibility for his __ own actions. By the time Sacher-Masoch wrote Venus in Furs, questions of culpability had long been used as a fulcrum to lever apart juridical and medical conceptions of the subject. We need only consider Georg Biichner’s play Woyzeck, written forty years prior to Sacher-Masoch’s novel, which uses ste- reotypes of social authority to show how the murderer Woyzeck is not responsible for his own actions. In this work, it is clear that the medical subject is something completely different from the juridical subject, the disciplined

soldier-subject, or for that matter, the subject in love. Sacher-Masoch has Severin take responsibility emphatically for his own

masochism. He has entered the masochistic relationship as a conscious choice. But by placing the excesses of his male masochist within a frame where reason triumphs over nature, Sacher-Masoch is also subverting the ascendancy of reason. Once the conscious decision has been made to employ reason in the name of pleasure, his heroes can forget about it and relish their groveling submissiveness, without ever having to confront questions of culpability. Although the novel closes with the emphatic assertion of reason’s

triumph, the body of the novel conveys a completely different message. Here, the necessity of violence is found recurrently at the core of reason and of culture. At the novel’s climax, before Severin receives his final remedial beating under Wanda’s supervision, she delivers a short discourse on the individual’s pursuit of pleasure, anchoring it in cultural violence.

Pleasure alone makes life worth while; whoever suffers or lives in privation greets death as a friend, but whoever surrenders to pleasure does not easily part with life. The pleasure-seeker must take life joyfully, in the 74 Ill THE MASTERY OF SUBMISSION

manner of the Ancients. He should not be afraid of indulging himself at the expense of others; he must never feel pity. He must harness others to his carriage or his plow, like beasts. He should choose his slaves among men who live fully and would enjoy life as he does, and he must use them for his own pleasure, without any trace of remorse. It is not for him to ask whether they are fulfilled or mortified. (VF, 225) In a loose forecast of Freud’s concept of Eros and Thanatos, Wanda shows that the cultural achievements of the civilized world are founded on the intimate association of life and death. “This is how the Ancients lived: pleasure and cruelty, freedom and slavery, always went hand in hand. Men who wish to live as the gods of Olympus did must have slaves to throw into their fishponds and gladiators ready to do battle for them at their feasts. Little do they care if they are spattered by the fighters’ blood” (VF, 225). References to the fundamental contractual violence of culture are always eroticized in Sacher-Masoch. They are preludes to an acting out of the primordial conflict that is for Sacher-Masoch the essence of sexuality. ‘They provide the perspective from which conflict must be viewed if its erotic potential is to be activated. His protagonists derive their masochistic pleasure from such pseudo-historical declarations as that quoted above by mapping

individual experience onto a doctrine of ubiquitous struggle. When his dominant women speak, they sound like any other social Darwinist mouthpiece of the day. But their speech remains poised in an ambiguous position between reason and passion. Where it seeks to explain history, it uses it as a source of pleasure for the submissive male, social Darwinism’s loser. And where it addresses these pleasures, it justifies them as performances of cul-

ture, as aesthetic reenactments of culture’s violence. The conflict of assertions between the triumph of reason and that of passion is a constant theme in Sacher-Masoch’s writing. ‘Throughout his work, modern man continues to walk a thin line between the seductive violence of reason and the blind force of passion. The passion of reason and the violence of culture are activated to unsettle the late nineteenth century’s self-image, its urge for historical justification. Where Wanda sees violence as a necessary substratum of civilization, a sacrifice which the unfortunate victims yield to the rulers, Severin regards it as civilization’s quintessence. Where violence is suffered not as a sacrifice but as a pleasure, civilization has found its truth and its aesthetic fulfillment. And in the same move, it has found its impos-

| sibility. When, at civilization’s pinnacle, civilized man discovers his own libidinal attachment to passive violence, he has discovered the aporia in progressive philosophies of history. What male masochism discovers is civilizaReason, Passion, and Liberalism i 75

tion’s impossibility. This is why the ending of Venus in Furs remains so unen-

thusiastic and unconvincing. Here, civilization, as late-nineteenth-century liberalism understood it, is reduced to a single platitude, which is at the same time the moral of the story: “The moral is that woman, as Nature created her and as man up to now has found her attractive, is man’s enemy; she can be his slave or his mistress but never his companion. This she can be only when she has the same rights as he and is his equal in education and work” (VF, 228).

With this half-hearted attempt to restore the regime of reason and its suppression of passion, Sacher-Masoch has expounded the entirety of his liberal philosophy. It is a position where juridical reason commands instinct and passion. But he has led us through a hall of mirrors, where the moving force of juridical reason is the passion of unbridled violence. Violence is

, where reason comes from, and it is where it must end. Seen from this perspective, the nineteenth-century liberal celebration of civilization must ap-

2 pear as a temporary illusion, a temporary lapse into reason. Such a restora- | tion of reason has no place in Sacher-Masoch’s world — neither in his erotics nor in his philosophy. | When he confronts the impossibility of civilization, Sacher-Masoch is also revealing the inherent cultural pessimism in the theory of degeneration. For Krafft-Ebing, reason could still triumph over hereditary weakness. But his optimism did not prevent him from claiming that reason’s failures are

genetically transmitted in the form of degeneracy. Where Krafft-Ebing’s true male masochist inherits his inability to master nature, Severin’s male masochist masters nature by staging his loss of mastery. ‘Taking sexual pleasure becomes an aesthetic and not an instinctual pursuit. Krafft-Ebing’s enslaved degenerate becomes Sacher-Masoch’s supersensual aesthete. In both

: cases, historical explanation turns against itself, calling into question the pro-

gressive tenets upon which it is founded. |

Current medical discourse attempted to rescue the progressive philosophy of history through theories of degeneration. But the real problem was the question of individual will. Degeneration was largely understood as a failure of the will to command the senses, and this failure was tantamount to a failure of the individual to act out his place in history. In this respect, the closing pages of Max Nordau’s monumental criticism of degeneration are revealing; the final paragraph is worth quoting in full: We in particular, who have made it our life’s task to combat antiquated superstition, to spread enlightenment, to demolish historical ruins and

remove their rubble, to defend the freedom of the individual against State , 76 {ll THE MASTERY OF SUBMISSION

oppression and the mechanical routine of the Philistine; we must resolutely set ourselves in opposition to the miserable mongers who seize upon our dearest watchwords, with which to entrap the innocent. The “freedom” and “modernity,” the “progress” and “truth” of these fellows is not ours. We have nothing in common with them. They wish for selfindulgence; we wish for work. They wish to drown consciousness in the unconscious; we wish to strengthen and enrich consciousness. They wish for evasive ideation and babble; we wish for attention, observation, and knowledge. The criterion by which true moderns may be recognised and distinguished from imposters calling themselves moderns may be this: Whoever preaches absence of discipline is an enemy of progress; and whoever worships his “I” is an enemy to society. Society has for its first premise, neighbourly love and capacity for self-sacrifice; and progress is the effect of an ever more rigorous subjugation of the beast in man, of an ever tenser self-restraint, and ever keener sense of duty and responsibility.

The emancipation for which we are striving is of the judgement, not of the appetites. In the profoundly penetrating words of Scripture (Matt. v. 17), “Think not that I am come to destroy the law, or the prophets; I am come not to destroy, but to fulfil.” * Nordau is wrong when he so confidently states that he has “nothing in common” with degenerate thought. His opposition can be formulated with such vehemence only because it testifies to such kindred. A study of SacherMasoch shows how much the critics of degeneration share with the “degenerate” poet. They believe in a progressive philosophy of history and are com-

mitted to Enlightenment principles. They comprehend life in terms of a fundamental conflict between reason and passion, the will and the senses, _ judgment and the appetites. They understand social form as the sacrifice of individual pleasure and the subjugation of the “beast in man.” And they are convinced that work and discipline provide the final remedy for the human condition. Nordau and Krafft-Ebing try their best to see willpower as an easy victor over passion in the struggle for civilization. And yet, Krafft-Ebing’s invention of masochism articulates a fundamental discontent in late-nineteenthcentury discourses of sexuality. Masochistic man becomes for Krafft-Ebing the site in which a number of fundamental conflicts and contradictions in these discourses are rendered visible. Krafft-Ebing’s male masochist raises difficult questions concerning the efficacy of individual moral action in the face of biological and natural forces. It is significant that the invention of masochism took place along the divide Reason, Passion, and Liberalism 1 77

between the explanations of perversion as hereditary and as acquired. It was in the confrontation of these two explanations that late-nineteenth-century medical discourse found itself faced with a choice between biological and social interventions in the fight against perversion. ‘The question at stake here, how to map the disorders of the individual onto those of the species, had been a profound concern of biosocial theory — and specifically Darwinian theory — since Ernst Haeckel’s formulation of the “biogenetic law” in 1866, in which he claimed that “ontogeny is the short and rapid recapitulation of phylogeny.” ** In his theory of masochism, Krafft-Ebing rehearses the

contradictions between attempts to read perversion as a triumphant ontogenetic recapitulation of phylogenetic advance and attempts to read it as a regressive ontogenetic surrender to the failures of phylogeny. This extends also to the discontents that the age felt when confronting questions of gender and sexuality. Masochism was a problem of social and biological determination in the acquisition of gender. If masochism is bio| logically female, as Krafft-Ebing tells us, then subjectivity entails a struggle for the acquisition of an appropriate gender-based behavior. If, however, masochism is a basic component of the human condition, then the relation of violence, domination, and gender is biologically indeterminate and derived solely from social norms. The invention of masochism is a profound expression of the way juridical and medical controls over abnormality became increasingly distinct as disciplines in the late nineteenth century, while at the same time continuing to work in consort. If the masochistic subject is seen as the living evidence for congenital perversion, the medical issue is how to identify and interrupt the genetic proliferation of perversion. ‘The juridical issue is how to isolate and correct the perverse individual. If on the other hand the masochistic subject is seen to have acquired his perversion, the medical issue becomes the comprehension and medical interruption of the mechanisms of acquisition, and the juridical question is how to perfect the statutory definition and the social defusing of these mechanisms. Masochism, like so many other issues at the turn of the century, seemed to want to force a decision between eugenics and social reform as a way of remedying the ills of humankind. As history has

shown, the decisions that this gave rise to have shaped the course of the twentieth century. Sacher-Masoch shows the dangers in liberalism’s love of final solutions by demonstrating that at the pinnacle of reason’s victory over passion lies passion itself. What Sacher-Masoch demonstrates is that the Law which Nordau so exalts is not destroyed in the self-indulgent and anarchistic abandon which Nordau criticizes. Law only functions if it is not taken too literally. Sacher78 [il THE MASTERY OF SUBMISSION

Masoch’s violation of the law lies in its all too literal fulfillment. In the process, he demonstrates how reason functions in social systems based on violence. Social systems promoting inequality compel the liberal male to make a choice. Either he recognizes inequality and chooses exploitation and the exercise of power, or he seeks the willful subversion of law in the name of pleasure. Either he subscribes to the neo-Hegelian faith in reason’s ability to subdue the beast within, or he celebrates the bestiality of reason. For SacherMasoch, the choice is clear. At the heart of struggle lies only pleasure — a pleasure that condemns history to an endless series of repetitions. In his narratives, Sacher-Masoch allows fantasy and desire to corrupt not only the “facts” but the concept of factuality. This he does by constantly reducing stories and histories to an erotics of struggle. Writing itself becomes a protracted exercise in masochist erotics, a carefully reasoned display of the failure of reason in the name of passion, a liberal exposition of liberalism’s limits. When Krafft-Ebing pathologized masochism, he was attempting to contain the subversive force of Sacher-Masoch’s writing. And reading Venus in Furs, one suspects that Sacher-Masoch had exactly the same intention. For both writers, masochistic writing had become the enactment of a crisis. Masochistic writing was subversive because it was about technologies of pleasure. Krafft-Ebing’s answer was to remove technologies of pleasure from their sociohistorical contexts, rendering them abstract and harmless. The result was a theory of masochism’s universality.

Reason, Passion, and Liberalism i 79

3 Technologies of | Punishment, Penance, | and Pleasure The Invention of Universal

Masochism

Seizing now one of the rods, I stood over him, and according to his direction, gave him, in one breath, ten lashes with much good-will and the utmost verve and vigour of arm that I could put to them, so as

to make those fleshy orbs quiver again under them; whilst he himself seem’d no more concern’d, or to mind them, than a lobster would a fleabit. In the meantime, I viewed intently the effects of them, which to me at least appear’d surprisingly cruel: every lash had skimmed the surface of those white cliffs, which they deeply reddened, and lapping round the side of the furthermost from me, cut specially, into the dimple of it, such livid weals, as the blood either spurt’d out from, or stood in large drops on; and, from some of the cuts, I picked out the splinters of the rod that

had stuck in the skin... And at length, steel’d to the sight, by his stoutness in suffering, I con_ tinued the discipline, by intervals, till I observ’d him writhing and twisting his body in a way that I could plainly perceive was not the effect of pain, but of some new and powerful sensation. ! 80

. This scene of discipline and masochistic pleasure is from John Cleland’s Memoirs of a Woman of Pleasure, better known as Fanny Hill, published about 1748. Fanny Hill tells of the many-faceted career of its heroine of the same name. Working as a prostitute in eighteenth-century England, Fanny devel-

ops a simple philosophy of pleasure in a life of vice. This book has been described as the “first masterpiece of English pornography, considered by some to be the best erotic work in the language.” ? The scene above describes an episode in which Fanny is visited by a sadomasochist, Mr. Barville, who likes to engage in prearranged scenes of sexual violence, both wielding and

succumbing to the whip. Today we would say he likes to play both top and bottom. Barville “was under the tyranny of a cruel taste: that of an ardent desire, not only of being unmercifully whipp’d himself, but of whipping others, in such sort that tho’ he paid extravagantly those who had the courage and complaisance to submit to his humour, there were few, delicate as he was in the choice of his subjects who would exchange turns with him so terrible at the expense of their skin.” The masochistic scene is lucidly portrayed. Fanny fetches the “instruments of discipline,” which are “several rods, made each of two or three strong twigs of birch tied together.”? Barville is then made to lie on his belly on a long bench, tied firmly to it with his own garters, and receives the whipping described. Cleland obviously understood the sadomasochistic game. In his descrip-

tion of this masochistic episode, he is careful to isolate the element of consent and collaboration, turning it into a contractual and theatrical staging. When Barville wants his own garters to be used to bind him, Fanny notes that this request is of a “ceremonial” nature. This ceremony extends also to the use of force and control in the masochistic game. Barville uses the purchasing power of money as an instrument of control. What the customer purchases is the right to direct the masochistic scene. The relationship of beating woman and beaten man becomes a contractual relationship, marked by money as play: “I then led him to the bench, and according to my cue, play’d at forcing him to lie down: which, after some little show of reluctance,

for form’s sake, he submitted.” In spite of the fact that he is tied and beaten, | Barville remains in control. This is evident in the way he signals the end of the play: “Resuming then the rod and the exercise of it, I had fairly worn out three bundles, when, after an increase of struggles and motion, and a deep sigh or two, I saw him lie still and motionless; and now he desir’d me to

desist, which I instantly did.” 4 |

When Richard von Krafft-Ebing compiled his catalogue of sexual pathologies, he was well aware that sexual flagellation had been a topic of literary concern for more than three hundred years. His references in Psycho-

| Technologies of Punishment Ii! 8\

pathia Sexualis show that he had read extensively on this topic. By the time he came to formulate his theory of male masochism, he was able to draw on a wide range of juristic, medical, and literary texts discussing flagellation. The scenes he describes are not essentially different from Fanny Hill’s encounter with Barville. But Krafft-Ebing’s interpretation of these examples is very different from the interpretations he would have found in the works he consulted. For Krafft-Ebing, the image of the beaten male expresses not an eccentric game aimed at sexual pleasure but a crisis in male sexuality, a confrontation of civilization with the forces of nature. In Fanny Hill there is no sense of the crisis that Sacher-Masoch and KrafftEbing both attached to the masochistic scene. Using Fanny as a mouthpiece, Cleland muses on the significance of sadomasochistic desire. ‘Taking recourse to the theory of the juices, Fanny has no difficulty in understanding the medical significance of Barville’s passion. But what yet increased the oddity of this strange fancy was the gentleman being young; whereas it generally attacks, it seems, such as are, through age, obliged to have recourse to this experiment, for quickening the circulation of their sluggish juices, and determining a conflux of the spirits of pleasure towards those flagging, shrivelly parts, that rise to life only by virtue of those titillating ardours created by the discipline of their opposites, with which they have so surprising a consent.° The opinion which Fanny is expressing here was widely-shared, and based upon definite physiological ideas. Generally, it was believed that the gradual

faltering of potency with increasing age could be remedied by flagellating the buttocks. The theory underlying the general acceptance of the masochistic urge in older men is based upon the idea that beating the flesh encouraged the coursing of blood in the veins, which was the most effective way of attaining an erection. This was the source of a good deal of witty comment in the eighteenth century, giving rise to images such as The Cully Flaug’d (Figure 2, an English reproduction of a painting by Mauron). Beneath the picture of an elderly man receiving a whipping from a young girl are the following lines:

What Drudgery’s here! what Bridewell-like Correction! To bring an Old Man to an Insurrection. Jirk on Fair Lady Flaug the Fumblers Thighs Without such Conjuring th’ Devil will not rise.°

The English poet Christopher Marlowe described this practice in similar terms in the sixteenth century:

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opposed to corporal punishment — not only in England but also in the United States and on the Continent — became ever more vociferous in their conviction that floggers are “people who dress up perverse pleasures in elevated justifications.” >”

Moderation became the operative concept, but contradictory opinions concerning the general physiological and moral benefits associated with flogging on the one hand and the sexual debauchery it seemed to produce on the other hand led to an increasing preoccupation with what this moderation might mean. Without moderation, flogging could cease to act as a healthy stimulus and become indistinguishable from sexual pleasure. The idea that a close physiological and psychological connection existed between flagellation and sexual pleasure was one of the important reasons why, in the course of the nineteenth century, corporal punishment appeared increasingly selfcontradictory as a means of moral discipline. The more it became a topic of

debate, the more the conviction was voiced that although the only moral justification of beating lay in its corrective and disciplinary nature, it was in fact a source of sexual excitement for either the administrant or the recipient

of justice, or both. By the turn of the century, corporal punishment in schools was so closely associated with sexual pleasure that pornographic pho-

tographs were produced (for example, Figure 4) depicting a man on his knees, buttocks bared, receiving a flogging from a woman resembling a schoolmistress, complete with the iconography of the classroom. The result was that the popular meaning not only of acts of corporal punishment but also of sexual flagellation became increasingly unsettled. The crisis in corporal punishment was also a juridical crisis. The nineteenth century saw a number of attempts at reforming the juridical use of corporal punishment. In 1852, Austria reinstated flogging as a criminal pun-

ishment after abolishing it in 1848. By mid-century, practices of justice such as the public flogging of prostitutes were beginning to become indistinguishable from representations of erotic flogging in popular theaters, annual

fairs, and private party games. The idea that “the lechery of some Town Ladies [would be] cooled by a Cat of nine Tails,” a practice already well in place at the beginning of the eighteenth century, was subject to increasing interference by the sexual pleasures associated with such a spectacle. This blurring of boundaries between judicial displays of force and popular displays of pleasurable abandon was exacerbated by the suspicion that those who administered force might be deriving sexual pleasure from their office. Technologies of Punishment ill 91

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4 English postcard (ca. 1900) Citing Frusta’s 1834 study of flagellantism, Bloch mentions a case in which a police officer arranged for young women to be beaten so he could watch. After attending the floggings of prostitutes in 1819, “he fell into disgrace... because a lady took a pinch of snuff from [his snuffbox], inside which was

a picture of a young woman being flogged.” *” Flogging as a technology of punishment became increasingly indistinguishable from technologies of pleasure. And the increasing sexualization of punishment contributed to the increasing refinement and control of techniques of discipline. The blurring of technologies of punishment and pleasure was an important influence on Krafft-Ebing’s understanding of perversion. His belief that techniques of moral correction acted as sexual stimulants caused him to take a liberal-reformist stance in questions of corporal punishment. He observes unequivocally that the “/ibido sexualis may also be induced by stimulation of

the gluteal region (castigation, whipping). This fact is important for the proper understanding of certain pathological manifestations. It sometimes happens that in boys the first excitation of the sexual instinct is caused by a spanking, and they are thus incited to masturbation. This should be remembered by those who have the care of children” (PS, 34). Krafft-Ebing’s invention of masochism appeared at the moment when juridical discourses no longer found it possible to condone corporal punish92 /iIl THE MASTERY OF SUBMISSION

ment without somehow countering the sexual stimulation that medical discourse identified with flagellation. As a result of its juridical encounter with medicine, corporal punishment became a physiologically and psychologically ambiguous practice that worked against its own moral intentions. Seen in this perspective, Krafft-Ebing’s theory of masochism was little else than an extension of current debates on the association of sexual pleasure and corporal punishment, passed through a psychopathological grid and removed from the juridical field. Krafft-Ebing’s attempt to recast these debates in medical language was given an added dimension by current struggles concerning the religious significance of pain. In 1846, William Morton had extracted a tooth using ether as an anesthetic at the Massachusetts General Hospital in Boston, causing a medical sensation. The idea that scientific intervention might finally be able to overcome pain seemed no longer utopian, and questions about the Godgiven nature of pain started being asked with renewed fervor. Before the eighteenth century, the Holy Office of the Catholic Church had regarded pain (particularly childbirth) as God-given, and it actively hindered medical attempts to intervene in naturally painful illnesses. This played an important retarding role in the history of anesthetics and narcotics.¥ The popular approach to pain was a different one in the prenarcotic and preanesthetic West. Pain was seen to bring with it its own means of regulating itself. And one of these was identification with a wide range of cultural images, such as the saints and martyrs — images which we know to be weighted with sexual symbolism.**

In Krafft-Ebing’s day, Catholic theology still clung to the idea that pain is both an inescapable fact of human life, and a means of overcoming sin through demonstrating faith in God. This dual function of pain had been the founding idea of the Christian flagellation cults that flourished in the Middle Ages, when “religious flagellantism attained its greatest and most notorious prevalence . . . serving for penance, self castigation, imitation of the sufferings of Christ, for ecclesiastic discipline and absolution.” * The culmination of this was dolorisme, the French movement proclaiming that faith implied seeking pain and suffering of one’s own free will.*° David Morris has

observed the importance of this understanding of self-inflicted pain in medieval Christianity: Pain for medieval Christians served as a sign and means of contact with the

divine. ... Had they denied pain, the medieval Christian community would have erased its spiritual value. A meaningless pain would threaten to cast them back upon an utterly meaningless world. They had good reason, then, Technologies of Punishment iil 93

to transform pain from a private sensation into a public spectacle, in the manner of the flagellants who during times of plague paraded through the

streets lashing themselves in guilt, penance, and hope of mercy.” | The doctrinal and dogmatic foundations of flagellation had a lasting effect

on popular approaches to pain, and thus indirectly on the iconography of masochism. Bloch claims that religious flagellantism was “not limited to the cloister but was carried to the people by the great Flagellant Sects and Whip Societies of the Middle Ages.” *® Seen in this light, the flagellation brothel, Sacher-Masoch’s aesthetics of masochism, and Krafft-Ebing’s theory are all stages in a progressive secularization of religious flagellation. The erotics of pain enshrined in sacred imagery began at an early stage and persisted into Krafft-Ebing’s and Sacher-Masoch’s day and beyond. Here it parallels the association of pain and sexual pleasure in corporal punishment. Because of its understanding of pain as a univocal inscription of the body, the Church initially favored flagellantism. However, by the beginning of the seventeenth century, it was becoming increasingly clear that the distinction between a highly individualized experience of bodily sensation and a public display of faith was not as easy as had been assumed. What appeared to be an austere practice of faith, in which the demands of the body were denied,

could just as well be practiced as an erotics of faith, in which the austere demands of the spirit became indistinguishable from the sensual demands of the body. As early as the seventeenth century, pain was being regarded as a sphere of experience in which the sacred merged dangerously with the erotic. Alain Grosrichard has pointed out that Meibomius’s Treatise of the Use of Flogging at Venereal Affairs was composed “precisely at the time of the con-

vulsions at St. Médard, in order to show that the alleged miracle actually concealed a sexual story.” * The secularization of flagellation and the accom-

panying erotics of pain played an important role in producing the body of the subject as the place where individual willpower struggles with the senses. The projection of this struggle onto concepts of the natural world and the individual was decisive in conceptualizing the boundary between subjectivity’s inside and its outside. In this respect, Krafft-Ebing’s and Sacher-Masoch’s thematics of masochism are doing little else than setting an aesthetic practice and a scientific theory at the pinnacle of this development. Both make references to the iconography of pain in Christian images of martyrdom, and both do so in order to demonstrate what Grosrichard ascribes to Meibomius — the discovery of sexual pleasure at the heart of sacred selfcastigation. By the end of the nineteenth century, scenes of martyrdom had become 94 Ill THE MASTERY OF SUBMISSION

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5 josé de Brito, A Martyr of Fanaticism (Portugal, 1895)

explicitly sexualized in the public imagination. As Figure 5 shows, these scenes were appealing not for their historical or moral value but for their “appeal to the viewers sadistic enjoyment of the violent torture of a helpless young woman.” *° For Krafft-Ebing, there is no doubt that religious practices of flagellation are to be read in the sense mentioned by Grosrichard — as an erotics of pain and submission. In Psychopathia Sexualis, Krafft-Ebing outlines the essential contradiction that self-castigation introduced into Catholic dogma. The original intention of flagellation as it was practiced in various sects from the thirteenth to the fifteenth centuries was “partly as an atone-

ment and partly to mortify the flesh (in accordance with the principle of chastity promulgated by the Church —i.e., the emancipation of the soul from sensuality)” (PS, 35). In Krafft-Ebing’s reading, practices of flagellation

that were intended to cure the body had exactly the opposite effect — they aroused its sensuality. He cites the example of Maria Magdalena of Pazzi, a Carmelite nun in Florence in the late sixteenth century, whose “greatest delight [was] to have her hands bound by the prioress behind her back, and her naked loins whipped in the presence of the assembled sisters” (PS, 35). In consequence of such occurrences, practices of self-castigation were increasingly highlighted by the Church as an area in which the body of the Technologies of Punishment i 95

individual plays out its central ambivalence in the sacred order. In the erotic attachment to pain, the body of the individual is thrust into an ambivalent position where it is forced to act both as a player in the unfolding of a sacred order and as a victim of its own sensuality. ‘The Middle Ages and later centuries abound with images and examples expressing the central ambiguity between experiences of devotion, submission, and pain on the one hand and

- sexual pleasure on the other. St. Sebastian — probably the single most appealing image for the male masochist — is one popular example.*! Morris discusses several others, including St. Catherine of Siena, whose book The Dialogue (1377~—78) expounds her doloristic belief that the godly “should actively seek out suffering through humiliations of the flesh.” *? Another

is St. Teresa of Avila, the sixteenth-century saint whose unsettling of the boundary between sexual pleasure, mystical revelation, and bodily pain was already clearly evident in her own writing. Teresa describes the moment of revelation as a pain which was “so great that it made me moan, and the sweetness this greatest pain caused me was so superabundant that there is no desire capable of taking it away.” °? Such explicit confessions did not need Giovanni Lorenzo Bernini’s famous seventeenth-century statue, or Lacan’s statement of her obvious jowzssance, to confound the distinction between sexual pleasure

and pain — although statue and statement both certainly helped to give form to the male mythology of female pleasure-in-pain.*+ The move from this central ambivalence of bodily experience in Christian dogma to KrafftEbing’s concept of the body as both a historical and a biological being is not a great step. Where Krafft-Ebing’s move differs — and it differs radically — is in the rationalization that he believed would reconcile this ambivalence.

Richard von Krafft-Ebing was a natural scientist cast in the mold of nineteenth-century positivism. As a scientist, it was not his task to enter the fray with those of his contemporaries who were asking difficult questions about the erotics of pain, the definition and gendering of sexuality, and their political consequences.** Instead, he was convinced that his was a quest for truth — and if a universally valid truth appeared in the process, that would make his pursuits all the more valuable. As a psychopathologist, he was interested in human nature. When he looked to juridical writings, he did so in order to obtain examples of how human nature revealed its inherent deficiencies. But this involved setting aside some difficult questions about how to code deviant human behavior as socially significant behavior. For KrafftEbing, universal truths of human nature could be spoken in medical language only by purging human nature of its historical coordinates.

In the development of his theory of masochism, this meant ignoring those aspects of the problem that would have forced him to confront the 96 ill THE MASTERY OF SUBMISSION

politics of technologies of control. Krafft-Ebing was not interested in asking

why at this particular moment in history the erotic attachment to these technologies should provide the material for a best-selling author, and he certainly did not ask why it should be so very interesting for his own psychopathology. Instead, he tried his very best to prove that the masochistic perversion he had discovered was a universal affliction.

The first step in this proof was to identify a tendency he called “ideal masochism,” in which “the psychical perversion remains entirely within the spheres of imagination and fancy [Phantasie|, and no attempt at realisation is made” (PS, 161). The example Krafft-Ebing gives is Rousseau’s Confessions. For him, Rousseau was not really aroused by the act of flagellation, but by the “ideas of a masochistic nature,” which were awakened by the act of flagellation (PS, 167). Rousseau was a good candidate for this affliction. Costler and Willy, writing in 1944, emphasize Rousseau’s practical experiences with masochistic pleasures: he “allowed himself to be flogged unmercifully by Madamoiselle Lambercier,” a practice which “left an indelible impression on his emotional make-up.” ** Ten years later, Musset and Chopin provide examples of what Krafft-Ebing had called “ideal masochism” — the “aspiration ... to be dominated by more virile women.” According to their reading, this form of masochism is found “so frequently that it is not a question of masochism proper, of the phenomenon regarded as a perversion.” *’

This distinction, although difficult, has remained of vital importance to discussions of masochism, from Freud’s concept of moral masochism to psychiatry’s attempts to differentiate sexual masochism from self-defeating behavior. Once Krafft-Ebing took the step into descriptions of “ideal masochism,” he found it difficult to stop. He mentions Baudelaire — another often-cited “masochist” — and Zola, as well as a number of lesser-known authors. Then he cites ancient Indian and Buddhist literature as examples of riding motifs, in which a man is made to act as mount for a woman (PS, 169-71). KrafftEbing’s discussion indicates that once masochism is understood as a general association of submission, as humiliation, or simply as vague discardings and

. refusals of the biological predetermination of men to domination, then it is extremely difficult to set historical or social limits to its occurrence. This was also not Krafft-Ebing’s intent, and his references to examples of masochism in other ages and cultures are intended solely to support the thesis of universal masochism.

Krafft-Ebing’s attempt to understand masochistic man as a biologically

determined being more or less outside the imperatives of history paradoxically constructed an image of masochistic man as determined by the hisTechnologies of Punishment it 97

torical developments of the late nineteenth century. At the same time, he envisaged a pathology of masochistic man as a universal manifestation of biological necessity — and this universal masochism negated all historical positioning. In the years following Krafft-Ebing’s writing on masochism, this negation of masochism’s historical determinations in a fiction of universal masochism was repeated many times in many different ways. The sexol-

ogists, anthropologists, ethnographers, historians, and philosophers who occupied themselves with masochism and related subjects constructed various fictions of masochism’s universality. This was a way of solving the paradoxes that had come to surround the idea of masochism as both a biological

constant and a historical contingency. | One school of fin de siécle thought liked to cite evidence for the ubiquity of “perversion.” This in turn was taken as evidence for the ubiquity of the sex impulse, which according to Bloch “expresses itself with just the same elemental force where there is no culture at all as where there is the highest.”°8 According to this reasoning, “deviations” such as “homosexuality, pedication, the numerous refinements upon natural vice which were part of the obscene cults of the sexual deities,” all of which “are observed today with shocking frequency among the very peoples living closest to ‘nature,’ have not necessarily any connection with ‘culture,’ and by no means with “a nervous age.’ ”’*?

In 1913, a three-volume edition of drawings, paintings, and etchings from the private collection of Eduard Fuchs, the collector later to be immortalized in Walter Benjamin’s essay of the same name,” was published in Munich,

together with an extensive commentary by Alfred Kind. The title of this collection is Die Weiberherrschafft (“Matriarchy” or “Women in domination’), and it represents a broad spectrum of images suggestive of dominant female sexuality in Western culture. The guiding principle behind the assembly of this enormous amount of visual material is that there exists some kind of permanency and consistency in the way dominant femininity — and submissive masculinity — has been perceived in Western culture. Fuchs and Kind muster a number of powerful popular images and themes in defense of their thesis. One of the images they present is Aristotle mounted by Phyllis, having been tricked into serving as her steed in exchange for a night with her. This image exercised considerable sway upon the popular imagination in Renaissance and Reformation Europe. The best known example is probably the colored woodcut of 1513 by Hans Baldung von Grien (Figure 6). Commenting on the popularity of these and similar images, Fuchs and Kind claim that

98 ill THE MASTERY OF SUBMISSION

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ya eee, So pods PEERS:ce SS,APPIN RES oa fas, SetteeON we rss, LNG, BX ER eg Bree, 2 ge Bi. oeCLE eae Reronncnmmormiaaty, |< cs gePe RTEy SNOT a oieEE SROaN eee,Ree OS RRNA An. :Boao: EB i OE OBL oeSRS BRAS E OS ety ec eo eS dione ong LA Se foe ee | oy ate ee Written in 1898, three years after Sacher-Masoch’s death, the novel examines homoerotic desire and the psychology of colonialism. It presents one of the late-nineteenth-century’s most interesting portrayals of the European male masochist. Kurtz, that tortured soul whose self-abandonment to colonial sadism has continued to fascinate the liberal imagination, bears traces of masochism in his selfdestructive psyche. Cast out in the desolation of his own savagery, Kurtz “suffered too much . . . and somehow he couldn’t get away” (HD, 57). However, it is in the possible responses of European men to acts of sadistic exploitation that Conrad introduces the most explicit European male masochist in the novel. As Marlow’s boat approaches Kurtz’s station, the scenes of violence that have been gradually intensifying in the course of the novel are suddenly interrupted by the appearance of a Russian seaman, a “harlequin” clad in rags and patches. —Even before we are explicitly informed of the Russian’s masochistic disposition, Conrad presents him as a figure whose ludic mastery of violence bears the marks of the masochistic move. This mastery is paradoxically based on a display of self-defeating aspects in his character. As a white man who is obviously in the advanced stages of “going native,” he parodies his own status as civilized man. His ragged clothing displays the visible marks of his degen-

eracy, while the beautiful and neat handwork with which he has patched it shows the absurdity of trying to uphold a pretense of civilization in this savage place. Self-consciousness of this paradox lends this character a theatrical quality. His gestures are persistent and exaggerated, his expressions intense and fleeting, his clothing a costume. He reminds Marlow of “something funny [he] had seen somewhere” (HD, 53). Conrad has sketched a theatrical character who presents his subjectivity as exaggerated stagings of a psychic disposition. Ironically, he calls this willful presentation, ‘glamour.’ Glamour is the superficial gesture of an excess of civilization, which degenerate man _ uses to oppose what he perceives as a crisis in the rational mastery of life. But

this opposition remains hopeless in the face of brutal nature. The result is the Russian seaman’s “destitution, his loneliness, the essential desolation of his futile wanderings” (HD 55). In portraying the self-destructive futility and desolation that accompanies life’s blind persistence, Conrad prefigures Freud’s formulation in 1924 of primary masochism at the heart of eros. In his relationship to Kurtz, the Russian becomes explicitly masochistic. His devotion retains the idealistic direction that characterizes male masochism — it deflects violent homoerotic sexuality into the realm of an aesImperialist Man, Civilizing Woman I VN

thetics of violence and the spoken word. “We talked of everything,” he said,

quite transported at the recollection. “I forgot there was such a thing as

, sleep. The night did not seem to last an hour. Everything! Everything! . . . Of love too.” “Ah, he talked to you of love!” I said, much amused. “It isn’t what you think,” he cried, almost passionately. “It was in general. He made me see things — things” (HD, 56). Conrad creates Kurtz as, in Bongie’s words, “a man possessed of ‘ideas’ who exists at a more or less complete distance from the efficient world of New Imperialist conquest.” '+ The coupling of Kurtz’ idealism with his inefficiency and savagery is intended to demonstrate one of the ways the imperialist enterprise can fail in the face of individual passions and weaknesses. The failure of Kurtz as an agent of imperialism is the specter of masculine failure that haunted late-nineteenth-century man — the failure to subdue passion in the name of reason. The problem is not that Kurtz lacks reason, it is that his reason remains idealistic. It is impractical. Kurtz’ idealism is selfdefeating, since it prevents him from acting in a manner conducive to what Bongie calls “efficient colonialism.” » ‘The Russian seaman is captivated by the way Kurtz combines an idealistic colonialist rhetoric with acts of brutality. Marlow judges his submissive devotion to Kurtz to be “about the most dangerous thing in every way he had come upon so far” (HD, 56). Even when Kurtz threatens to shoot him, the Russian remains captivated. This masochistic devotion allows him to work through the conflict of sadism, homoeroticism, and liberalism in the manner described by Fanon. He accepts the vio-

lence with which Kurtz surrounds himself by refusing to think of it as destructive and accepting it in the name of a higher ideal. The problem of European male masochism is also evident in the figure of Marlow himself. Even before the Russian appears, Marlow has an encounter with subjectivity at its limits, reminding him that his civilized distance from savagery might not be as great as he had hoped. ‘The dying black helmsman, who has been struck by a spear, gazes into Marlow’s eyes with a querying expression so fascinating that Marlow “had to make an effort to free [his] eyes from [the helmsman’s] gaze and attend to the steering” (HD 47). Later, thinking back on this gaze, he remembers it as an encounter with the selfdestructiveness inherent in the life force. Marlow reminisces that “the inti-

mate profundity of that look he gave me when he received his hurt remains to this day in my memory — like a claim of distant kinship affirmed in a supreme moment” (HD, 52). This simultaneous recognition of a foundation of savagery in his own being and of life’s precarious balance on the brink of self-destruction casts Marlow into the same realm that late-nineteenth-century discourse reserves 112 //f THE MASTERY OF SUBMISSION

for the African. It shatters civilization’s facade of racial superiority, opening the way for a homoerotic identification with the helmsman. As he lifts the body to throw it overboard, Marlow holds it in an embrace; “his shoulders

were pressed to my breast; I hugged him from behind desperately.” The homoerotic attachment to savagery and self-destruction that Marlow discovers in his encounter with the dying helmsman’s gaze is the same fascination that Kurtz holds for him. The helmsman “had no restraint, no restraint —

just like Kurtz” (HD, 52). Like the helmsman, Kurtz “lacked restraint in the gratification of his various lusts,” those “forgotten and brutal instincts,” the “gratified and monstrous passions” that savage nature had reawakened within him (HD 58, 67). Marlow’s narrative is built upon this fascination with Kurtz’s degeneration. This is the fascination of the nineteenth century with places where the thin veneer of civilization breaks apart, revealing a nature that can be comprehended only as a destructive and self-destructive sexuality. The dialectic of civilization and savagery finds its synthesis only in Kurtz’s “lightless region of subtle horrors, where pure, uncomplicated savagery was a positive relief” (HD, 59). And as a result, it imagines nature itself as that realm of pure uncomplicated savagery. Once again, this dialectic and

its resultant drive for biological self-destruction is only a small step away from Freud’s theory of primary masochism. _ Male masochism provides Conrad with a way of speaking about death, self-destruction, social violence and homoeroticism in the context of European expansionism. It allows him to address the same conflicts in liberal thought that Fanon discusses. In Conrad as in Fanon, the European male masochist resorts to the form of erotic expression that best accomodates the conflicting forces of homosexual desire, sadistic exploitation, and a liberal

| colonialist politics. According to Kaja Silverman, the masochistic scenes in T. E. Lawrence’s works perform a similar function.'© Lawrence’s Seven Pillars of Wisdom is a monumental autobiographical work celebrating his own exploits command-

ing an Arab guerrilla unit fighting the Turks in the First World War. It contains scenes of suffering and degradation, some of them explicitly (homo)eroticized. According to Silverman, Lawrence uses his masochistic selfsacrifice to project homoerotic desire onto the ideals of colonialism. Lawrence’s masochism “is predicated not only upon subservience to the ideal, but upon a partial identification with it.” !” He eroticizes colonialism’s ideals by mapping (homo)sexual pleasure onto experiences of pain and degradation. Like Fanon, Silverman analyzes male masochism dialectically. By suffering and debasing himself alongside his Arabian comrades, Lawrence expresses an erotic identification with Arab nationalism. His struggle is reduced to an

: Imperialist Man, Civilizing Woman Ill V13 }

experience of suffering and a fantasy through which the perception of history is filtered, offering an imaginary alternative to a politics of leadership, while at the same time perpetuating that politics in practice. For Silverman, masochism is more than just a way of sublimating, and therefore succumbing to, the brutality of imperialism. It is also a strategy for retaining the integrity of subjectivity in the face of tensions that would dissolve it. This explains the fundamental ambivalence of Lawrence’s maso-

chism, which displays the contradictions of imperialism by eroticizing the | subject’s self-destruction. Masochism is a subjective performance of resistance, both to imperialism and to imperialist male sexuality. According to Silverman, however, Lawrence’s masochism finally resolves subjective tensions in a form that “poses no threat to masculinity,” working instead in the service of imperialism. “Far from functioning as a form of phallic divestiture, it operates at the behest of a terrifying psychic imperialism, one which is as troubling in its own way as the French.and British colonization of the Middle East, against which the historical Lawrence struggled.” !® Fanon and Silverman force us to ask questions concerning the construc-

tion of subjectivity in the colonial situation. In the context of colonialism, the problem of masochism acquires dimensions that resist the standard models of conflict: nature in conflict with civilization, instinct with willpower, the psychic apparatus with the world. Instead, it focuses on the eroticization of social relations and of cultural stereotypes, and on the way eroticization can be used as a strategy of resistance. The theory of European male masochism in the colonial context thus allows Fanon and Silverman to develop

Freudian theory in an important direction. a Freud posed the question of masochism in terms of the psychic investment of authority in cultural stereotypes, which allows us to understand the way masochist representation blurs the distinctions between civilization and nature and between juridical reason and suppressed passion. Fanon remains

a Freudian when he adopts the model of the “cultural suppression of the | instincts” as his frame of reference.'® But, as he himself states, his description

of European aggressivity, guilt, and masochistic enactments deviates from

| what he calls the classic model of masochism. Fanon’s ‘non-classical’ model | is, in his opinion, “the only way to explain the masochistic behavior of the white man.” ”° He thus points the way to a post-Freudian understanding of masochism as a strategic negotiation with cultural stereotypes and representatives of social power. This is because he understands the masochistic scene as an enactment aimed at resolving or at least alleviating the pressures that the (unjust) exercise of power exerts on the psyche. Fanon and Silverman both show that if we are to do justice to the strategies of masochistic repre[14 //} THE MASTERY OF SUBMISSION

sentation, we will have to address masochism as an enactment and a staging of subjectivity. Their readings ask us to regard masochism both as a social

production of masochistic desire and as a conscious staging of conflict, whose aim is to neutralize conflict.

Silverman takes this one step further. The masochistic scene not only attempts to reconfigure the power relations of liberalism, it also unsettles the

boundaries of gender that liberalism tries so hard to fix. In the process, it casts doubt on any system of meaning that relies on fixed relations of political power, or fixed boundaries of gender. In this way, masochism can eat away at the core of “truth” in representation. This is evident in Lawrence’s depictions of his own life and of the historical “context” in which it is played out. Both are colored by the same homoerotic and masochistic fantasies that he describes in his memoirs. Lawrence’s “autobiographical” writings about his exploits in Arabia “oblige us to approach history always through the refrac-

| tions of desire and identification, and to read race and class insistently in relation to sexuality.”?! The narration of history, that mode of storytelling which, for a short while in the nineteenth century, had uneasily maintained a pretense of objectivity, becomes corrupted and animated by subjective investments in its telling. And without these investments, the telling could never have come about. History is in Silverman’s words “both initially penetrable and subsequently recoverable only through fantasy.” ”” History appears to be objective when the fantasies invested in it become eroup fantasies. Individual figures may serve to support the illusion of objec-

tivity, but they may also reveal the fantastic substratum of history. In the discourse of colonialism, male masochism acquires this kind of ambivalence.

It functions both as a symptomatic irruption of violence turned against the male subject and as a constitutive figure of male sexuality. As Silverman shows, the figure of the masochist can on the one hand “sustain an aspiration to mastery,” but on the other hand the masochistic fantasy is constantly striving to “lead elsewhere.” > The failure of colonialist ideology inscribes its symptoms in the subjectivity of the European male masochist, but at the _ same time it allows the subject to act independently of ideology’s dictates. This reaches crisis proportions at the same time that the telling of history begins to collapse under the weight of fantasy. In response to the onslaught on its most cherished group fantasies, European masculinity liked to present itself as the epitome of the “white man’s burden,” staging elaborate scenes of his own self-sacrifice in the name of civilization.** The literature of colonialism in the late nineteenth century is full of protomasochistic situations, in which men act out the failure of individual deeds of settlement and conquest and sexualize this failure. In the Imperialist Man, Civilizing Woman Il \15

| context of colonialism, this acting out is a complex process. It usually has a strong political component aimed at demonstrating the need for more committed support for the colonial project, appealing to a transcendental European eye to take in the suffering of the wayward male who, cast out into the savage wild, takes upon himself the tribulations of the civilizing mission.

In the German-speaking world, one of the strongest and most blatant statements of this ideologically motivated colonialist protomasochism is found in the works of Hans Grimm. Grimm began to write short stories of European triumphs and failures in South Africa in the first decade of the twentieth century, and his impassioned support for German colonialism in Africa lasted through two world wars until his death in 1959. Grimm became a senator in the new Deutsche Akademie der Dichtung in 1933 and a member of the council of the notorious Reichsschrifttumskammer in 1935. One of Grimm’s most fascinating attempts to utilize human suffering in the name of colonial expansionism is found in his collection of short stories,

, Liideritzland, a \ate appearance on the scene of colonialist writing (it was pub-

3 lished in 1934).?* Here Grimm presents a series of episodes in the lives of soldiers and settlers in German Southwest Africa, in which acts of fate sud-

denly reduce the hard-earned and meager achievements of colonial life to a harsh reality of suffering and death. A German trader stumbles into a crossfire in the Herero Rebellion and loses his life to save his wife and child; a German settler is severely wounded while trying to save some farm machinery from a fire and takes his own life with the help of his sister; a German farmer loses his farm and his wife in a flood, and so on. What is striking in Grimm’s writing is the way violence leaves its destructive mark on all colonial endeavors. Grimm presents this violence in an exaggerated and theatrical display, showing us the horrors that ensue when everyday life in the colonies in interrupted by fate. In the story “The Steppe Is Burning,” he describes the farmer as he lies in pain from his severe burn wounds:

He whimpered. She let the oil drip, choked back the horrible terror and the surging tears, so as not to spill the oil and be left without any means of still helping him. All at once he began to scream, to scream terribly, but without strength, as if a cushion were pressed against his mouth, and his body tossed and turned. In the midst of all the expressionless screaming and struggling he whispered: “My God, I can’t stand it any more.” ”6

Grimm may be a latecomer, but he is not an isolated example. The nu- | merous works written in the same vein as Liideritzland testify to the strong protomasochistic undercurrent in colonial fiction. Defined as a general display of the sufferings involved in the act of colonialism, this protomasochis116 /// THE MASTERY OF SUBMISSION

tic tendency is very common and hardly alarming. It centers around the ideology of the “purchasing power” of suffering. Joachim Warmbold observes the widespread feeling that “nothing can illustrate the claim of German settlers to their new homeland, nothing the claim of the German Empire to its

‘protectorates’ more convincingly . . . than the fact that of all the nonEuropean continents the soil of Africa has drunk the most German blood, German sweat and German tears.”*” In German colonial literature, the theme of blood, sweat and tears marking African soil as German property is presented in countless variations. On the surface, these myths of suffering lack the decisive feature of masochism, a feature which must be understood in terms of (in Freud’s words) the “intimate connection between cruelty and the sexual instinct.” ?* But for the age of colonialism, the exercise of power in the political field was so closely related to sexual domination that it is misleading to regard displays of intense suffering in the colonies as lacking an erotic dimension. The esthetic relish with which Grimm wallows in the gory details of his protagonists’ demise borders on the erotic. His outbursts of violence could be called an erotics of tragic display in the services of colonial ideology. The conquest of the New World had itself long been subject to a whole set of sexual metaphors. The trope of the virgin land was one of the most powerful ideological figures in discourses of exploration and conquest. As the nineteenth century progressed, the virginity of the land became increasingly difficult to proclaim. Assumptions concerning an inherent natural innocence of woman likewise became increasingly problematic, and as a result, the metaphors of penetration into virgin land become entwined with a whole series of metaphors concerning the loss of control and of self in the erotics of exploration. In this connection, Siegel speaks of the inextricable connection between “impulses toward conquest” and “impulses to lose control.” The

desire to “enter primitive and unknown territory” merges here with the

“need to be received savagely by it.” ?° | The sexualization of colonial scenes was enhanced by a common tendency to displace European fantasies of sexuality and violence onto exotic settings.

Hermann Glaser observes that the colonial limits of Europe served in the nineteenth century as a distant and exotic stage where fantasies of domination, violence, and pleasure were projected onto stereotypes of sexuality. The Orient was the favorite setting of European fantasy, and it was imagined as peopled with sensual female slaves. According to Glaser, these slaves “had constantly to suffer all kinds of mistreatments, which [European readers] voluptuously experienced along with them.” *° He notes that in this projection “cruelty and sensuality, violence and voluptuousness . .. made up the specific Imperialist Man, Civilizing Woman Wt ANT

form of German bourgeois sadism in the nineteenth century; the female slave as a young girl, the young girl as a female slave: in this way the idols of ‘glowing’ sensuality intermingled.” 3! Glaser quotes an article in the popular

German magazine Die Gartenlaube titled “A Disgrace of the Nineteenth Century,” in which the Dutch colony of Surinam is presented as the showplace of sadomasochistic practices of slavery. The male or female slave is immediately compelled to discard all clothing,

receiving then a simple loincloth. . .. Lydia is undressed; still she tries to. cover her heaving breasts with her hands, but they are pulled away by

coarse henchmen, and tied firmly together. She is pulled up against a : stake. Tears flood down her cheeks. . . . Yes, it is scarcely believable, but

: in Surinam there are ladies who do not hesitate to examine and scrutinize the thighs of their slaves to see whether the depth of their wounds are in good relation to the guilders they have been paid; ladies who rub Spanish

: pepper into bloody limbs.» ,

The display of sadistic and masochistic tendencies in exotic settings was a common literary device in late-nineteenth-century Europe. Glaser mentions

the fin de siécle cult poet Stefan George, who presents sadomasochistic scenes in an exotic context in some of his poems, allowing them to be “enjoyed with good conscience.” ?? In George’s poem Algabal (1892), the poet’s desire for debasement and suffering, for “penetrating wounds” and “burning joys,” is projected onto the celebrations, but so too is the “seduction” and the “wisdom” of the Syrians.*+ George’s readers were all too familiar with this imagery. Scenes of luscious slaves in Oriental harems flooded the salons at the turn of the century, ensuring the visitors that beyond the borders of Western civilization there existed a place where their fantasies of sexual vio-

lence could come true. The Orient may have been the most accessibly exotic region on the European horizon, but virtually any of Europe’s colonial territories were able to provide a space for the unfolding of European fantasy. German literature of the fin de siécle contains enough passing references to sadomasochistic tendencies in colonialist characters to tell us that the reading public of the | day had-no difficulty in drawing the connection between colonial violence and sexual violence. In his play on the demonic sexuality of woman, The Earth-Spirit, Frank Wedekind introduces Prince Escerny, who has just returned from explorations at Lake Tanganyika. Escerny appears as one of a long line of men to fall under the deadly spell of Lulu’s sexuality. After having watched her dance in public, he interprets the smile on her face as a sign that she “feels sovereign and noble enough to bind a man at her feet — in 118 /// THE MASTERY OF SUBMISSION

order to take pleasure in his helplessness.” 3° For Wedekind it is evident that

a desire for this kind of male submission to female domination is directly related to the exercise of force in Africa. Fscerny. In the course of my explorations I was forced to exercise a most

inhuman despotism. ... Lulu. In front of the mirror, putting on a pearl necklace. A good training! Escerny. If now I long to place myself unconditionally in the power of a

woman, it is a natural need for relaxation and change. ... Can you imagine a greater pleasure in life for a woman than to have a man completely in her power? >’

For Wedekind, male masochism appears as a symptom of the political violence in the colonial sphere. Escerny tells us that this violence has intro- , duced a crisis into his understanding of authority, and that his submissiveness is intended to resolve that crisis — to provide him with “relaxation and change.”

In the context of German colonial literature in the first decade of this century, the presence of masochism as a theme is not surprising. ‘The generation that had made Leopold von Sacher-Masoch a best-selling author twenty to thirty years previously was increasingly confronted with the idea that not all was well with the male masochist. The fervor of Sacher-Masoch’s mildly titillating but harmless scenes suggests that a nerve had been touched,

a nerve that had something to do with how exotic sexuality relates to free will and biological normality. As liberalism struggled to balance ideas of uni-

versal morality with ideas of individual freedom, rumors of violent transeressions in the colonies aroused visions of an exciting and enticing life on the far side of liberal morality. The male masochist became a common walkon part in colonial fiction. In 1909, Orla Holm published a novel called Ovita: An Episode in Hereroland*® Ovita was written in the years immediately following the Herero rebellion in German Southwest Africa. In 1903 —4 the indigenous Herero, dismayed with the way they were being cheated out of their land and cattle, rose up against their colonial masters, killing about a hundred settlers. The protectorate government of the colony suppressed the rebellion in an extremely

brutal manner. Out of a population of some eighty thousand Herero, less than twenty thousand survived the military campaign led by the brutal General Lothar von Trotha. The ensuing years were a time when colonial policy occupied the limelight in Germany. In 1907, debates over Germany’s colonies led to the so-called Hottentot Elections, in which the Reichstag was reconstituted, and the liberal Social Democratic Party lost a large number of Imperialist Man, Civilizing Woman I \19

seats. [hese elections proved, as Peter Gay notes, that “manliness compounded with racism was a hard combination to run against.” 3? | But manliness was by no means a quality that enjoyed unanimous support, nor was there even agreement on what exactly it was. Ovita tells the story of Ina Kessler, who comes to the colony with her husband Kurt, an officer in the protectorate troops. Ina is a model of the fin de siécle woman who spends her days lounging around in a state of melancholic desperation. Kurt embodies what is positive in contemporary man — a conscientious dedication to duty, a liberal understanding of his needed presence in the colonies, and an

unshakable masculinity. Whenever it threatens to waver, this masculinity draws on symbols of the empire for its strength: “His eyes wandered to the fort. Above its battlements the flag of the Empire was waving proudly in the wind, and the old spirit surged through him. It flared up in him once again. He had to remain strong, he mustn’t give in! His principles demanded it — his duty! ’”’*°

Such is the voice of the desperate fin de siécle male, who clings to his masculinity while all around him he sees it failing. It is the same voice Severin

uses in Venus in Furs after his final remedial beating. After “this, the most cruel disaster of [his] life,” Severin wants “to become a soldier and go to Asia

or Algeria.” Instead he stays home and cares for his sick father. Part of the | healing process is learning “to work and to fulfill [his] duties” (VF, 227). Dijkstra calls this attitude a “symbolic unification of male master and effeminate slave in unquestioning homage to the principle of male aggression.” +! But Kurt Kessler still has not made up his mind. The debilitating influence of his melancholic wife prevents him from committing himself with unrestrained passion to male aggression.

| Enter Dr. Nielsen, a scientist working on a theory of happiness among ‘‘primitive” peoples. To prove his theory, he seeks to show that the Herero do not fall prey to what he considers a disease of civilization, melancholy. Nielsen’s quest reads as a parody of Spencer’s teleology of happiness in the natural development of humanity. But his failure will ultimately prove Spencer right. His practical research leads him into a sexual relation with Magdalena, a Herero woman. And what his research discovers is simply a lack of civilization, or civilization’s failures — he is plunged into an African world where civilization’s restrictions no longer apply and where the European is condemned to degenerate progressively into a condition of primitiveness and savagery. Nielsen’s intellectual blindness consists in his inability to comprehend the Herero as bearers of his own degeneracy and finally his death.

When Nielsen dies at the end of the novel, his lack of masculinity is no 120 /ii THE MASTERY OF SUBMISSION

longer distinguishable from his self-destructive sexuality. Both bear nothing but death. Nielsen’s tale is intended to demonstrate that the sensitive intellectual male, like the nervous woman, is unsuitable for the task of colonization. His idealistic desire for a natural state of being — a position with vociferous proponents in Europe at that time — was in practice a masochistic desire for his own self-destruction. The quest for humanity’s natural condition leads him first to search for a precivilized sexuality in Europeans, then to native sexuality, and from there to self-annihilation. Holm gives a reasonably accurate picture of some of the fears that were currently occupying medical discourse concerning the perversity of native populations. Late-nineteenth-century medical discourse gave voice to the

widely felt conviction that African society was a breeding ground of the perversions and that “sensuality and the immorality which results from it, given a lack of ethical values, are in the African’s blood.” ” Showalter draws

attention to the theory of the “Sotadic Zone,” put forward by the eminent explorer Sir Richard Burton. Burton was a real-life Loti, and when in 1853 } he visited Mecca and Medina disguised in Muslim clothing, he was celebrated as the first European to “penetrate” the center of the Islamic world. He performed similar penetrations on the African continent, being the first European to visit the forbidden city of Harer in Ethiopia and live to tell the tale, as well as the first to set eyes on Lake Tanganyika. And what he found in his travels was a world where European sexual morals collapse. In an essay . accompanying his translation of the Arabian Nights (1885-86), Burton “delineated the geography of a transgressive space he called the ‘Sotadic Zone’ in which androgyny, pederasty, and perversion held sway. The Sotadic Zone ranged from the Iberian Peninsula to Italy, Greece, North and Central Africa, Asia Minor, Afghanistan, the Punjab, Kashmir, China, Japan, ‘Turkistan, and the South Sea Islands.” *

But many pathologists and anthropologists were not convinced. At the turn of the century, there was considerable debate about whether perversions were imported to or endemic in native society. For Krafft-Ebing, the “primitive” state of humanity (persisting in the “savage races” of KrafftEbing’s day — “the Australasians, Polynesians, Malays of the Philippines’’)

is a state in which “the gratification of the sexual instinct seems to be the primary motive in man,” just as it is among the beasts (PS, 2). Where sexuality is natural, perversion is out of the question. He was joined in this opinion by Friedrich Ratzel, the prominent human geographer who coined the term Lebensraum, and whose ideas on ethnicity and territory would later be Imperialist Man, Civilizing Woman Il 121

misused by the Nazis. In keeping with the view that perversion was a sign of

cultural degeneration and thus could not be endemic in African society, Ratzel believed that “unnatural” vices had been imported into African society by other, more advanced civilizations. Where unusual sexual practices were reported in African society, outside influence was often blamed. Holm uses the scientist Nielsen as a testing ground for popular ideas on

natural sexuality. The nature of Nielsen’s masochism as Holm’s readers would have understood it is described by Freud in 1905. In his first attempt to explain the concept of male masochism in the Three Essays on the Theory of Sexuality, he characterizes it as a reversal of the biologically normal male

urge to dominate the world.“ When Nielsen turns to Herero culture for remedies to civilization’s ills, he thinks he is going back to nature, but his readers know he is refusing the role that nature has prescribed for man.

| Freud’s intellectual flirtation with masochism followed a remarkably similar path. Like Nielsen, Freud explains civilization as producing inhibitory mechanisms that stand in the way of sexual fulfillment. And like Nielsen,

: Freud (at least in Leo Bersani’s reading of Civilization and Its Discontents) sees civilization as producing aggressivity in the process.** Where Nielsen discov-

ers savagery and a Darwinian struggle for life and death at the heart of his idyllic primitive world, Freud discovers primary masochism, a fundamental destructive urge underlying human sexuality itself. By placing a desire for self-destruction at the pinnacle of European civilization, Freud undermines Holm’s distinction between civilization and savagery, reawakening the problem of reason’s failure to command the body. For Freud as well as for Holm, the masochistic male in society is the male for whom civilization has gone too far, where the civilizing process has worked too well. And both beg the question: if not this, than what? For Holm the answer is easy. Man must return to the European male’s biological destiny to master the world, even if this means renouncing civilization’s intellectual pursuits in favor of sadism and genocide. A similar conflict between concepts of civilization, gender, and masochistic sexuality emerges in Lene Haase’s Raggy Goes to South-West, written in 1910.*” Raggy is just the opposite of Holm’s Ina. She is carefully depicted as the epitome of a contemporary liberated woman. She was raised in America by her father, a “proud, almost lonely man” with a yearning for freedom and a “cavalier lifestyle”; she is well educated and has seen the world; she is “at home in expensive restaurants and hotels, on green lawns and in the elegant

world of big cities,” but also in the rough-and-tumble world of a German _ colony.*® She outrides, outshoots and outtalks her male friends, and she can lapse into spells of tenderness so tough they could be cast in the lyrics of any 122 /ii THE MASTERY OF SUBMISSION

country-and-western song. In short, she is New Woman — “an anarchic figure who threatened to turn the world upside down and to be on top in a wild carnival of social and sexual misrule.” *”

Raggy comes to South West Africa in search of a society in which this lifestyle may be realized. What she finds instead is a narrow-minded community where each of her movements is monitored and interfered with by a gossip-mongering elite or a disgusting, primitive native population. Her attempts to live a free and independent life fail, and she returns to Germany to settle for a life of marriage and respectability. The turning point in the novel is a scene with definite masochistic dimensions. Raggy is engaged to Hans, with the understanding that once he has returned from service with

| the Protectorate Troops, they will be married and settle together to live an idyllic life on a farm. This farmer’s idyll depends on Hans’s ability to act as a “good, faithful man . . . so strong and in love,” offering Raggy “peace and shelter” and the free, wild life of a farmer in an uncivilized country.” ° But after her engagement with Hans is broken off, passion reveals its beastly na-

ture. The colonial idyll is shattered, and Raggy turns her back on SouthWest Africa. On board the ship back to Germany, she meets Lieutenant Warnau, who finds himself caught by her allure. In their brief encounter, Haase presents a specter of civilized sexuality gone wrong. Where we thought we would see successful settlers conceiving little colonists, we find two prototypes of fin de siécle sexual malfunction — the brutal woman and the masochistic man. Warnau falls on his knees and professes undying love, and this is how Raggy responds:

Her whole body trembled as in a fever. He was on his knees before her, begging. There was not a drop of blood left in her face. She looked down at him with a brutal, mocking smile. “You!” she whispered, brutally grasping his hands, which she held tightly. “I don’t want to, do you hear me?!” Her voice trembled. “I’m your master! You!” *!

Raggy has discovered that her quest for independence stands in direct conflict with her ideal of masculinity. This ideal has been derived from — where else? — her father, whom Haase presents emphatically as imperialist man. Raggy’s attempts to act out her upbringing only serve to demonstrate its failure. They show her that she can never be like him because she is not a man, and that her desire to be her father is indistinguishable from a desire to

have a man who is the complete opposite of her father. Once the New Woman starts thinking she can be like Imperial Man, she begins attracting degenerate male masochists. _ Imperialist Man, Civilizing Woman Il 123

The setting of both of these stories shows us that we are not dealing only with problems in personal psychology. We are also being presented with stories of how colonialism fails — at least how it fails to reproduce its requisite attitudes in certain individuals. Raggy’s return to Germany is an admission that she has no place in the colonial project. Her independence is presented as something positive as long as she is alone in the colony, but as soon as she must enter a lasting relationship and begin a settler’s life, her desire is shown to work against the stereotypes of colonizing women and colonizing men. Like Orla Holm’s book, this one shows us a conflict within colonialism’s social Darwinist ideologies of gender and civilization. And like Holm, Haase is unrelenting in her choice: where colonization is the goal, civilization should not be enjoyed in too great measure. Moments of male masochism such as these bear an ideological message which is simple enough, even banal, but the conflict they express is deepseated. It is the same conflict that plagues Krafft-Ebing — the irreconcilability of disparate rationalizations of civilized man. Civilized masculinity implies an ability to bear discomfort, to emerge, like T. E. Lawrence, victorious after hideous torment. But at the same time, civilization has to overcome perversion. This leaves civilized man walking a thin line between the masculine endurance and the masochistic enjoyment of suffering. Wherever the male masochist appears, he expresses the fear that this line is too thin and that civilized man may always be masochistic man, that masculinity is in fact masoch-ulinity. Sacher-Masoch and his contemporaries tried hard to make masochistic

imagery look like a positive aesthetic contribution to European culture by coupling it to a liberal politics. In Fathers and Sons, Turgenev even styled the European male masochist as an anarchist who dedicated himself to suffering in the name of a higher political ideal and who composed his sexual relations according to this same plan. Sacher-Masoch liked to tell himself that his relationships with women were designed not only for his own personal pleasure; they were also intended as idealistic attempts to live out the advance of civilization in its extremes, its excesses and failures, in order to be able to formulate what civilization’s successes might look like. Sounding very much like a condensed version of Lene Haase, Sacher-Masoch wrote in 1870: “Women desire men they can look up to; a man such as you, who willingly places his neck under a woman’s foot, is only an amusing toy that she throws away when she is bored” (VF, 219).

Whereas Haase concludes unabashedly that dominant women should therefore seek more dominant men, Sacher-Masoch’s conclusion that subordinate men should seek dominant women is intended to demonstrate the 124 Ill THE MASTERY OF SUBMISSION

need for a socially grounded equality of the sexes. Just as civilization is capable of suppressing the raw violence of animal instincts, it can overcome the enmity and antagonism that nature has created between the sexes. It is, after all, this civilized suppression that produces supersensual man. This kind of liberal interrogation of male domination may sound convincing, but it was all too easily reincorporated into the patriarchal jargon that colonial ideology loved. Sacher-Masoch, pleading for statutory equality of the sexes, observed that “for the time being, there is only one alternative: to be the hammer or the anvil” (VF, 228). The colonialist apologists liked to use this same “for the time being” in order to justify colonial oppression. In his best-selling novel of 1906, Peter Moor’s Journey to Southwest Africa, the North German writer Gustav Frenssen has one of the soldiers in the cam-

paign against the Herero say, “They are not our brothers, but our slaves, whom we must treat humanely, but strictly. These ought to be our brothers? They may become that after a century or two. They must first learn what we ourselves have discovered, — to stem water and to make wells, to dig and to plant corn, to build houses and to weave clothing. After that they may well

become our brothers.” Sacher-Masoch seems to have been less cynical and more naive than Frenssen. His thoughts are psychoanalytical: the suppression of women pro-

duces a desire for dominant women as a symptom in men. According to Sacher-Masoch’s liberal vision, the acting out and transference of this desire can effect a cure and at the same time have positive social effects. In placing himself in the power of a stronger woman, the European male masochist was forcing woman to act out her designated role in the civilizing process: the taming of the baser animal instincts in men. ‘This was in keeping with the common view of sexologists throughout the nineteenth century that the advance of history was accompanied and even motivated by a progressive refinement of male sexual instincts under the guidance of the feminine. In the introduction to his Psychopathia Sexualis, Krafft-Ebing wrote that “the refined development of sexual life” comes about when woman “becomes an individual being, and, although socially still far below man, she gradually acquires rights, independence of action, and the privilege to bestow her favors where she inclines” (PS, 3). In this doctrine, there might theoretically have been a comfortable niche for the male masochist, with his compulsion to act out the feminine suppression of man’s animal passion. The problem was that in practice, the business of running an empire required real men. In popular discourses, masochistic man’s effeminate image discredited him from any kind of social activity that might be associated

with the practices of masculinity. The figure of the male masochist acted Imperialist Man, Civilizing Woman Il 125

as a provocation, demanding that men take sides. Either they pandered to Sacher-Masoch’s fantasies of a sexy liberalism, or they set their jaws and got on with the empire’s daily struggles.

Seen in these terms, the figure of the male masochist was doing a very disturbing thing. He was taking the embattled and uncertain distinction between men and women and relocating it in the very heart of man himself. The conviction that each man and woman carries the seeds of both genders was an idea that was in the back of everyone’s mind at the time. It culminated

, in Otto Weininger’s bizarre swan song on bisexuality, Sex and Character. Weininger’s book took England and Europe by storm. In it, he imagined a | prehistory when humanity was entirely bisexual. Human evolution was a progressive differentiation of the sexes. The more perfectly evolved an individual was, the more clearly differentiated his or her sexuality. Degenerate throwbacks could be recognized by the unnatural predominance of the other

, sex’s impulses. In this view, modern man, including imperialist man, was rent

by a struggle between feminine and masculine impulses. | The problem was, no one could really agree on just what a feminine or a masculine impulse was. Weininger believed that woman was “the locus of the physical — one might say, the mechanical — reproduction of humanity, but the male was the locus of the brain, of humanity’s capacity for spiritual understanding.” ** ‘Taken to its extreme, this would lead to claims like that made by Alfred Kind in 1913, that when he becomes an artist, the masochist is “constantly full of woman. Woman sits in him, proliferates throughout his brain and limbs, obstructs and smothers all the channels of his ideas, so that in the end he can only think ‘in’ woman. What he then projects outwards artistically is, once again, woman.” *> Others, like Krafft-Ebing, argued that the feminine impulse has a moderating effect on man’s inherent biological destructiveness, his sadism. But this moderating force tends to replace the

male instinct with a feminine urge for self-destruction. . In the midst of the contradictory and chaotic range of suggestions concerning the primal nature of man and woman, their evolution, and their position in civilization, colonial ideology and the civilizing mission found themselves in a double bind. Was woman a civilizing principle or did she represent man’s fall? Was a real man the most spiritual or the most physical being? How could civilization win if it forced the European male to choose between giving up his moral values and turning his back on his biological constitution? Was life as a modern man really a choice between biologically masculine acts of sadism and biologically feminine acts of submission? And how was it possible to think of civilized sexuality as inherently biologically deviant? 126 ii! THE MASTERY OF SUBMISSION

Whenever their favorite theories started to tie themselves in knots, liberal thinkers resorted to practical solutions and commonsense. The favorite answer to questions of sexual impulse in colonial ideology was that it was all just a matter of good measure: sadism and masochism are both undesirable excesses equally harmful in the colonial situation. ‘The idea of good measure posed a lot of problems when legal and administrative discourses tried to put it into practice. Where was the line to be drawn between a pathological feminization of civilized man and a pathological brutality of conquering man? The European male masochist in the colonies reactivated sexology’s conflict

between its theory of perversion and its philosophy of history. And he dramatized the conflicts between liberal attempts to control domination and the laissez-faire proliferation of domination’s brutality. Late-nineteenth-century medical discourse also had a place for that neurological dysfunction called Tropenkoller (tropical moral insanity), a “disease of impulsiveness” that occurs in the tropics, “usually in regions where all barriers of conventional morality and common social relationships are removed, where the civilized person can follow his inner instincts, and where he finds himself opposite an ‘inferior’ race which he regards and treats as half or wholly bestial.” °° By the late nineteenth century, the sadistic exercise of colonial power had been subject to sharp criticism for many years. A century earlier, critical images of colonial sadism were already appearing in newspapers, journals, and popular magazines throughout Western Europe (see Figures 7, 8 and 9). This criticism had initially been a strategy to differentiate just from unjust colonial practice and to discredit colonial policies of rival European nations. This was evident, for example, in the intense battle of words fought by opponents and proponents of colonialism in Britain and Germany over the degrees of morality or insanity involved in colonial practices. Beginning in the closing years of the nineteenth century, climaxing in the years following the Treaty of Versailles and continuing through to the Second World War, the British criticized the Germans for what they saw as an openly brutal mistreatment of their colonial subjects.°’ The Germans in turn accused British colonial administrators and settlers of being hypocritical in matters of discipline and failing to exercise their authority in a strict and consistent manner. Outbursts of tropical moral insanity and the failures of feminized man both strengthened the liberal call for moderation in both colonial and sexual affairs. Examples of colonial excesses seemed to prove that the world could — only be mastered if men succeeded in mastering perversion in all its manifestations. One German writer explained the brutality of the British as “misdirected sexuality in a society deeply embedded in all the perversions of the Imperialist Man, Civilizing Woman Ill 127

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7ares :2 -See aksoe = but we should also understand them in terms of the discrepancies between the rationalities in which cultural identity is seen to reside. As a result of these discrepancies, the body of the masochist was marked as ambivalent. It was an object of scientific discourse, and it was, at least in theory, a disciplined body. The identification of a masochistic perversion was a productive move in which a generalized power over individuals gained currency in the manner described by Foucault. But it also involved a process of breakdown, where the founding impulses of the classificatory move became increasingly confronted with their own impossibility. This struggle sometimes took on bizarre dimensions. After Sacher-Masoch’s death, for example, his ex-wife Aurora Riimelin fought a legal battle with his wife, Hulda Meister, over his testament. Riimelin attempted to use Sacher-Masoch’s writing as evidence of a diminished capacity to make rational decisions. In other words, she attempted to argue that Sacher-Masoch was insane on the evidence of his favorite mode of representing sexuality, a representation that had earned him the money she was arguing over. She even went as far as to Disappearing and Reappearing Subjects It 205

cite Krafft-Ebing as an authority.”6 Sacher-Masoch may have tried to twist the law for his own sexual enjoyment, but this was surely going one step better! Where the medico-legal discursive apparatus develops technologies of bodily control, masochistic fantasies and their performance are caught up in a complex process of de-objectification and destabilization of cultural identities. Masochism pursues a multiplicity of fluid and dissolving identities in opposition to the stereotypes of cultural identity. But it is too easy to think of the masochist only in these terms. Masochism’s modernity lies in its attempt to use culturally fixed identities in pursuit of subjective unity. In response to what is perceived as an increasing objectification of the body, the masochist develops strategies of pleasure-seeking based on this very objectification. This is why the role of the object in the masochistic fantasy is perhaps more adequately described by Lacan’s Hegelian object theory than by Freud’s dynamic and economic models. The pleasure of the masochist lies not simply

in a narcissistic reversal of a sadistic instinct onto his own body. It lies in a dialectic between an object that must be constructed as an image of his own body and an object that is given as a culturally determined figure of power. In its modernist moments, masochistic writing attempts to set up a dialectic of bodily experience and knowing subjectivity. The knowing subject plunges his body into a fantasy that generates physical pleasure by surrendering control over his own body. He then shatters this fantasy, restoring the

knowing subject’s power over the body. In retrospect, bodily pleasure has been a brief detour in the itinerary of the knowing subject. This amounts - to a parody of the Hegelian philosophy of history. When Sacher-Masoch writes, knowledge plays the Hegelian game. It sides with cultural identities and their political technologies of bodies, looking back from the end of the story and moralizing about the contents of the masochistic fantasy. Butwhen Sacher-Masoch’s masochist fantasizes, knowledge is suspended in a timeless space between the breakdown of cultural identity and its reconstitution. As Sacher-Masoch demonstrates, the liberal subject thinks in Hegelian history, but he draws his pleasure elsewhere. This discrepancy between thought and pleasure is played out in the liberal imagination along the fluid boundary between public and private life. In a way, it may be argued that modernity is concerned solely with the aesthetics of this boundary. If this is so, then one important aspect of masochism’s modernity is certainly the sexualization of this boundary. This is best illustrated by looking at the story “Nero in a Hoop Skirt,” which Sacher-Masoch published in his collection Tales from the Russian Court in 1874.2” This story

206 //] THE MASTERY OF SUBMISSION |

provides a fictional account of the murder of Tsar Ivan VI in 1764 by Lieutenant Vasilii Mirovich and the subsequent accession of Catherine the Great to the throne. Drawing on these events, Sacher-Masoch describes a liaison between Mirovich and Catherine, in which Mirovich can temporarily live out his masochistic fantasies of submission to the powerful female despot in furs. Catherine plays an ambivalent role in this relationship, using him for her own erotic purposes, but also for her political power games.

The erotic and political dimensions of their relationship casts it into a public/private dichotomy. The private sphere is the place where Mirovich — and Sacher-Masoch — can unfold all the stereotypes and paraphernalia of the masochistic fantasy in the service of subjective gratification. The political sphere is where Catherine manipulates Mirovich’s passion in the service of her political intrigues. She convinces him to arrange the murder of Ivan and to give himself over to an execution that she assures him is only theater. In

one of the finest passages of masochistic writing in his oeuvre, SacherMasoch ends the story with Mirovich on the scaffold awaiting the executioners axe, but also awaiting the appearance of Catherine with the reprieve she has promised him. Of course she has made other arrangements with the executioner, and when she appears, it is the signal to decapitate Mirovich. As a historian, Sacher-Masoch seeks the political rationale behind Mirovich’s execution. The question whether Mirovich was to be executed or reprieved remained a central concern after the murder. A reprieve was more in keeping with Catherine’s Enlightenment philosophy, but it would have implicated her in the assassination. His was the first execution to be authorized by Catherine. As a masochistic writer, Sacher-Masoch sketches Catherine as a cruel despot, who is constantly reducing the humanitarian aims of Enlightenment to the violence of her sexual desire. She cynically observes that the “powerful individuals of this world are forgiven their vices, but not their weaknesses; and are my ideas not great enough, not human enough to warrant the sacrifice of many foolish heads and the forgiveness of many inhuman deeds?”’”8 The cruel, enlightened cynicism of Catherine is matched by Mirovich’s idealistic enthusiasm and naive, submissive dedication. He is described accord-

ing to Sacher-Masoch’s favorite stereotypes of masochistic sensuality: “a young officer, slim, well-built, with the fanatic’s pale dreaming face and large

calm martyr’s eyes.”?° From the outset, Sacher-Masoch makes clear the source of Mirovich’s martyrdom: his failure to recognize that Catherine’s erotic power is indissociable from her political power, and that one form of power cannot be reduced to the other.

Disappearing and Reappearing Subjects ii! 207

Sacher-Masoch dramatizes the liberal crisis of private and public agency _ out of which masochism arose. The figure of Mirovich on the scaffold, suspended in pleasurable anticipation between death and reprieve, is the masochistic epitome of liberal homo politicus. His masochistic fantasy, but also the logic of political power that sustains the fantasy, requires his self-annihilation

at the hands of the executioner. And yet, the logic of a liberal philosophy, which Catherine has used to seduce him into playing a part in her political intrigue (and conversely, which he has used to seduce her into playing a part in his fantasy), requires the reprieve that she has promised him. The tension that Sacher-Masoch constructs at the end of the story results from the discrepancy of two regimes of liberal subjectivity. As a private individual, Catherine — the liberal subject — acts according to an economy of pleasure. As a political individual, she acts according to an economy of power. In the economy of pleasure, Mirovich — the masochist — solicits figures from political life to act as controlled stereotypes of power. Meanwhile, his dominatrix incorporates this economy into her own economy of power, where private fantasies are harnessed and utilized in controlled scenarios of personal gain. What Sacher-Masoch shows us is that the same scenario plays in both economies, breaking down the distinction between public and private life. And by allowing Catherine to execute Mirovich, he restores the regime of power, authority, and rationality, just as he had done at the end of Venus in Furs. By framing the masochistic scenario in a tale of triumphant political power, the disturbing merging of the private and the public is counteracted. Mirovich’s death, like Severin’s beating, redraws the violated line between public rationality and private passion.

, The masochistic fantasy cannot function without this framing. It is a complex mechanism intended to retain control while relinquishing it, to affirm the power of reason while abandoning the self to its passions. Mirovich places himself under Catherine’s power, using her culturally coded identity as a stereotype to maximize his own pleasure. By framing the fantasy within the logic of cultural coding, the masochist creates a free space where experiences of identity and nonidentity can proliferate outside cultural imperatives.2° Mirovich uses Catherine’s power in order to neutralize it. This is a dangerous game, as Mirovich finds out. The relations of power between the masochist and the agent of punishment must be carefully controlled if the pleasurable dimension of the fantasy is to be sustained. This is why the contract is such a useful device for the masochist. It allows him to design a field where he can act as if the cultural coding of identity has no claim on the

subject of the fantasy. When Mirovich thinks he can control Catherine, he 208 /// THE MASTERY OF SUBMISSION

makes the fatal mistake of believing he can enter into legal relations with the law itself.

If the masochist is to retain control over the performance of the fantasy, he will have to ensure that any beatings or death threats he receives are administered according to the rules of his fantasy, not the rules of political power. He has to ensure that his own body is not controlled by the political technologies that make bodies work productively in society. The rules of his game define power as an erotic force binding two individuals, and not as a political technology of his own body. A relation of power that borrows its erotic force from its sociopolitical determination is seized upon and reduced to a relation of power that plays itself out in the realm of sexuality. Indeed, | sexuality has meaning for Sacher-Masoch only as the realm in which power ceases to have effect in the sociopolitical field. And conversely, the field of the political is produced as the spatiotemporal field where the masochistic fantasy no longer works. Sexuality becomes pleasurable when it wrests power from the political field. And politics becomes effective when sexual pleasure fails.

Sacher-Masoch’s erotics of liberal subjectivity anticipates Freud’s logic of

the drives and their relation to the social field. In the Mirovich fantasy, Sacher-Masoch is careful to keep the historical narrative at all times on the

horizon of the masochistic fantasy, using the political power play as the source of sexual pleasure. Sexual pleasure defines the boundary between the masochistic protagonist’s private desire and his role in the political life of Russia. The tension in the story is derived from the attempt to think of both fields together. By constructing a sexualized tension which, following Reik, must be recognized as masochistic in itself, Sacher-Masoch displaces the de-

sire within Mirovich’s masochistic fantasy onto the level of the narrative, allowing the reader to share his erotic confusion. The question which propels the narrative forward is whether politics is being sexualized or desire is being politicized. Mirovich believes that he can extract pleasure from the relationship of domination and subordination he shares with Catherine, irrespective of the effects this relationship might have in political terms. In “Nero in a Hoop Skirt,” the logic of narrative framing is used to recodify Catherine the controller of a political technology as Catherine the stereotype of feminine domination — the “ ‘Semiramis of the North,’ as Voltaire flatteringly calls me.”?! The masochistic fantasy can proliferate only through this recoding of the political field. It must fantasize subjectivity as a floating field in which both cultural codings of identity and political technologies of the body can be temporarily suspended. The dimensions of sub-

Disappearing and Reappearing Subjects il! 209

jectivity which partake of cultural coding and political technology must both be set as a frame for the fantasy. And because they are required in the act of

framing, cultural representations and the political technology of the body can never be far away from the site of the masochistic fantasy. Mirovich derives his pleasure from this recoding, but he finds his death in its failure. The moment of death is the moment when the frame collapses, when the force of the banished order necessarily breaks into the field from which it has been removed. ‘This happens when the fantasy ceases to have effect in the economy of desire and begins to have political effects. These moments

are crucial to masochistic writing, and they render problematic the entire project of mastering subjective identity through fantasy, of mastering political power though sexuality. They show that the reversal of power in nar- _ rative is a temporary one, bound to collapse under the weight of political arrangements. ‘The masochistic fantasy collapses when culturally coded representations of identity reassert themselves. This is the moment when the logic of cultural symbolism becomes incompatible with the logic of the fantasy, when the symbolic determination that has sustained the masoch-

istic economy of pleasure can no longer be integrated into this economy. When Mirovich surrenders in ecstasy to Catherine, telling her that she can do with him what she likes, she replies: “Fool! Do I need your permission

for that?” A similar moment is found at the end of Venus in Furs, when the agent of

punishment ceases to be Wanda and turns into the Greek. Deleuze interprets this moment as “the aggressive and hallucinatory return of the father in a world that has symbolically banished him.” #3 These moments appear like

the return of the repressed, yet they are better understood as an integral | aspect of the masochistic staging, a built-in formal weakness that has less to do with individual psychology than with the fact that cultural coding and the political technology of bodies is more powerful than the relative transience

of fantasy. In his liberal pursuit of an interior subjective space where sexual pleasure is guaranteed free run of cultural stereotypes, Sacher-Masoch soon discovers that if you want to come out of the masochistic fantasy alive, you have to come out in the cultural landscape. Unlike Mirovich, most of SacherMasoch’s protagonists (and Sacher-Masoch himself ) decided that it was better to perform the sacrifices required by culture than to sacrifice your life in

the name of pleasure. |

But in the process, they demonstrate that the disparate spheres of life that liberalism tries so hard to unify are too far apart for any easy suture. Masochistic writing pits the logic of social sacrifice against the logic of pleasure seek-

210 //] THE MASTERY OF SUBMISSION

ing and reveals in the process that these two modes of activity, which the rationality of liberalism would see as continuous and inseparable, are in fact wholly incompatible with one another. If, as Habermas suggests, society in modernity is structured according to principles whose rationalization is increasingly pervading all spheres of life,># and if this rationalization is constantly reduced to the liberal doctrine of individual well-being, then masochism starts looking like a parody of the ratio-

nality of modernity. Masochism’s postmodernist coming-of-age relies on this parodic function. It is in the nature of the postmodernist problematic that subjectivity can no longer be grasped in terms of a biology of pleasureseeking activity, a psychology of social sacrifice, or a jurisprudence of ratio-

nal action. Instead, subjectivity comes increasingly to be understood in terms of scripted behavior. The postmodern subject is written into several disparate texts whose fragmentary nature is not subjectivity’s breakdown but

subjectivity’s persistence. Masochism today possesses a modernist and a postmodernist dimension. In the postmodern problematic of masochism, the struggles of liberal subjectivity and the modernist enactment of modernity’s failures play virtually no role at all. Nor do the struggles for the resolution of a fragmented — or “damaged” — life. Masochism’s postmodernity follows Lyotard’s general observation that in the postmodern world “most people have lost the nostalgia for the lost narrative. It in no way follows that they are reduced to barbarity. What saves them from it is their knowledge that legitimation can only

spring from their own linguistic practice and communicational interaction.” >> Masochism as it is practiced today partakes willfully in the fragmentation of identity, without the feeling of loss or struggle that characterizes its modernity. Masochism’s postmodernity is concerned with questions of textuality and communication, and with play, parody, and simulation and their role in the constitution of subjectivity. If we understand sexuality’s destructiveness in terms of subjectivity’s textuality rather than its biological, psychological and sociological dimensions, the question arises as to where this destructiveness is atmed. How are we to

explain it if it is no longer a primary self-destructiveness, as Freud understood it, or a requisite self-castigation and self-curbing in the name of social production, as Reik explained it? It seems instead to be a scripted enactment of reflexive destructiveness aimed at the cultural stereotypes of identity. This understanding of masochism is supported by the self-image of S&M subcultures, which like to see themselves as outsider groups opposed to the broad masses of the sexually normal. Normality means being caught up in

| Disappearing and Reappearing Subjects i 2\\

cultural stereotypes of identity without realizing that these identities are only elaborate games scripted in the services of socially sanctioned relations of power. The practitioners of S&M often reject mainstream culture and its ready-made identities in the most vehement terms. Pat Califia, writing on lesbian S&M, observes that “S&M is so threatening to the established order” because its practitioners are “interested in something ephemeral, pleasure, not in economic control or forced reproduction.” ** The socially sanctioned repertoire of identity is an oppressive and superficial regime of sexual control, a world of “arch-conformists with their cardboard cunts and angora

wienies.” Cultural identity becomes a lineup of cutout figures, where the stereotypes of sexual domesticity are inseparable from “conservative forces like organized religion, the police, and other agents of the tyrannical majority [who] don’t want sadomasochism to flourish anywhere.” >”

Our political system cannot digest the concept of power unconnected to privilege. S&M recognizes the erotic underpinnings of our systems, and

it seeks to reclaim them. There’s an enormous hard-on beneath the

| priest’s robe, the cop’s uniform, the president’s business suit, the soldier’s khakis. But that phallus is powerful only as long as it is concealed, elevated to the level of a symbol, never exposed or used in literal fucking.

: In opposition to this image of “America’s carbon-monoxide pie,” Califia adheres to a nonidentity of alternatives. “We are not like everyone else. And our difference is not created solely by oppression. It is a preference, a sexual preference.” *? This concept of creating a sexual identity as unresolved differ-

ence through preference, through an act of motivated selection, is vitally important to the self-perception of S&M practitioners today. The selection © is taken from the images and stereotypes which culture offers, but because it is a motivated selection aimed at personal pleasure and not a dedicated commitment to these stereotypes, it negates and disqualifies them. “S&M roles are not related to gender or sexual orientation or race or class. My own needs dictate which role I will adopt.” * In this view, the economy of personal pleasure seizes the imagery of sexual conformity in order to unsettle its hegemony. The necessity of violence in S&M imagery, practice, and terminology lies not only, as Wetzstein observes, in the need to designate a sexuality beyond the boring sexuality of the majority." It also aims at exorcising the culturally coded identities associated with oppression and power. “S&M is scary. That’s at least half its significance. We select the most frightening, disgusting, or unacceptable activities and transmute them into pleasure. We make use of all the forbidden symbols and all the disowned emotions. S&M

212 /ll THE MASTERY OF SUBMISSION |

is a deliberate, premeditated, erotic blasphemy. It is a form of sexual extremism and sexual dissent.” ” Wetzstein notes that S&M practitioners strive to cultivate its status “out-

side of everyday experience” and to retain its “flair of the perverse.” Sadomasochistic pornography tries hard to create such situations. Wetzstein speaks of a “negative aesthetics” that serves as a “means of distinction compared to the majority culture of ‘decency.’ This stands for rationality and manipulation.” Some S&M proponents are violently opposed to liberalist attempts to have it accepted as a legitimate sexual practice. This heretic stance insists that sexuality is possible only outside the bounds of the law. Sexuality requires repression and repressive discourse for its reality and intensity. This is because, as Jean Baudrillard argues, “only confinement gives it the stature of myth. Its liberation is the beginning of its end.” # The practice of masochism tries to enact its own mythology, holding it at

| arm’s length, so to speak. It takes punishment as the visible mechanism of repression, repeating its forms in a denial of the meaning that culture assigns it. This is particularly evident in certain group activities, such as balls and dances, whose social structure approaches the carnival or commedia dell’arte — “certain rules of everyday life and specific conventions are temporarily rendered void.” Consequently, “everything that everyday life demands in dealings with other people is hyper-ritualized, carnivalized or converted into its opposite.” *° The carnivalesque is a much-discussed aspect in postmodernist confron-

tations with stereotypes of identity. Ever since Julia Kristeva’s influential reading of Bakhtin, it has been generally accepted that the carnivalesque accession to and abandon of identities can in some way allow the subject to break through the rigidity of symbolic determinations.’ According to Kristeva, Bahktin regarded the carnivalesque as founding a tradition opposed to the abstraction of linear history and its regime of morality. This opposition is a grammatical and semantic one, since it rewrites its own position “within the infrastructure of texts” out of which history and morality are composed.* Kristeva, whose ideas on alternative language practices were influenced by Bataille,” regards this rereading and rewriting of history and morality as an

act of transgression. As a “polyvalent and multi-determined” practice, it “adheres to a logic exceeding that of codified discourse and fully comes into

being only in the margins of recognized culture.” In keeping with her understanding of semiotic practice, Kristeva believes that to challenge official linguistic codes is to challenge the law. Carnivalesque discourse or practice “breaks through the laws of a language censored by grammar and semantics and, at the same time, is a social and political protest.” °° Disappearing and Reappearing Subjects ill 213

Kristeva’s understanding of the carnivalesque as an essentially dialogical practice is an accurate portrayal of the practice of sadomasochism in the eyes of its proponents. She moves in this direction when she mentions the writ-

ings of Sade and Lautréamont in this connection, although she neglects Sacher-Masoch. This is doubtless due to what Silverman calls the “enormous

intellectual prestige” commanded by Sade as opposed to Sacher-Masoch.*! In the following description, Kristeva is writing about the carnivalesque, the author, and literary production, but her observations might just as well refer to the representation of masochism, the subject of the masochistic fantasy, and the fantasy itself: As composed of distances, relationships, analogies, and nonexclusive oppositions, it is essentially dialogical. It is a spectacle, but without a stage; a game, but also a daily undertaking; a signifier, but also a signified. That is, two texts meet, contradict, and relativize each other. A carnival participant is both actor and spectator; he loses his sense of individuality, passes through a zero point of carnivalesque activity and splits into a subject of the spectacle and an object of the game. Within the carnival, the subject is reduced to nothingness, while the structure of the author emerges as anonymity that creates and sees itself created as self and other, man and mask. The cynicism of this carnivalesque scene, which destroys a god in order to impose its own dialogical laws, calls to mind Nietzsche’s Dionysianism. The carnival first exteriorizes the structure of reflective literary

productivity, then inevitably brings to light this structure’s underlying unconscious.” The “homology between the body, dream, linguistic structure, and structures of desire” in carnival is used in the same way in the internal logic of masochistic display.3 As in Kristeva’s concept of the carnival, the masochistic game has little to do with the crisis of subjective totality and dissolution as Sacher-Masoch portrayed it. The practitioners of sadomasochism today are not in search of the absolute values that governed Sacher-Masoch’s masochism. They are concerned with trying out cultural stereotypes of identity in the name of bodily pleasure. Subjective dissolution and affirmation are measured against this game. Dissolution has lost the heroic dimension that was still so important for Sacher-Masoch. It is no longer the self-erasure of the martyr. It comprises nothing more than discarding one identity and trying on another. Consequently, self-affirmation also loses its absolute value. The masochistic player is shopping in the historical supermarket of cultural identities, trying them out for pleasure value, and discarding them again.

214 Jil THE MASTERY OF SUBMISSION

|

Identity is put together from a palette of cultural stereotypes that may be selected and combined at will. This happens without the loss of Being that Lacan sees as inherent in the entry to the symbolic order, but also without the unshakable faith that culture would seem to require from an investment in its subjective identities.

In the masochistic scenario, identity is nothing more nor less than the momentary adoption of stereotyped identities in the pursuit of bodily pleasure. One of the main purposes of the dominatrix studios is to allow customers to visit prostitutes for the purpose of S&M role-playing. Wetzstein de-

scribes this aptly: “The actors hand in their everyday identities at the door , of the marital torture chamber or Dominatrix Studio. But they receive them back again when they leave the situation. These two points mark the boundaries of the SM frame.” * If the S&M scene is a supermarket for identities, then the shoppers must

have an ambivalent attitude to subjective identity. Drawing on Norbert Elias’s theory of modernity, Wetzstein emphasizes the totalizing intentions of this attitude in response to perceived fragmentations of rationality. There is, however, another side to the commodification of identity. This involves the perception that identity is not a mask disguising a more essential experience of subjective unity, but a mask and nothing else. Hence the importance accorded to an aesthetics of masking in masochistic practices. The masochistic shopper does not hope she has bought something as grand and abstract as subjective totality when she acquires alternative identities. She pays her money and takes her pleasure in change. Subjective identity be-

comes indistinguishable from the roles it plays. It floats in an imaginary realm of semiosis without ever having to prove its truth value by cashing in on reality. This intensification of identity’s commodification becomes a game with subjective positions aimed not at exchange (the logic of the commodity) but at change. Baudrillard has described this logic as the logic of fashion: “Under the sign of the commodity, love becomes prostitution — under the sign of fashion it is the object-relation itself that disappears, blown to pieces by a cool and unconstrained sexuality. . . . Today, every principle of identity is affected by fashion, precisely because of its potential to revert all forms to non-origin and recurrence.*° This understanding of fashion is important for an analysis of masochism’s postmodernity. Masochism is not about the dynamics or economics of objectrelations; it is, like fashion, a “radical liquidation of values,” a “liquidation of meaning ... at the level of our body.” * In response to the fragmented ratio-

nality of modernity it does not pursue a unifying rationality, but a selfDisappearing and Reappearing Subjects ii 245

liquidating, self-defeating accession to rationality’s fragmentation. The masochistic scene veers away from the morality and politics of free choice by refusing to take sides with either self-destruction or self-preservation. Baudrillard’s discussion of fashion explains masochism’s play with tem-

porality. Theodor Reik had already noted the constitutive importance of temporality in masochism, explaining it as a strategy for mastering time by harnessing the drive’s natural orientation toward the future. But masochism also tries to free itself from time’s linearity, setting its signs free to function

: in a cyclical time, just the way Baudrillard sees fashion. As soon as time ceases to act on subjectivity in a linear manner, the death instinct becomes, in Baudrillard’s words, a “contemplative desire for death, bound to the spectacle of the incessant abolition of forms.” *” Death is nothing more than the pleas-

urable absence of being behind the masks of stereotypical (fashionable) identity. Seen in this light, masochism dramatizes the uncertain position that, according to Baudrillard, sexuality has come to adopt between seduction and production, between the veiling and revealing of the body and its pleasures.** Masochism as an intensification of identity’s commodification joins in an allpervading tendency to grasp sexuality as a production in the literal sense of the word: “The original sense of ‘production’ is not in fact that of material manufacture; rather, it means to render visible, to cause to appear: pro-ducere. Sex is produced as one produces a document, or as an actor is said to appear

, (se produire) on stage. To produce is to force what belongs to another order (that of secrecy and seduction) to materialize.” °° | This understanding of production allows us to reestimate the theatrical dimension of masochism’s framing. The theatrical production of the masochistic scene is at once a restaging of sexuality and a parody of sexuality. Reik emphasized this element of parody. In his theory of masochism, parody is a modernist skepticism that scorns the inability of representational systems to grasp and hold the essential elements of life and being. Once these essences are abandoned as fictions, parody ceases to imagine a position of subjective plenitude from which lack might be presented. But in fact, parody is probably not an adequate concept in understanding what the masochist does. Parody is a modernist response to fragmented rationality. It presupposes an aesthetic will residing in a subjectivity that can somehow be isolated from the workings of reason that it parodies. The masochist does not experience this isolation. Masochism repeats and re-presents lack as the essence of subjectivity. And in the re-presentation, it reproduces identity as lack. Cultural identity becomes simulated identity. In Male Subjectivity at the Margins, Silverman observes that the parodic 216 Ill THE MASTERY OF SUBMISSION

and subversive aspects of masochism go hand in hand with its tendency to

confirm and reinforce the symbolic order. These two tendencies are reflected in the controversies surrounding the practice of masochism today. The feminist critique which I outlined in Chapter 1 is countered by claims such as Califia’s that masochism is one of the few examples of an honest and free sexuality and that it is essentially hostile to the exploitative regime characteristic of mainstream sexuality. These two points of view are incompatible because they refer to two different regimes of sexuality, two different modes of comprehending the performance of cultural identity. The argument of feminist anti-S&M campaigners (Califia calls them the “Dworkinites,” after the antipornography crusader and critic of sadomasochism Andrea Dworkin) engages the liberal and humanitarian platform of sexual equality. Within this framework it is certainly correct. The opposing point of view, that sadomasochistic practices are an expression of a will to resist hegemony in cultural identity, is based on a completely different understanding of S&M. Sadomasochism is seen as a theatricality, a heightened performance of cultural identity, a conscious accession to identity as fashion, which simulates the essential fictionality of stereotypes. It is in this connection that an increasingly strong case is being made in favor of sadomasochistic pornography as a liberating, feminist tool capable of violating socially exploitative identities. This position can be adopted only if the masochistic role is regarded as nonessential, as a choice open to a consumer of identities. Barbara Ehrenreich’s observation on the commodification of sexual identity indicates that feminist affirmations of S&M require the prior recognition of its function as fashion.

Among women, home parties, as they are harmlessly called in this small industrial branch, are a favorite method for acquiring erotic equipment and at the same time inviting a sex expert into their own living room. “Tupperware” parties, where sex aids are sold instead of plastic containers, are no longer a rarity. . . . Introduced in the form of commodities, with a price and even available in various sizes, SM was no longer bizarre or repulsive, but simply something that the curious customer could try out.®

This faith in identity’s commodification can look remarkably naive when it is compared to the claims for cultural subversion offered by writers like Califia. But the naive acceptance of cultural stereotypes and the embattled

resistance to them are closely related. This is because in the masochistic world, the only possible way to escape disciplinary technique is to reappropriate disciplinary technique for bodily pleasure. What is at stake in masochDisappearing and Reappearing Subjects It 217

ism is not a conception of subjectivity or a code of behavior, it is who con-

trols the technologies of discipline. |

At the end of Discipline and Punish, Foucault attempts to address the short-

comings of liberal conceptions of the free juridical subject. He asks how power gains acceptance among its victims. The model of discipline that Foucault proposes forces us to understand masochistic practice as inscribed with both discipline and its resistance. In this way, the problem of masochism as

a problem of power relations and the exercise of power seems to require Foucault’s rejection of the repressive hypothesis in the first volume of History

of Sexuality in 1976. Foucault shows how the repressive hypothesis, the model of social form in conflict with subjective desire, and of authority in conflict with sexuality, is inadequate for an understanding of sexuality. As we have seen, this model had become increasingly troubling in theories of masochism ever since Freud’s article ““The Economic Problem of Masochism.”

Indeed, the trouble begins in Sacher-Masoch’s modernist confrontation with the difficult boundary between private desires and public agency, between sexual and social fields of power, a boundary that had sought to isolate subjectivity as a privileged sphere where the effects of social arrangements are minimized. In a way, Freud’s theory of the death instinct was not needed to demon-

strate the problems arising out of an easy distinction between subjective expressions of desire and social arrangements. The lasting fascination of Sacher-Masoch’s fiction has little to do with the modernist thematics of the private sphere in confrontation with public life; it is more a result of the way

he allows the distinction between the two spheres to conflate within the space of the sexualized and manipulated body. It is already plainly evident in his fiction that masochistic desire is both a perversion of and a perpetuation of social form. Here the body of the masochist serves as a place where the

technologies that hold individuals together in a social order are shown to work only because they are technologies of desire. In the mythology of Western Europe, the masochist’s body is one of the places where Foucault’s network of power, knowledge, bodies, and desire becomes visible as a problem of subjectivity. Foucault observes that the strength of power depends upon its ability to produce effects “at the level of desire — and also at the level of knowledge. Far from preventing knowledge, power produces it. If it has been possible to constitute a knowledge of the body, this has been by way of an ensemble of

military and educational disciplines.” This is an accurate description of how distinctions between subjective and social arrangements are blurred in modernity. However, it leads directly to the heart of the problem of masoch-

218 Jil THE MASTERY OF SUBMISSION |

ism. The body of the masochist is not only a disciplined body, and not only a site where power is exercised in the exercise of knowledge. It is of course this, but only from a perspective of social arrangements. This perspective tells only half the story, and it also disqualifies Foucault’s methodology. The required perspective is one where the body of the masochist is always caught up in both social and subjective arrangements — to the point where masochistic arrangements are neither social nor subjective. In other words, if Foucault’s methodology is to be extended to the body of the masochist, it will have to do justice to the collapse of the boundary between subjectivity and the social. If we follow the model of power and knowledge at work in the disciplined body, masochism promises the possibility of developing personalized tech-

niques of pleasure that function both in opposition to and in unison with techniques of discipline. These work in much the same way as Michel de Certeau’s tactics use the syntax of social arrangements in order to produce actions quite different from those intended within these arrangements.® Power and knowledge enter a game in which subjective pleasure celebrates a temporary demise of the social. Within the space of the masochist’s body, power ceases to be disciplinary in the sense described by Foucault. It simulates discipline. And knowledge does not come from outside. It is a technical knowledge of disciplinary mechanisms and how to apply them in a parallel production of sexuality and pleasure. Where the masochistic game appears

to parody discipline and power, it is in fact simulating them. It mobilizes subjective disappearance as a productive force, a kind of identity machine. Its ideal is the “nomadic” disappearance that Sylvére Lotringer has described in a conversation with Baudrillard as “a more lively way of disappearing”

than what he terms “the mechanical (cloning), organic (death), and ritual (game) forms.” Lotringer conceives of the possibility of disappearing “like nomads, in order to reappear somewhere else, where one is not expected.” This is the disappearance of self that the masochist strives for, and that has _ so often been misunderstood in terms of the death drive. In its postmodernist mode, masochism is not about death; it is about nomadic disappearances. In an interview in 1982, Foucault attempted to do justice to this strategic struggle played out in the body of the masochist. He described S&&M as “the eroticization of power, the eroticization of strategic relations.” © In this view, power can be appropriated to produce experiences of bodily pleasure by removing it from the institutions in which it circulates and in which identity is strictly coded. Foucault argues that sadomasochism seizes on the strategic

relations of social power and removes them from their institutional founda- | tion, dissolving their rigidity. “Of course, there are roles, but everybody Disappearing and Reappearing Subjects itt 219

knows very well that those roles can be reversed . .. Or, even when the roles

are stabilized, you know very well that it is always a game.” © 7 By reading sadomasochism as a game, Foucault is refusing the economy of exchange that would reduce sadomasochistic gestures to signifiers of aggressivity, sexuality and death hidden in the unconscious. I don’t think that this movement of sexual practices [sadism /masochism]

has anything to do with the disclosures or the uncovering of S/M tenden- | cies deep within our unconscious, and so on. I think that S/M is much more than that; it’s the real creation of new possibilities of pleasure, which

. people had no idea about previously. The idea that S/M is related to a deep violence, that S/M practice is a way of liberating this violence, this aggression, is stupid. We know very well what all those people are doing is not aggressive; they are inventing new possibilities of pleasure with strange parts of their body — through the eroticization of the body.° This technology of bodily pleasure has to be performed as a game, since

/ this allows pleasure to be produced and experienced independent of the demands culture places on identity. Sadomasochism becomes a culture, and the task of bodily pleasure becomes the creation of “a new cultural life underneath the ground of our sexual choices.” Instead of regarding identity as the socially sanctioned and institutionally codified performance of fundamental hidden desires, Foucault sees desire as the product of sexual performance. “We have to create new pleasure. And then maybe desire will follow.” What

this means is that the struggle for sexuality is not a struggle for the true expression of desire. It is a struggle for bodily culture and bodily technology, for the right to invent identity, the right to “the use of a strategic relationship

as a source of pleasure.” It is also the struggle for the construction of the body — the mapping of pleasures onto anatomy. The masochist simulates the disciplinary regime of power and knowledge out of which sexuality is produced. And what the masochist produces is not sexuality in the sense that we have come to understand the word, but simulated sexuality, or in Foucault’s words a “desexualization of pleasure.” © It makes use of the coding of cultural identity in order to frame a field of play, in which “the relationships we have to have with ourselves are not ones of

identity,” but of “differentiation, of creation, of innovation.””° Just as, in Weinberg’s words, “what might appear to an outsider to be violence” is thereby transformed “into make-believe or a kind of play-like behavior,” 7”!

we could also describe this process as a transformation of discipline into pleasure. When the sadomasochistic scene simulates reality, it simulates the workings of discipline, but the simulation itself is sufficient to transform the 220 ili THE MASTERY OF SUBMISSION

oppressive quality of discipline into pleasure. According to Wetzstein, this is the essence of the sadomasochistic scene.

Although the foregrounded significance of sadomasochistic practices is the administration and reception of violence, they always remain elements in a fictional game. Within this game the individual is subjected to extreme stimuli, which he or she can experience voluntarily, and which can be terminated at any time. Just as, in the future, modern electronic media will supposedly be able to offer direct and “genuine” experiences in Cyberspace, the SM-frame is a simulation which, combined with certain risks, enables borderline experiences and experiences beyond the everyday. A comprehensive system of rules and the fundamental consciousness of “make believe” allow the SM arrangement to offer virtual experiences.” Borderline experiences and experiences beyond the everyday are what the masochist is paying for when he gives the dominatrix her fees and takes his punishment. But in the process, he is also repeating the forms of punishment

that have brought great suffering to many people. When the dominatrix hangs up her chains and clamps, removes the uniform of the old South African Police, switches off the lights, and leaves the studio for home, she may be discarding cruelty and torture. But the uniform stays there behind in the dark, waiting for someone to change into it and thereby bring it back to life. Will it be she or an actual policeman? Is the whip waiting for just another working day in the world of S&M or for a return to reality? In a world where identity is increasingly played out as simulated identity, and control becomes increasingly erotic, maybe no one would know the difference. And maybe there is no difference. Masochism is, in Califia’s words, “high technology sex.” 7? It is an erotics of subjective disappearance that focuses on technologies of submissiveness, on the machines and instruments that connect the desiring subject to his or her own disappearance. And in the process, subjectivity becomes increasingly defined as an appendage to technology. Just as struggles for political

power in our age increasingly become struggles for the technology that grants access to the world of virtual reality, the problem of masochism shows us that struggles for subjectivity are increasingly becoming struggles for access to and control of the technologies in which subjects are constructed and subjects disappear.

Disappearing and Reappearing Suljects i! 22\

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Notes

introduction 1. Der Spiegel, no. 3 (1994): 174. 2. Rosalind Coward, “Sexual Outlaws,” New Statesman and Soctety, 9 June 1989, 42. 3. Ibid., 43. 4. Ibid. 5. Sina-Aline Geissler, Lust an der Unterwerfung: Frauen bekennen sich zum Masochismus (Munich: Heyne, 1990), 59—60.

6. Russell A. Berman, “Troping to Pretoria: The Rise and Fall of Deconstruction,” Telos 85 (1990): 5.

7. Posted on the World Wide Web at http://www.columbia.edu /cu /cv/ documents/purpose.html, as of 20 June 1995. 8. Vanessa, a thirty-year-old heterosexual masochist, interviewed by Thomas A. Wetzstein, Linda Steinmetz, Christa Reis, and Roland Eckert, in Sadomasochismus: Szenen und Rituale (Hamburg: Rowohlt, 1993), 76. g. Ibid., 105. 10. Richard von Krafft-Ebing, Psychopathia Sexualis: A Medico-Forensic Study (New York: Pioneer, 1944), 131. 11. Karl Kraus, “Irrenhaus Osterreich,” Die Fackel 166 (6 October 1904). 12. Mark Seltzer, Bodies and Machines (New York: Routledge, 1992), 167, 157. 13. Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siecle (New York: Viking, 1990). 14. The Velvet Underground and Nico, “Venus in Furs,” PolyGram Records, Inc., 1967.

15. Roy F. Baumeister, Masochism and the Self Hillsdale, N.J.: Erlbaum, 1989), 53. 16. Gerd Falk and Thomas S. Weinberg, “Sadomasochism and Popular Western Culture,” in S and M: Studies in Sadomasochism, ed. Thomas Weinberg and G. W.

Levi Kamel (New York: Prometheus, 1983), 137. : 17. The term “male masochism” refers to masochistic behavior in men. “Feminine masochism” was Freud’s attempt to tie this behavior to the passive sexual attitude he identified with female sexuality. “Women’s masochism” is masochistic behavior in women. 18. Michel Foucault, The History of Sexuality, vol. 1, An Introduction, trans. Robert Hurley (Harmondsworth: Penguin, 1979).

223

1g. Ibid., 153. 20. Michel Foucault, “The Confession of the Flesh,” in Power/Knowledge, ed. Colin Gordon (Brighton: Harvester, 1980), 211.

, 21. Ibid., 211.

22. Jacques Lacan, “Aggressivity in Psychoanalysis,” in Ecrits, trans. Alan Sheridan (London: Tavistock, 1982), 27. 23. Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan (Harmondsworth: Penguin, 1977), 136.

24. Ibid., 153 , 25. Seltzer, Bodies and Machines, 169.

26. Maria Marcus, “Uber die Enthiillung der furchtbaren Wahrheit,” in Leideunlust: Der Mythos vom weiblichen Masochismus, ed. Roswitha Burghard and Birgit Rommelspacher (Berlin: Orlando Frauenverlag, 1989), 134. 27. Ibid., 134. 28. Ivan Bloch, Sexual Life in England Past and Present, trans. William H. Forstern (London: Francis Aldor, 1938), 353. 29. Ibid. 30. Henry S. Ashbee [Pisanus Fraxi, pseud.], Forbidden Books of the Victorians, ed. P. Fryer (1970), xl—xlvi; originally published as Index librorum prohibitorum (London, 1877); quoted in Reay Tannahill, Sex in History (New York: Stein & Day, 1980), 386. 31. Steven Marcus, The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth-Century England (New York: Basic Books, 1964), 67.

32. Tannahill, Sex in History, 386-87. 33. Bloch, Sexual Life in England, 355. 34. Tannahill, Sex in History, 386. 35. Version 1.0 by [email protected]; posted on the World Wide Web at

http://www.circus.com/~friday/bdsm_purity.htnl.

|. Beaten Women, Biology, and Technologies of Control: The Politics of Masochism 1. American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 3d ed. (Washington, D.C.: APA, 1980), 274; cited in the text as DSM-III. 2. See, for example, the single diagnosis of “sexual masochism” in the collection of case studies published by Robert L. Spitzer, Andrew E. Skodol, Miriam Gibbons, and Janet B. W. Williams, DSM-III Case Book: A Learning Companion to the Diagnos-

tic and Statistical Manual of Mental Disorders, Third Edition (Washington, D.C.: Ameri- | can Psychiatric Association, 1981), 29—30.

3. Teresa Bernardez, quoted in Deborah Franklin, “The Politics of Masochism,” Psychology Today 21 (January 1987): 55. 4. See Paula J. Caplan, The Myth of Women’s Masochism (New York: Dutton, 1985).

5. John Leo, “Battling over Masochism: Psychiatrists and Feminists Debate ‘SelfDefeating’ Behavior,” Time, 2 December 1985, 76.

224 Il! Notes to Pages 10-17 ! ,

6. Alexandra Symonds, “Violence against Women — the Myth of Masochism,” American fournal of Psychotherapy 33 (1979): 172.

7. Natalie Shainess, “Vulnerability to Violence: Masochism as Process,” Amertcan Fournal of Psychotherapy 33 (1979): 188.

8. Symonds, ‘Violence against Women,” 172. g. Birgit Rommelspacher, “Der weibliche Masochismus — ein Mythos?” in Burghard and Rommelspacher, Leideunlust, 31. 10. Franklin, “Politics of Masochism,” 56. 11. Rommelspacher, “Der weibliche Masochismus,” 37. 12. Quoted in Franklin, “Politics of Masochism,” 57. 13. Leo, “Battling over Masochism,” 76. This category was eliminated from the revised edition, DSM-III-R (1987). 14. Robert L. Spitzer, introduction to American Psychiatric Association, DSMIT, 6. 15. Baumeister, Masochism and the Self, 9-10. 16. Ibid, 9. 17. American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 3d ed., rev. (Washington, D.C.: APA, 1987), cited in the text as DSM-III-R. 18. Leo, “Battling over Masochism,” 76. 19. American Psychiatric Association, Diagnostic and Statistical Manual of Mental Disorders, 4th ed. (Washington, D.C.: APA, 1994); cited in the text as DSM-IV. 20. Gilles Deleuze and Félix Guattari. Anti-Oedipus: Capitalism and Schizopbrenia, trans. Robert Hurley, Mark Seem, and Helen R. Lane (Minneapolis: University of Minnesota Press, 1983). 21. Paul H. Gebhard, “Fetishism and Sadomasochism,” in Dynamics of Deviant Sexuality, ed. Jules H. Masserman (New York: Grune & Stratton, 1969), 77. 22. Gebhard, “Fetishism and Sadomasochism,” 79. 23. R. L. Sack and W. Miller, “Masochism: A Clinical and Theoretical Overview,” Psychiatry 38 (1975): 250. 24. Quoted in Wetzstein et al., Sadommasochismus, 55-56. 25. Wetzstein et al., Sadomasochismus, 59. Reference is to A. Hahn, “Identitat und Selbstthematisierung,” in Se/bstthematisierung und Selbstzeugnis, ed. A. Hahn and V. Kapp (Frankfurt: Suhrkamp, 1987), 9-24. 26. Robert Ardrey, The Social Contract: A Personal Inquiry into the Evolutionary

Sources of Order and Disorder, ath ed. (London: Fontana/Collins, 1977). : 27. Ibid., 96.

| 28. Ibid., 257. 29. Gebhard, “Fetishism and Sadomasochism,” 77. 30. Peter Gay, The Cultivation of Hatred: The Bourgeois Experience, Victoria to Freud,

vol. 3 (New York: Norton, 1994), 530. 31. Ardrey, Social Contract, 257. 32. Ibid., 258. 33. Ibid., 259.

34. Wetzstein et al., Sadomasochismus, 15-17, 295-97. : Notes to Pages 17-28 I 225

35. Ibid., 15. 36. Gebhard, “Fetishism and Sadomasochism,” 77. 37. Wetzstein et al., Sadomasochismus, 12-13.

38. Ibid., 21-22. 39. Ibid., 23. 40. R.J. Stoller, Pain and Passion: A Psychoanalyst Explores the World of S and M (New York: Plenum, 1991). 41. Wetzstein et al., Sadomasochismus, 297. 42. Baumeister, Masochism and the Self, 31. 43. Wetzstein et al., Sadomasochismus, 294. 44. See Gregory Bateson, Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology (Northvale, NJ.: Jason Aronson, 1987). 45. See Bateson, “Metalogue: Why Do Things Have Outlines?” in Steps to an Ecology of Mind. See also Anthony Wilden’s discussion of Bateson’s theory in System and Structure: Essays in Communication and Exchange, 2d ed. (London: Tavistock,

1980), I7—I9. |

46. See Bateson, “A Theory of Play and Fantasy,” in Steps to an Ecology of Mind. 47. Vern L. Bullough, Foreword to S and M: Studies in Sadomasochism, ed.'Thomas

Weinberg and G. W. Levi Kamel (New York: Prometheus, 1983), 10. , 48. Thomas Weinberg and G. W. Levi Kamel, “S & M: An Introduction to the

Study of Sadomasochism,” in S and M, ed. Weinberg and Levi Kamel, 20. : 49. Ibid., 21. 50. David B. Morris, The Culture of Pain (Berkeley: University of California Press,

IQQI), 241. |

51. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1990). 52. Ibid., 64. 53. Ibid., 33. 54. Pat Califia, Macho Sluts (Boston: Alyson, 1988); Ian Barnard, “Macho Sluts: Genre-Fuck, S/M Fantasy, and the Reconfiguration of Political Action,” in Sexual Artifice: Persons, Images, Politics, ed. Ann Kibbey, Kayann Short, and Abouali Farmanfarmaia, Genders 19 (1994): 265-91.

55. Barnard, “Macho Sluts,” 279. | 56. Tbid., 277. 57. Ibid., 278.

58. Sadomasochism-porn producer Zachary Holland claims that almost halfof his customers are women. His explanation is that the more dominant women become in public and career life, the more they want to watch women being dominated sexually. 59. Readers interested in the field should consult Andreas Spengler, Sadomasochisten und ibre Subkultur (Frankfurt: Campus, 1979); Stoller, Pain and Passion; Linda Williams, Hard Core (London: Pandora, 1990); and Wetzstein et al., Sadomasochismus. , 60. Gaylyn Studlar, In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic (Urbana: University of Illinois Press, 1988).

226 il! Notes to Pages 28-35

61. Carol Siegel, Male Masochism: Modern Revisions of the Story of Love (Blooming-

ton: Indiana University Press, 1995), 81-87. 62. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16 (1975): 6-18. 63. Jan Mouton, “Women’s Silent Voices,” in Gender and German Cinema: Feminist Interventions, ed. Sandra Frieden, Richard W. McCormick, Vibeke R. Petersen, and Laurie Melissa Vogelsang, 2 vols. (Providence: Berg, 1993), 26. 64. Studlar, In the Realm of Pleasure, 36-39. 65. Julia Knight, Women and the New German Cinema (London: Verso, 1992), 162-69. 66. Knight, Women and the New German Cinema, 110. 67. Monika Treut, Die grausame Frau: Zum Frauenbild bei de Sade und SacherMasoch (Basel: Roter Stern, 1984). 68. “Robert van Ackeren,” CineGraph: Lexikon zum deutschsprachigen Film (Mu-

nich: Text + Kritik, 1984). 69. Kaja Silverman, Male Subjectivity at the Margins (New York: Routledge, 1992), 236. 70. Ibid., 256. 71. Carol J. Clover, Men, Women and Chainsaws: Gender in the Modern Horror

Film (Princeton: Princeton University Press, 1992), 222. 72. Williams, Hard Core, 208. 73. Dennis Giles, “Pornographic Space: The Other Place,” in The 1977 Film Studies Annual, pt. 2, 56; quoted in Williams, Hard Core, 208. 74. Pauline Réage, Story of O, trans. Sabine d’Estrée (New York: Grove, 1965); originally published as Histoire d’O (Paris: Jean-Jacques Pauvert, 1954); cited in the text as SO.

75. Eliot Fremont-Smith, New York Times, quoted on the back cover of the Ballantine edition of Story of O (New York: Ballantine, 1993). 76. Susan Sontag, “The Pornographic Imagination,” in Styles of Radical Will (London: Martin Secker & Warburg, 1969), 51. 77. André Pieyre de Mandiargues, “A Note on Story of O,” (1958), in Réage, Story of O, xv—xx.

78. Sontag, “Pornographic Imagination,” 52. 79. Ibid., 55. 80. Jessica Benjamin, The Bonds of Love: Psychoanalysis, Feminism, and the Problem

of Domination (London: Virago, 1988), 55. 81. See Michelle A. Massé, “Kissing the Rod: The Beaten and Story of O,” chap. 4 of In the Name of Love: Women, Masochism, and the Gothic (Ithaca: Cornell University Press, 1992). 82. Jean Paulhan, “Happiness in Slavery” (1954), preface to Réage, Story of O, xxiii; cited in the text as HS. 83. Sabine d’Estrée, translator’s note to Story of O, xii. Massé goes so far as to compare the three prefacing writers (Paulhan, Estrée, and Mandiargues) to the three central figures in the novel. Massé, In the Name of Love, 113-14. $4. Jean Baudrillard, Forget Foucault (New York: Semiotext(e), 1987), 25.

Notes to Pages 35-48 I 227

Chapter 2. Reason, Passion, and Nineteenth-Century Liberalism: Krafft-Ebing and Sacher-Masoch 1. Krafft-Ebing, Psychopathia Sexualis, 131-32; cited in the text as PS. 2. Leopold von Sacher-Masoch, Souvenirs: Autobiographische Prosa (Munich: Belle-

ville, 1985), 33.

3. Leopold von Sacher-Masoch, Der Aufstand in Gent unter Kaiser Carl V (Schaff-

hausen: Verlag der Hurter’schen Buchhandlung, 1857). |

~- 1967), 20. ,

4. Sacher-Masoch, Der Aufstand in Gent, quoted in James Cleugh, The First Masochist: A Biography of Leopold von Sacher-Masoch, 1836-1895 (London: Anthony Blond,

5- Leopold von Sacher-Masoch, “Volksgericht” (1877), in Mondnacht: Erzablungen aus Galizien (Berlin: Ruetten & Loenig, 1991); Soziale Schattenbilder: Aus den Memoiren eines osterreichischen Polizeibeamten (Halle: Gesenius, 1873). 6. Leopold von Sacher-Masoch, Eine Galizische Geschichte (Schaffhausen: Verlag der Hurter’schen Buchhandlung, 1858). 7. Leopold von Sacher-Masoch, Der Emissar. Eine galizische Geschichte (Prague: Credner, 1863). 8. Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siécle Culture (New York: Oxford University Press, 1986), 373.

9. Dijkstra, Idols of Perversity, 303.

10. E. J. Gérlich, introduction to Leopold von Sacher-Masoch, Dunkel ist dein Herz Europa (Graz: Stiasny, 1957), 14-15. 11. Ferdinand Kiirnberger, foreword to Leopold von Sacher-Masoch, Don Juan von Kolomea: Galizische Geschichten (Bonn: Bouvier, 1985), 192.

12. Albert Eulenburg, “Sacher-Masoch” (1901), in Leopold von Sacher-Masoch, ed. Michael Farin (Bonn: Bouvier, 1987), 204. This point of view evidently has a long tradition. Krafft-Ebing cites a seventeenth-century source which claims that “Russian women are never more pleased and delighted than when they receive hard blows from their husbands, as John Barclarus relates in a remarkable narrative. A German, named Jordan, went to Russia, and, pleased with the country, he settled there and took a Russian wife, whom he loved dearly, and to whom he was always kind in everything. But she always wore an expression of dissatisfaction, and went about with sighs and downcast eyes. The husband asked the reason, for he could not understand what was wrong. ‘Aye,’ she spoke, ‘though you love me, you do not show me any sign of it.’ He embraced her, and begged to be told what he had carelessly and unconsciously done to hurt her feelings, and to be forgiven, for he would never do it again. ‘I want nothing,’ was her answer, ‘but what is customary in our country — the whip, the real sign of love.’” Paullini, Flagellum salutis (1698), quoted in KrafftEbing, Psychopathia Sexualis, 36. 13. Albrecht Koschorke, Leopold von Sacher-Masoch: Die Inszenierung einer Perversion (Munich: Piper, 1988), 55. 14. Gay, Cultivation of Hatred, 4o. 15. Sacher-Masoch, Don Fuan von Kolomea, it. 16. Dijkstra, Idols of Perversity, 372-74.

228 ill Notes to Pages 51-54

17. Ibid., 374. 18. Leopold von Sacher-Masoch to Karl von Sacher-Masoch, 8 January 1869, quoted in Michael Farin, “Der Held des Tages,” in Sacher-Masoch, Don Fuan von Kolomea, 178.

19. Leopold von Sacher-Masoch, Uber den Wert der Kritik: Erfabrungen und Bemerkungen (Leipzig: Ernst Julius Giinther, 1873), quoted in Gorlich, Dunkel ist dein Herz Europa, 112-13. 20. Hans Daiber, “Aufklarer im Pelz,” Die Zeit 5 (24 January 1986): 50. 21. Koschorke, Leopold von Sacher-Masoch, 62. 22. Krafft-Ebing, Psychopathia Sexualis (Munich: Matthes & Seitz, 1993), 148. This case is not listed in the English translation. 23. Koschorke, Leopold von Sacher-Masoch, 65. 24. Edward Westermarck, History of Human Marriage (London: Macmillan, 1903); Cesare Lombroso, L’uomo delinquente: Studiato in rapporto alla antropologia, alla medicina legale ed alla discipline carcerarie (Milan: Heopli, 1876); Hermann Heinrich Ploss, Das Weib in der Natur- und Volkerkunde (Leipzig: Grieben, 1885). According to Sander Gilman, Westermarck’s book was of prime importance for Krafft-Ebing. See Gilman, Difference and Pathology: Stereotypes of Sexuality and Madness (Ithaca: Cornell

University Press, 1985), 197. ,

25. Herbert Spencer, Social Statics, or The Conditions Essential to Human Happiness Specified, and the First of Them Developed (London: John Chapman, 1851), 416; hereafter cited by page numbers in the text. 26. Dijkstra, Idols of Perversity, 168. 27. Gilman, Difference and Pathology, 198. 28. George M. Beard, American Nervousness, Its Causes and Consequences: A Supplement to Nervous Exhaustion (Neurasthenia) (1881), quoted in Gay, Cultivation of Ha-

tred, 507. ,

29. Lawrence Baron, “Noise and Degeneration: Theodore Lessing’s Crusade for Quiet,” Journal of Contemporary History 17 (1982), 165. 30. Frank J. Sulloway, Freud, Biologist of the Mind: Beyond the Psychoanalytic Legend

(London: Burnett, 1979), 289. 31. Auguste Comte, System of Positive Polity, or Treatise on Sociology, Instituting the

Religion of Humanity, 4 vols. (1851-54), trans. Richard Congreve and Frederick Harrison (London: John Henry Bridges, 1875-77), 4:60—61; quoted in Dijkstra, Idols of Perverstty, 19.

32. PS, 207; italics in original. Whenever Krafft-Ebing uses the word Horigkeit, I have modified the English version, translating it as submissiveness instead of bondage. 33. PS, 208. I have modified the translation, which omits Krafft-Ebing’s word Ratsonnement.

34. Gilman, Difference and Pathology, 192. 35. See Sulloway, Freud, Biologist of the Mind, 285-89, particularly 288 n. 7 fora description of the various positions held within this debate by sexologists in the 1890s. 36. Ibid., 284. 37. Leopold von Sacher-Masoch, Venus in Furs, trans. Jean McNeil (New York:

George Braziller, 1971); cited in the text as VF. | Notes to Pages 54-68 il 229

38. Leopold von Sacher-Masoch, Das Vermichtnis Kains: Novellen, pt. 1, Die Liebe, 2 vols. (Stuttgart: Cotta, 1870). 39. VF, 120. Ihave modified McNeil’s English version, translating Gemein as cruel instead of vulgar. 40. Gilles Deleuze, Masochism: An Interpretation of Coldness and Cruelty, trans. Jean McNeil (New York: George Braziller, 1971), 67. 41. Koschorke, Leopold von Sacher-Masoch, 88. 42. Deleuze, Masochism, 77. 43- Quoted in Leopold von Sacher-Masoch, Venus im Pelz (Frankfurt: Insel, 1980), 139. 44. Ibid. 45. Deleuze, Masochism, 20. 46. Sulloway, Freud, Biologist of the Mind, 284.

47. Max Nordau, Degeneration (1893; Lincoln: University of Nebraska Press, : 1993), 560. 48. Ernst Haeckel, Generelle Morphologie der Organismen: Allgemeine Grundziige der organischen Formen-Wissenschaft, mechanisch begriindet durch die von Charles Darwin reformierte Descendenztheorie (Berlin: Reimer, 1866), 2:20; quoted in Sulloway, Freud, Biologist of the Mind, 199.

Chapter 3. Technologies of Punishment, Penance, and Pleasure: The Invention of Universal Masochism 1. John Cleland, Memoirs of a Woman of Pleasure: Fanny Hill (Ware, Herttord-

shire: Wordsworth, 1993), 176-77. 2. H. Montgomery Hyde, A History of Pornography (London: Heinemann, 1964), 97-

3. Cleland, Fanny Hill, 172-73, 175. 4. Ibid., 176, 178. 5. Ibid., 173. 6. Quoted in Eduard Fuchs and Alfred Kind, Die Weiberherrschaft in der Geschichte der Menschheit (Munich: Albert Langen, 1913), 3:88. 7. The Works of Christopher Marlowe (London, 1826), 3: 454; quoted in Bloch, Sexual Life in England, 359. 8. Paullini, Flagellum Salutis (1698; Neudruck Stuttgart, 1847), 73; quoted in Krafft-Ebing, Psychopathia Sexualis, 36-37. g. Paullini, Flagellum Salutis, 73. to. Cleland, Fanny Hill, 175. 11. Paullini, Flagellum Salutis, 73; my translation from Krafft-Ebing. 12. Cleland, Fanny Hill, 174. 13. Hyde, History of Pornography, 129. 14. Baumeister, Masochism and the Self, 50. 15. Thomas Otway, Venice Preserv’d, or A Plot Discovered (London: John Bell, 1791), 30.

230 I! Notes to Pages 68-86

16. Ibid., xii. The reference here is to the notorious London brothel proprietress Mary Creswell. Roger Thompson notes that the figure of Antonio was a caricature either of Lord Shaftesbury or Sir Thomas Player. The latter had a debt of three hundred pounds at Creswell’s brothel. Roger Thompson, Unfit for Modest Ears (Ottawa: Rowman & Littlefield, 1979), 43-44. 17. Otway, Venice Preserv’d, 52-53. 18. Ernest Kern, “Cultural-Historical Aspects of Pain,” in Pain: A Medical and Anthropological Challenge, ed. J. Brihaye, F. Loew, and H. W. Pia, Acta Nerochirurgica

38, suppl. (1987): 187-88. 19. Ibid., 188; see Bloch, Sexual Life in England, 352. 20. G. Legman, The Horn Book: Studies in Erotic Folklore and Bibliography (New York: University Books, 1964), 115. 21. Hyde, History of Pornography, 11. 22. Vern L. Bullough, Sexual Variance in Society and History (New York: Wiley, 1976), 554. 23. Bloch, Sexual Life in England, 337. 24. Foucault, History of Sexuality, 24-25. 25. Ibid., 116. 26. Bloch, Sexual Life in England, 256. 27. Tannahill, Sex in History, 381. 28. Bloch, Sexual Life in England, 380.

29. Tannahill, Sex in History, 127. ,

30. Gay, Cultivation of Hatred, 182. 31. Bloch, Sexual Life in England, 372. 32. See Gay, Cultivation of Hatred, 181-94. 33. Bloch, Sexual Life in England, 382. 34. Jean Louis de Lolme, The History of the Flagellants, or The Advantages of Discipline: Being a Parapbrase and Commentary on the “Historia Flagellantium” of the Abbé Boileau, Doctor of the Sorbonne ... (London, 1777), 328-29; quoted in Bloch, Sexual Life in England, 323.

35. Bloch, Sexual Life in England, 323, 333. |

36. Pisanus Fraxi, Centuria librorum absconditorum (London, 1879); quoted in Bloch, Sexual Life in England, 333.

37. See Gay, Cultivation of Hatred, 183-89. | 38. Ibid., 183. 39. Ibid., 185. 4o. Ibid., 189. 41. Edward Ward, The London Spy, quoted in Bloch, Sexual Life in England, 383. 42. Frusta, Flagellation and the fesuit Confessional (Stuttgart, 1834), 305 —6; quoted in Bloch, Sexual Life in England, 343. 43. Kern, “Aspects of Pain,” 171. 44. Ibid., 177. 45. Ivan Bloch, Anthropological Studies in the Strange Sexual Practices of All Races in All Ages, Ancient and Modern, Oriental, Primitive and Civilized (New York: AMS, 1974), 121. Notes to Pages 86~93 I 231

46. Antonio Autiero, “The Interpretation of Pain: The Point of View of Catholic Theology,” in Brihaye et al., Pain, 123-26. 47. Morris, Culture of Pain, 49-50.

48. Bloch, Strange Sexual Practices, 121. , 49. Foucault, “Confession of the Flesh,” 221. 50. Dijkstra, Idols of Perversity, 115.

51. See Morris, Culture of Pain, 126-37. 52. Ibid., 132. 53. [be Collected Works of St. Teresa of Avila, trans. Kieran Kavanaugh and Otilio Rodrigues, vol. 1 (Washington, D.C.: Institute of Carmelite Studies, 1976-85), 193—94; quoted in Morris, Culture of Pain, 132. 54. “You only have to go and look at Bernini’s statue in Rome to understand that she’s coming, there’s no doubt about it.” Jacques Lacan, “God and the Jouissance of Fhe Woman,” in Feminine Sexuality, ed. Juliet Mitchell and Jacqueline Rose (New York: Norton, 1982), 147. 55. See Showalter, Sexual Anarchy, for a lucid discussion of these debates. 56. A. Costler and A. Willy, Encyclopaedia of Sexual Knowledge, 8th ed. (London: Francis Aldor, 1944), 377. 57. Ibid., 377. 58. Bloch, Strange Sexual Practices, 7.

59. Ibid.

60. Walter Benjamin, “Eduard Fuchs, Collector and Historian,” in One-way Street and Other Writings, trans. Edmund Jephcott and Kingsley Shorter (London: New Left Books, 1979). 61. Fuchs and Kind, Die Weiberherrschaftt, 2: 586.

62. Bloch, Strange Sexual Practices, 120-21. , 63. Theodor Reik, Masochism in Modern Man, trans. Margaret H. Biegel and Gertrud M. Kurth (New York: Farrar, Straus, 1949), 77-78. See chapter 6 for a more detailed discussion of Reik’s theory of masochism. 64. Robert Eisler, Man into Wolf: An Anthropological Interpretation of Sadism, Masochism, and Lycanthropy (New York: Philosophical Library, 1952). 65. Legman, Horn Book, 443. 66. “Sado-Masochism through the Ages” is Walter Braun’s title for chap. 9 of The Cruel and the Meek: Aspects of Sadism and Masochism, Being Pages from a Sexologist’s Notebook (New York: Lyle Stuart, 1967). 67. Bullough, Sexual Variance, 119.

68. Kern, “Aspects of Pain,” 165-81. 69. Hans Licht, Sexual Life in Ancient Greece (Westport, Conn.: Greenwood, 1975); 215. 70. Ibid., 503, 130. 71. Bloch, Strange Sexual Practices, 121.

enna: Econ, 1965). |

72. Ibid. See also Lujo Bassermann, Das dlteste Gewerbe: Eine Kulturgeschichte (Vi- | 73. Braun, Cruel and the Meek, 181.

232 Ill Notes to Pages 93-102

74. Foucault, History of Sexuality, 143. 75. Siegel, Male Masochism, 2.

Chapter 4. Imperialist Man, Civilizing Woman, and the European Male Masochist 1. Eric Hobsbawm, The Age of Empire, 1875 — 1914 (New York: Pantheon, 1987), 59. 2. Showalter, Sexual Anarchy, 4. 3. Eugen Weber, “Decadence on a Private Income,” Fournal of Contemporary His-

tory 17 (1982), 1-20. 4. Gay, Cultivation of Hatred, 237. 5. Ibid., 85.

«6. Ibid., 88. :

7. Showalter, Sexual Anarchy, to. 8. Pierre Loti Julien Vaud], Azzyadé, trans. Marjorie Laurie (London: Kegan Paul, 1989); cited in the text as A. 9. Chris Bongie, Exotic Memories: Literature, Colonialism, and the Fin de Siécle (Stanford: Stanford University Press, 1991), 88. 10. Dollimore explains Fanon’s concept of masochism as a link between a repressed homosexual desire, which produces racist attitudes, and a manifest homosexuality that results from racism. Jonathan Dollimore, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (New York: Oxford University Press, 1991), 345. 11. Frantz Fanon, Black Skin, White Masks (New York: Grove, 1967), 177-78. 12. Sigmund Freud, “The Economic Problem of Masochism,” in Standard Edition, 19: 159-70. 13. Joseph Conrad, Heart of Darkness, ed. Robert Kimbrough (New York: W. W. Norton, 1971); cited in the text as HD. 14. Bongie, Exotic Memories, 43.

| 15. Ibid., 42. 16. See Silverman, “White Skin, Brown Masks: The Double Mimesis, or With Lawrence in Arabia,” in Male Subjectivity. 17. Ibid., 315. 18. Ibid., 328. 19. Fanon, Black Skin, White Masks, 170. 20. Tbid., 178. 21. Silverman, Male Subjectivity, 300. 22. Ibid.

23. Ibid. 24. See Siegel, Male Masochism, 28. 25. See my discussion of this collection in “Das Kolonialtragische und die Unverstandlichkeit des Leidens,” in Afrika als Anderes, ed. Jan-Christoph Meister, Acta Germanica, suppl. 2 (1991): 111-33. 26. Hans Grimm, Liideritzland (Munich: Albert Langen, 1936), 79-80.

Notes to Pages 102-116 Il 233

27. Joachim Warmbold, Germania in Africa: Germany’s Colonial Literature (New York: Peter Lang, 1989), 86. 28. Freud, Three Essays on the Theory of Sexuality, in Standard Edition 7:159. See also Siegel, Male Masochism, 28. 29. Siegel, Male Masochism, 143. 30. Hermann Glaser, Literatur des 20. fabrhunderts in Motiven, vol. 1, 1870-1918

, (Munich: C. H. Beck, 1978), 134. 31. Ibid., 135. 32. “Querschnitt durch die Gartenlaube,” ed. H. Kliiter (Bern: Scherz, 1963), 158-60; quoted in Glaser, Literatur des 20. Fabrhunderts, 135. 33. Glaser, Literatur des 20. Jabrhunderts, 135. 34. The Works of Stefan George, trans. Olga Marx and Ernst Morwitz (Chapel Hill: University of North Carolina Press, 1949), 35. 35. See Dijkstra, Idols of Perversity, 110-15. 36. Frank Wedekind, Der Erdgeist (Paris, 1895), in Wedekind, Erdgeist, Die Biichse der Pandorra, Tragodien (Munich: Goldmann, 1980), 58. 37. Wedekind, Der Erdgeist, 58. 38. Orla Holm, Ovita: Episode aus dem Hererolande (Dresden: Reissner, 1909).

39. Gay, Cultivation of Hatred, go. ,

40. Holm, Ovita, 232. 41. Dijkstra, Idols of Perversity, 373-74. 42. F. Karsch, “Uranismus oder Paderastie und Tribadie bei den Naturvélkern” (1901), in Jahrbuch fiir sexuelle Zwischenstufen, Auswahl aus den fabrgdngen 1899-1923

(Frankfurt: Qumran, 1983), 247. 43. Showalter, Sexual Anarchy, 81-82. 44. Freud, Three Essays on the Theory of Sexuality, 159. 45. Leo Bersani, The Freudian Body: Psychoanalysis and Art (New York: Columbia

University Press, 1986), 21. 46. Freud, “Economic Problem of Masochism.” 47. Lene Haase, Raggys Fabrt nach Stidwest (Berlin: Fleischel, 1919). 48. Ibid., 23. 49. Showalter, Sexual Anarchy, 38. 50. Haase, Rageys Fabrt, 89-90. 51. Ibid., goo. 52. Gustav Frenssen, Peter Moor’s Journey to Southwest Africa, trans. Margaret May Ward (London: Archibald Constable, 1909), 78. 53- Otto Weininger, Sex and Character (London: William Heinemann, [1906?)).

54. Dijkstra, Idols of Perversity, 219. |

55. Fuchs and Kind, Die Weiberherrschaft, 2 :606. 56. Iwan Bloch, Ausschweifungen im Sexualleben (Frankfurt: Dithmar, n.d.), 29. 57. see the Imperial Blue Book: Report on the Natives of South-West-Africa and Their Treatment by Germany (London: His Majesty’s Stationery Office, 1918). 58. Moeller van den Bruck, Die Zeitgenossen: Die Geister — Die Menschen (Minden: Bruns, 1906), 251; quoted in Sander L. Gilman, Disease and Representation: Images of Illness from Madness to AIDS (Ithaca: Cornell University Press, 1988), 159.

234 i! Notes to Pages 117-128

59. Showalter, Sexual Anarchy, 45. 60. Dijkstra, Idols of Perversity, chap. t. 61. Cesare Lombroso, The Man of Genius (1891), quoted in Krafft-Ebing, Psychopathia Sexuals, 169. 62. Zimmermann, Travel Notebook, quoted in Bloch, Sexual Life in England, 348. 63. The dynamics of this process have been examined by Fanon, Black Skin, White Masks, 177. 64. See Homi Bhabha, “Of Mimicry and Man: The Ambivalence of Colonial Discourse,” October 28 (1984): 125-33; also Bhabha, “Signs Taken for Wonders: Questions of Ambivalence and Authority under a ‘Tree outside Delhi,” in Race, Writing, and Difference, ed. Henry Louis Gates, Jr. (Chicago: University of Chicago Press,

1986), 163-84.

Chapter 5. Narratives of Mastery, Fantasies of Failure: Freud on Masochism 1. Freud, “Economic Problem of Masochism,” 165; cited in the text as EPM. 2. Freud, The Interpretation of Dreams, in Standard Edition 5: 129. Hereafter the Standard Edition is cited in the text and notes as SE. 3. Freud, Three Essays on the Theory of Sexuality, in SE, 7: 156; cited in the text as TES.

4. See my discussion of this essay in “Der Blick des Begehrens: Sacher-Masochs Venus im Pelz,” Acta Germantica 19 (1988): 9-27. 5. Freud, “Instincts and Their Vicissitudes,” in SE, 14: 127; cited in the text as IV. 6. John Forrester, Language and the Origins of Psychoanalysis (New York: Columbia

University Press, 1980), 142. , 7. Freud, “A Child Is Being Beaten,” in SE, 17: 184; cited in the text as CB. 8. Freud to Ferenczi, quoted in editor’s note to “Economic Problem of Masoch-

ism,” 157.

g. Freud, “On Narcissism: An Introduction,” in SE, 14:69-102. 10. Freud, “Psycho-Analytic Notes on an Autobiographical Account of a Case of

Paranoia (dementia paranoides),” in SE, 12:3-79. | 11. J. Laplanche and J. B. Pontalis, The Language of Psychoanalysis, trans. Donald

Nicholson-Smith (New York: W. W. Norton, 1973), 402. 12. Sarah Kofman, The Enigma of Woman: Woman in Freud’s Writing, trans. Cath-

; erine Porter (Ithaca: Cornell University Press, 1985), 157-58. 13. Freud, “Two Encyclopedia Articles,” in SE, 18:258. 14. Freud, An Outline of Psycho-Analysis, in SE, 23: 150. 15. See Bersani, Freudian Body.

16. Sarah Kofman, Freud and Fiction, trans. Sarah Wykes (Cambridge: Polity, IQQI), 25. 17. Sulloway, Freud, Biologist of the Mind, 408-9. 18. Gustav Theodor Fechner, Einige Ideen zur Schopfungs- und Entwicklungsge-

schichte der Organismen (Leipzig: Breitkopf & Hartel, 1873), 25-41; quoted in Sulloway, Freud, Biologist of the Mind, 404-5. Notes to Pages 130-148 I! 235

| 19. This is the sense in which Jacques Lacan developes the concept in his 1948 essay “Agegressivity in Psychoanalysis,” in Ecrits, 8-29. For Lacan, the destructive impulses of Freud’s death instinct are accessible to the psychoanalyst as aggressivity, which “determines the formal structure of man’s ego and of the register of entities characteristic of his world” (16). As such, it mediates and organizes the biological and social dimensions of subjectivity. 20. “Theory and Violence,” chap. 1 in Bersani, Freudian Body.

21. Ibid., 20. | 22. Kofman, Freud and Fiction, 31. |

23. Ibid., 30. 24. Sacher-Masoch, Don Fuan von Kolomea, 73. 25. Magnus Hirschfeld, Sexual Anomalies: The Origins, Nature and Treatment of Sexual Disorders (New York: Emerson, 1956), 255. 26. In Uber die Miihsal der Emanzipation (Frankfurt: Fischer, 1990), Margarete Mitscherlich sees Freud’s theory of feminine masochism as possessing a provisional

and heuristic nature. :

27, Assuming Krafft-Ebing to be Freud’s main nosological source, it is instructive to observe that the former only discusses three cases of masochism in women as

against thirty-five cases in men. :

28. Sander L. Gilman, Freud, Race, and Gender (Princeton: Princeton University

Press, 1993), 23. ,

29. Silverman, Male Subjectivity, 189. Silverman is restating in critical terms what Hirschfeld had regarded as a clinical fact of masochism. 30. Ibid., 213. 31. Paul Roazen, preface to Helene Deutsch, Psychoanalysis of the Sexual Functions of Women (London: Karnac, 1991), xi. 32. The most notorious statement of bisexuality at the turn of the century was Weininger’s, Sex and Character (1903). This book had a direct and unsettling influence on Freud’s life, since it led to his break with Fliess. Fliess accused Weininger of having plagiarized his theory of bisexuality and suspected Freud of having inadvertedly supplied Weininger with the necessary information via a pupil of his. Fliess had also heard that Freud had seen the manuscript before it was published and had neglected to alert him as to its content. Following an exchange of letters, the friendship between Freud and Fliess was broken off. 33. Minutes of the Vienna Psychoanalytic Society 2 (1910): 432; quoted in Sulloway, , Freud, Biologist of the Mind, 431. 34. See Kofman, Enigma of Woman, 154-56.

35. Ibid., 154-55. 36. Ibid., 158. 37. Jean Laplanche, Life and Death in Psychoanalysis (Baltimore: Johns Hopkins Unversity Press, 1976), 23. 38. Kofman, Enigma of Woman, 156. 39. Freud, Civilization and Its Discontents, in SE, 21: 106 n. Freud has evidently taken

| this example from Krafft-Ebing’s discussion of flagellation as a sexual stimulus. KrafftEbing in turn refers to a study from the seventeenth century. See chapter 2, n. 12. 236 iil Notes to Pages 148-154

40. Max Nordau, Paradoxes (Chicago: L. Schick, 1886); quoted in Dijkstra, Idols of Perversity, 252. 41. Freud, “The Ego and the Id,” in SE, 19:37. 42. See John K. Noyes, “The Voice of History: Freud — E. T. A. Hoffmann — G. H. Schubert,” Journal of Literary Studies 6, no. 1/2 (1990): 36-61. 43. For this reason, it is also not viable to rescue stage b, as Silverman attempts to do, by inventing a term (“reflexive masochism’’) intended to allow an active participation in the subject’s own enjoyment of pain. When Silverman claims that “reflexive masochism . . . fosters the production of two contrary images of self — the image of the one who pleasurably inflicts pain on behalf of the exalted standard which it purports to be, and that of the one who pleasurably suffers the pain,” she is simply restating the central contradiction which Freud was addressing — the apparent divergence in the dynamic orientation of the instincts within one individual. Silverman, Male Subjectivity, 325. 44. Strachey is not using the term here the way he does when he translates Freud’s

Instanz.'Vhere it can be taken to refer to a system or a part of the psychical appara- | tus. Nevertheless, there is a certain correspondence to that use of the term. As Laplanche and Pontalis observe, Freud “speaks more readily of agencies when dealing with the super-ego or the censorship, in that they exert a positive action and are not defined simply as the points through which excitations pass” (The Language of Psychoanalysis, 16). According to Frances M. Moran, agency was a problem for Freud from the very beginning of his scientific pursuits. Consequently, “Freud deals with the problem of agency by means of (a) incorporating an explanatory homunculus analogy that itself contained the concept of agent; (b) reverting to a basically neurological or energy-bound explanation that requires no agent but rests on the premises

of the medical sciences; or (c) simply imputing agency to the systems themselves” . (Subject and Agency in Psychoanalysis: Which Is to Be Master? [New York: New York

University Press, 1993], 53). 45. A. Andrews, “The Major Functions of the Noun Phrase,” in Language Typology and Syntactic Description, vol. 1, ed. 'T. Shopen (Cambridge: Cambridge University Press, 1985), 68. 46. Ibid., 68. 47. According to Ducrot and Todorov, aspect is the relationship “between the period that is the topic of the utterance and the one in which the process is situated (‘process’ is the action of the qualification expressed by the subject-predicate group).” Oswald Ducrot and Tzvetan Todorov, Encyclopedic Dictionary of the Sciences of Language,

trans. Catherine Porter (Baltimore: Johns Hopkins University Press, 1972), 307. 48. Réage, Story of O, 204.

Chapter 6. Beyond the Death Instinct: History, Control, and the Gendering of Masochism 1. Comment made to Felix Deutsch, quoted in Ernest Jones, Sigmund Freud: Life and Work, vol. 3, The Last Phase, 1919-1939 (London: Hogarth, 1957), 95. Notes to Pages 154-165 Ill 237

2. See, for example, J. L. McCartney, “Sadism and Masochism: With a Discussion of Erotic Flagellation,” Journal of Nervous and Mental Disease 68 (1928); R. Du_ pouy, “Du masochisme,” Annales medico-psychologiques 5 (1929); W. Stekel, Sadism and Masochism, 2 vols. (New York: 1929); Marie Bonaparte, “Passivity, Masochism and Femininity,” International Journal of Psycho-Analysis 16 (1935); Ludwig Eidelberg, “Beitrige zum Studium des Masochismus,” Internationale Zeitschrift fiir Psychoanalyse 21 (1935); and Fritz Wittels, “The Mystery of Masochism,” Psychoanalytic

Review 24 (1937).

3. Peter Reich, A Book of Dreams (London: Picador, 1974), 4.

4. Gay, Cultivation of Hatred, 531. | 5. [hanks to Sander Gilman for this observation. 6. Lisa Appignanesi and John Forrester, Freud’s Women (New York: Basic Books, 1992), 308. 7. Helene Deutsch, Psychoanalysis of the Sexual Functions of Women, ed. Paul Roazen, trans. Eric Mosbacher (New York: Karnac, 1991), 31-32; cited in the text as SFW. 8. Freud to Carl Miiller-Braunschweig, 21 July 1935, quoted in Appignanesi and Forrester, Freud’s Women, 431. 9. Deutsch, “The Significance of Masochism in the Mental Life of Women,” in The Therapeutic Process, the Self, and Female Psychology: Collected Psychoanalytic Papers,

ed. Paul Roazen, trans. Eric Mosbacher et al. (New Brunswick, N.J.: Transaction,

1992), 49-61; cited in the text as MMW. ,

10. Freud, “Some Psychological Consequences of the Anatomical Difference between the Sexes,” International Journal of Psycho-Analysis 8 (1927). 11. Bonaparte, “Passivity, Masochism, and Femininity,” 325-33; Caplan, Myth of

— (1991): 293. , Women’s Masochism, 19.

12. Mario Rendon, “Hegel and Horney,” American Journal of Psychoanalysis 51

13. Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter (Ithaca: Cornell University Press, 1985), 49. - 14. Massé, In the Name of Love, 6.

| 15. Karen Horney, “The Overvaluation of Love: A Study of a Common Presentday Feminine Type,” in Horney, Feminine Psychology, ed. Harold Kelman (New York:

Norton, 1993), 182-213. 16. Horney, “Overvaluation of Love,” 182-83.

17. David Frisby, Georg Simmel (London: Tavistock, 1984), 27. | 18. Horney, “The Flight from Womanhood: The Masculinity-Complex in Women as Viewed by Men and by Women,” in Horney, Feminine Psychology, 55; cited in the text as FW. 19. Georg Simmel, Philosophisch Kultur: Gesammelte Essais (Leipzig: Klinkhardt,

1g11), quoted in Horney, “Flight from Womanhood,” 55-56. 20. Sandra Harding, The Science Question in Feminism (Ithaca: Cornell University Press, 1986), 23. 21. lrigaray, This Sex Which Is Not One, 23. 22. Sarah Kofman, Enigma of Woman, 158. See Freud, New Introductory Lectures on Psycho-Analysis, in SE, 22 :112-35. 238 ili Notes to Pages 166-174

23. Freud, “An Outline of Psycho-Analysis,” in SE, 23:144-207. 24. Irigaray, This Sex Which Is Not One, 25. 25. Horney, “The Problem of Feminine Masochism,” in Horney, Feminine Psychology, 230 n. 8. 26. Karen Horney, New Ways in Psychoanalysis (London: Kegan Paul, Trench,

Trubner, 1947), 246; cited in the text as NWP. 27. Rommelspacher, “Der weibliche Masochismus,” 32. 28. Sandor Rado, “Fear of Castration in Women,” Psychoanalytic Quarterly 3-4 (1933): 425-75. 29. For elaboration see ““The Symbolic, the Imaginary, and the Real: Lacan, Lévi-Strauss, and Freud,” in Wilden, Systerm and Structure, 1-30. 30. See Henri F. Ellenberger, The Discovery of the Unconscious: The History and Evolution of Dynamic Psychiatry (New York: Basic Books, 1970), 631-32, 639-40.

31. Harold Kelman, introduction to Horney, “Problem of Feminine Masochism,” 14. 32. The “protective function” of masochism is particularly emphasized in Horney’s later work. 33. Reik, Masochism in Modern Man, 4; cited in the text as MMM. 34. Silverman, Male Subjectivity, 206. 35. Freud, “Negation,” in SE, 19:235-—39. See Deleuze’s discussion of negation in Masochism, 109-10. 36. Silverman, Male Subjectivity, 185. 37. Wilhelm Reich, The Function of the Orgasm: Sex-Economic Problems of Biological Energy, trans. Theodore P. Wolfe (London: Panther, 1968), 66; cited in the text as FO. 38. See Paul Robinson, The Freudian Left: Wilhelm Reich, Geza Roheim, Herbert Marcuse (Ithaca: Cornell University Press, 1990), 37-38; Ola Raknes, Wilhelm Reich und die Orgonomie (Frankfurt: Fischer, 1973), 31. 39. Charles Rycroff, Reich (London: Fontana, 1971), 11. 40. Robinson, Freudian Left, 9. 41. Rycroff, Reich, 16. 42. Raknes, Wilhelm Reich, 46. 43. Ibid., 47-409. 44. Wilhelm Reich, Character Analysis, trans. Vincent R. Carfagno, 3d ed. (New York: Simon & Schuster, 1972), xxi. 45. Reich, quoted in Raknes, Wilhelm Reich, 17. 46. Raknes, Wilhelm Reich, 29. 47. Robinson, The Freudian Left, 11-12. 48. Raknes, Wilhelm Reich, 30.

49. Robinson, Freudian Left, 36. | 50. Reich, Character Analysis, 231.

51. Ibid., 232-33. 52. Jones, Sigmund Freud, 3: 166; quoted in Robinson, Freudian Left, 36.

| 53. Wilhelm Reich, Reich Speaks of Freud, ed. Mary Higgins and Chester M. Raphael (New York: Farrar, Straus & Giroux, 1967), 155; quoted in Robinson, The Freudian Left, 37.

Notes to Pages 174-195 I 239

54. Jones, Sigamund Freud, 177.

55. Siegfried Bernfeld, “Die kommunistische Diskussion um die Psychoanalyse und Reichs ‘Widerlegung der Todestriebhypothese,’” Internationale Zeitschrift fiir Psychoanalyse 18 (1932): 352-85. 56. Ibid., 380. 57. Jean Baudrillard, Sysbolic Exchange and Death, trans. ain Hamilton Grant (London: Sage, 1993), 149. 58. Ibid., 153.

59. Ibid., 152. |

Chapter 7. Disappearing and Reappearing Subjects: Masochism, Modernity, Postmodernity 1. Sacher-Masoch, Venus im Pelz (1870), 11; my translation. 2. | have modified the translation in order to be more faithful to the original. 3- Jurgen Habermas, The Philosophical Discourse of Modernity: Twelve Lectures, trans. Frederick Lawrence (Cambridge: Polity, 1987), 20-21. 4. Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge, trans. Geoff Bennington and Briam Massumi (Manchester: Manchester University Press, 1984), Xxill.

5. Peter Gay, Freud, fews and Other Germans: Masters and Victims in Modernist Culture (New York: Oxford University Press, 1978), 71. 6. Quoted in Wetzstein et al., Sadomasochismus, 210. 7. Foucault, Discipline and punish, 303. 8. Deleuze, Masochism, 67-68. 9. Geissler, Lust an der Unterwerfung, 151. 10. I disagree with Baumeister (Masochism and the Self, 81) that the masochist re-

linquishes control over symbolic and abstract identities while retaining control over direct experience. Control procedes in the opposite direction. The masochist relinquishes control over experience in order to heighten pleasure. But this takes place within the framework of a carefully controlled symbolism of cultural identity. What the masochist strives to control is access to this symbolism. 11. Wetzstein et al., Sadomasochismus, 175. 12. See the story related by Bianca, a forty-year-old female heterosexual sadist,

ibid., 180-81. 13. Ibid., 181. 14. Ibid., 182.

15. V. Sitzmann, “Zur Strafbarkeit von sado-masochistischen K6rperverletzungen,” in Goltdammers’ Archiv fiir Strafrecht 2 (1991): 81; quoted in Wetzstein et al., Sadomasochismus, 182.

16. Der Spiegel, no. 1 (1994): 77.

17. Baumeister, Masochism and the Self, 11. } 18. Reik, Masochism in Modern Man, 3109. 19. Wetzstein et al., Sadomasochismus, 182.

240 fi! Notes to Pages 195-204

20. Foucault, “Confession of the Flesh,” 201; History of Sexuality, 43. 21. Foucault, History of Sexuality, 43. 22. Deleuze, Masochism, 73. 23. Ellenberger, Discovery of the Unconscious, 630. 24. Hans Vaihinger, Die Philosophie des Als Ob: System der theoretischen, praktischen und religiosen Fiktionen der Menschbeit auf Grund eines idealistischen Positivismus (Berlin: Reuther & Reichard, 1911). Jeremy Bentham, “Logical Arrangements, or Instruments of Invention and Discovery,” in The works of Jeremy Bentham, ed. John Bowring, vol. 3 (Edinburgh: William Tait, 1843). 25. Baumeister, Masochism and the Self, 39. 26. Karl E. Demandt, “Leopold von Sacher-Masoch und sein Oberhessischer Volksbildungsverein zwischen Schwarzen, Roten und Antisemiten,” in Farin, Leo-

pold von Sacher-Masoch, 273 n. 3. }

27. Leopold von Sacher-Masoch, “Nero im Reifrock,” in Russische Hofgeschichten: Historische Novellen, 4 vols. (Leipzig: Ernst Julius Giinther, 1873-74); quoted here in the collection Katharine II, Zarin der Lust (Munich: Wilhelm Heyne, 1982). 28. Ibid., 12. 29. Ibid., 15. 30. This process has been described by Baumeister as a “deconstruction” of identity, by which he means abandoning those “broad integrative interpretations” that allow us to synthesize identity into a meaningful and integrated whole. Instead, “a narrow focus on immediate events and parts” is pursued. In action identification theory, this distinction is between high- and low-level perceptions of self. In the highlevel perception, identity is subject to a careful cultural coding. “Highly constructed self-awareness involves knowing oneself as an individual involved in various projects, and so forth. At high levels, one is aware of one’s identity, in the sense of a symbolic or abstract definition of self that extends far into the past and future .... In contrast, it is possible to be aware of oneself in a deconstructed or low-level fashion. This form of self-awareness involves little in the way of abstract meaning or symbols. Instead, one is aware of oneself as a physical body experiencing sensations and movements.” Baumeister, Masochism and the Self, 29-30. Baumeister also notes that research into experiences of pain confirm that pain heightens this dismantling of stable identities (71-75). 31. Sacher-Masoch, “Nero im Reifrock,” 12. 32. Ibid., 26. 33. Deleuze, Masochism, 57. 34. Peter J. McCormick, Modernity, Aesthetics, and the Bounds of Art (Ithaca: Cornell University Press, 1990), 315. 35. Lyotard, Postmodern Condition, 41. 36. Pat Califia, “A Secret Side of Lesbian Sexuality,” in Weinberg and Levi Ka-

37. Ibid., 129. |

mel, S and M, 135. | 38. Ibid., 135. 39. Ibid., 129. 4o. Ibid,. 135.

Notes to Pages 204-212 Ill 24\

41. Wetzstein et al., Sadomasochismus, 93. 42. Califia, “Secret Side of Lesbian Sexuality,” 130. 43. Wetzstein et al., Sadomasochismus, 49.

44. Ibid., 132. :

45. Baudrillard, Forget Foucault, 36n. 46. Wetzstein et al., Sadomasochismus, 72, 171. 47. See in particular Kristeva’s 1966 essay, “Word, Dialogue, and Novel,” in Desire in Language, ed. Leon S. Roudiez, trans. Thomas Gora, Alice Jardine, and Leon S. Roudiez (New York: Columbia University Press, 1980), 64-91. 48. Ibid., 65. 49. Jessica Benjamin (The Bonds of Love, 63-66) has commented on the relevance of Bataille’s ideas for the problem of sexual domination. 50. Kristeva, “Word, Dialogue, and Novel,” 65. 51. Silverman, Male Subjectivity, 188. 52. Kristeva, “Word, Dialogue, and Novel,” 78. 53. Ibid. 54. Wetzstein et al., Sadomasochismus, 147. 55- Baudrillard, Symbolic Exchange and Death, 88.

56. Ibid., 87-88.

57- Ibid., 88. | 58. See Baudrillard, Forget Foucault, 21-23.

| 59. Ibid., 21. 6o. Califia, “Secret Side of Lesbian Sexuality,” 131. See Andrea Dworkin, Pornography: Men Possessing Women (New York: Putnam, 1981). 61. B. Ehrenreich et al., Gesprengte Fesseln (Munich, 1988), 113, 132; quoted in Werzstein et al., Sadomasochismus, 195. 62. Michel Foucault, “Body/Power,” in Power/Knowledge, 59. 63. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berke-

ley: University of California Press, 1984). |

64. Sylvére Lotringer, “Forget Baudrillard: An Interview with Sylvére Lotringer,” in Baudrillard, Forget Foucault, 76. 65. Michel Foucault, “An Interview: Sex, Power and the Politics of Identity,” Advocate, nO. 400 (7 August 1984), 26—30. 66. Ibid., 29. 67. Ibid., 27. 68. Ibid., 27, 28, 30. 69. Ibid. See Jon Simons, Foucault and the Political (London: Routledge, 1995), 100.

70. Foucault, “Sex, Power.” |

71. Weinberg, “Sadism and Masochism: Sociological Perspectives,” in Weinberg and Levi Kamel, S and M, 106; Stoller also notes this when he observes that in masochism “play only simulates reality” (Pain and Passion, 142). 72. Wetzstein et al., Sadomasochismus, 178. 73. Califia, “Secret Side of Lesbian Sexuality,” 135.

242 il! Notes to Pages 212-221

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BLANK PAGE

index

Abraham, Karl, 172 Baron, Lawrence, 63 Acker, Kathy: Kathy Goes to Haiti, 2 Bassermann, Lujo, 86 Ackeren, Robert van: A Woman in Bataille, Georges, 213

Flames, 36-39 Bateson, Gregory, 31-32

Active vs. passive, 141-42, 153-54, Baudelaire, Charles, 43, 97, 100, 131 157-60, 167, 168, 183, 185-86 Baudrillard, Jean, 48, 196, 213, 215-16,

Adler, Alfred, 146, 152, 179 219

agency, 56, 102, 143, 155, 156, 159-62, Baumeister, Roy, 9, 20-21, 31, 85, 203, 180-82, 185, 193, 196, 205, 208, 218 205, 240NI0, 241 N30

Aggression, 9-10, 24; and biology, Beard, George M., 62 | 30, 31; and codification, 30-31; and Benjamin, Jessica, 44 communication, 30; and Freud, 165; Benjamin, Walter, 98, 186 and gender, 29; and human nature, Bentham, Jeremy, 205 26; and liberalism, 27; and pleasure, Berkeley, Theresa, 12-14 30; and Reik, 183; and society, 27— Berlin Alexanderplatz (Fassbinder), 39

28; staging of, 30; and stereotype, Berman, Russell, 3-4

29-31, 33; theories of, 27-28 Bernfeld, Siegfried, 195

Algabal (George), 118 Bernini, Giovanni Lorenzo, 96 Anti-Oedipus (Deleuze and Guattari), 22 Bersani, Leo, 122, 148, 161, 196

Aphrodite Anosia, 102 Beyond the Pleasure Principle (Freud),

Appignanesi, Lisa, 167 148, 184

Arabian Nights (Burton), 121 Binet, Alfred, 68 Ardrey, Robert, 31, 33; Social Contract, Biology: and aggression, 30, 31; and

26-27 corporal punishment, go; and culture,

Aristotle, 98-100 32-33; and Deutsch, 168-609, 171;

Ashbee, Henry S., 12-13. See also and dysfunction, 20; and Fanny Hill,

Fraxi, Pisanus 81-82; and Freud, 141, 145, 146,

Aury, Dominique (Anne Declos), 42 149-54, 165; and gender, 32, 33; Authority, 155, 157, 185, 187, 191-93, and Horney, 175, 176; and human

218 nature, 23; and Krafft-Ebing, 60-61,

Aziyadé (Viaud), 107-9 64, 67, 70, 74, 97; and law, 56; and masochism, 24-29; and mental _

Bakhtin, Mikhail, 213-14 disorder, 22; and modernity, 199;

Barnard, Jan, 33, 34 and morality, 57; and nineteenth255

Biology (continued) . Civilization and Its Discontents (Freud), century culture, 78; and normality, 122, 148, 154, 165, 192, 194 19; and Reich, 189, 190, 195; and Claudius, Emperor of Rome, 102 Sacher-Masoch, 69, 73; and sexuality, | Cleland, John: Memoirs of a Woman of 33; and Story of O, 48; and subjectivity, Pleasure (Fanny Hill), 80-85, 103

23; and women, 15-16 Clover, Carol J., 40-41 Black Skin, White Masks (Fanon),109~—10 Collet, Mrs., 87

Bloch, Ivan, 12, 14, 87, 89, 92, 94, 98, Colonialism. See Imperialism

100, 102, 135, 150 Colonial School for Women, 129 Blue Velvet (Lynch), 35 Commodity, 37, 38, 215-17 Body: and capitalism, 48; Comte, Auguste, 65 commodification of, 37; and Confessions (Rousseau), 97 | flagellation, 94-96; and Foucault, Conrad, Joseph: Heart of Darkness,

10, 11, 219; and Freud, 122, 162; IlI-13 and Horney, 187; and machine,6-7, Consent, 2, 4, 72, 81, 202. See also Law g—11; and modernity, 205, 206; and Contract, 70-73, 81, 202, 209. See

pleasure, 206; and Reich, 188-89, also Law - 192; and Reik, 187; and Sacher- Control, 4, 202; and aggression, 28; Masoch, 73, 199, 218; and Story of O, and body, g—10; and consent, 202;

44-45, 49 conversion of, 5; and eroticism, 12,

Bonaparte, Marie, 177; “Passivity, 14; and Fanny Hill, 81; and Freud,

Masochism, and Women,” 171 156-58, 160, 162; and Horney, 175,

Bongie, Chris, 108, 112 187; and identity, 10; and Krafft-

Braun, Walter, 102 Ebing, 5—6; and liberalism, 41; and Biichner, Georg: Woyzeck, 74 , pleasure, 9-10; and Reik, 185-87; -

Bullough, Vern L., 32 and Sacher-Masoch, 70, 72, 73, 208; Burton, Sir Richard: Arabian Nights, 121 and Story of O, 42-45, 49; and |

Busch, Wilhelm, 89 submission, 11; and violence,

Butler, Judith, 32-33; Gender Trouble, 32 14; and women, 131-39 | Conversio Vitrium, 4

Califia, Pat, 212, 217; Macho Sluts, 33 Corporal punishment, 88-93, 94

Caplan, Paula, 16, 171 Costler, A., 97

Carnival, 213-14 Coward, Rosalind, 2-3

Catherine of Siena, St.: Dialogue, 96 Creswell, Mary, 86, 231n16 Cavani, Liliana: Night Porter, 35 Cully Flaug’d, The (Mauron), 82-83 Centuria librorum absconditorum

(Fraxi), go Darwin, Charles, 26; Descent of Man, 63

-Certeau, Michel de, 219 Darwinism, 28, 54, 58, 63, 75, 78, 122, Character Analysis (Reich), 190 124, 129-30 “Child Is Being Beaten, A” (Freud), Death instinct, 197; and Freud, 146-49,

143-44, 151 161—63, 165, 166, 218; and Reich, Chopin, Frédéric, 97 192-96; and Reik, 182

Christianity, 69, 93-96, 100 Declos, Anne, 42. See also Réage, Pauline

Cinema. See Film Deleuze, Gilles, 70-72, 204, 210; AntiCivilization. See Society/culture Ocdipus, 22 256 Hl! Index

Descent of Man (Darwin), 63 Earth-Spirit, The (Wedekind), 118-19 Destruction, 39—40; and Conrad, 111- “Economic Problem of Masochism,

13; and Deutsch, 170; and Freud, The” (Freud), 140, 145-56, 218 122, 145-47, 149, 154, 156-57, 162, Ego and the Id, The (Freud), 110, 155 165, 211; and Reich, 195; and Sacher- Ehrenreich, Barbara, 217

Masoch, 70, 71, 149, 201. See also Eisler, Robert, 1o1

Violence , Elias, Norbert, 215 Deutsch, Helene, 16-17, 166-72, Ellenberger, Henri F., 205 175, 176; Psychoanalysis of the Sexual Emissary, The (Sacher-Masoch), §2 Functions of Women, 168-69, 171, Encyclopedic Dictionary of the Sciences

174; “Significance of Masochism in of Language (Ducrot and Todorov),

the Mental Life of Women,” 169-71 237047 Deutsche Gesellschaft fiir Sozialwissen- Essentialism, 10, 24, 29, 32-33, 150,

schaftliche Sexualforschung, 29 153-54, 168-69 Deviance, 29-30, 56, 68. See also Estrée, Sabine d’, 46

Normality; Perversion Eulenberg, Albert, 53 Diagnostic and Statistical Manual of

Mental Disorders, 15 -23, 41, 49 Falk, Gerald, 9 Dialogue, The (St. Catherine of Fanny Hill. See Memoirs of a Woman of

Sienna), 96 Pleasure Dietrich, Marlene, 35 Fanon, Frantz, 112-14, 135, 233 N10; Dijkstra, Bram, 52-54, 61, 73, 120, Black Skin, White Masks, 109-10

131 Fantasy: and Freud, 157—59, 160, 161;

Dionysus, 102 and Horney, 174-75; and identity, Discipline and Punish (Foucault), 12, 218 31; and Reik, 183-84; and Sacher-

“Disgrace of the Nineteenth Century, Masoch, 70, 73, 161, 208-10; and

A,” 118 society, 32; vs. reality, 33-34

Dollimore, Jonathon, 233 n10 Fassbinder, Rainer Werner: Berlin Domination, 12-14; and Horney, 172; Alexanderplatz, 39; In a Year of

and horror film, 40; and men, 18, 29, Thirteen Moons, 39 , g8— 100; and Paulhan, 48; and politics, Fechner, Gustav Theodor, 148

49; and pornography, 41; and Reik, Feminine masochism, 9, 17-18, 144,

185, 186; and representation, 40; 149-54, 167-68, 171-72, 176-78, , and Sacher-Masoch, 72,73, 75; and 181, 186, 197 society, 27; and Story of O, 44; and “Femininity” (Kofman), 174 violent sexuality, 32; and women, Feminist Therapy Institute, 18

98-100. See also Control Film, 35-41 Don Juan of Kolomea (Sacher- Flagellation, 80-87, 93-94, 135,

Masoch), 53 228n12

Dostoyevski, Fedor, 100 Flambierte Frau, Die (Ackeren), 36-39 DSM. See Diagnostic and Statistical Fliess, Wilhelm, 236n32

Manual of Mental Disorders “Flight from Womanhood, The” Ducrot, Oswald: Encyclopedic Dictionary (Horney), 173-74 of the Sciences of Language, 237047 Forrester, John, 143, 167

Dworkin, Andrea, 217 Foucault, Michel, 11, 87, 102, 204, 205, Index Il 257

Foucault, Michel (continued) Fuchs, Eduard: Die Weiberherrschaft, 218-20; Discipline and Punish, 12, 98-100 _ 218; History of Sexuality, 10, 218 Function of the Orgasm, The (Reich),

Franklin, Deborah, 16 189-93 Fraxi, Pisanus (Henry S. Ashbee), )

12—13; Centuria librorum Galician Tale, A (Sacher-Masoch), 52

absconditorum, go Game. See Parody; Play/game Frenssen, Gustav: Peter Moor’s Journey Gartenlaube, Die, 118, 135

to Southwest Africa, 125 , Gay, Peter, 27, 54, 89-91, 107, 120, 199 Freud, Sigmund, 18, 23, 117, 140-63, Gebhard, Paul, 24, 27, 29 164-67; and authority, 114; and Geissler, Sina-Aline, 3, 202 Conrad, 111; and culture, 57; and Gender, 8, 16; and Ackeren, 36, 38; and destruction, 122, 145-47, 149, 154, aggression, 29; and biology, 32, 33; 156—57, 162, 165, 211; and Deutsch, and DSM, 17; and horror film, 4o; 168—70; and Horney, 174,175, 179-__ and Krafft-Ebing, 65, 68; and 80; and Krafft-Ebing, 236n39; and nineteenth-century culture, 78; and Lacan, 178, 236n19; and Lamarck, pleasure, 41; and pornography, 4o-—

178; and Laplanche, 23744; and 41; and Sacher-Masoch, 51, 73; and |

Mitscherlich, 23626; and moral society, 29; and Story of O, 49. See — | masochism, 97, 110, 149, 151, 154— also Men; Women 57, 167, 180, 181, 187, 197; and Gender Trouble (Butler), 32

Moran, 237n44; and object, 206; Genet, Jean, 43 and Pontalis, 237n44; and psychic George, Stefan: Algabal, 118 disposition, 32; and rationality, 199, George IV, as crown prince of

201; and Reich, 187-88, 190-96; England, 87 and Reik, 181-82, 184-87; and German Colonial Society, 129 Sacher-Masoch, 75, 209; and German-Colonial Women’s League, 129 scopophilia, 36, 38; and Silverman, German imperialism, 116-25, 127-33 237n43; and Strachey, 23744; and German Society for Sociological

Symonds, 17; and Weininger, Sexology, 29 236n32; and women, 15, 141, 144, Gilman, Sander, 150-51

149-54, 174, 176 Glaser, Hermann, 117-18

— works of: Beyond the Pleasure — Goethe, Johann Wolfgang von: Principle, 148, 184; “Child Is Being Wilbelm Meister’s Apprenticeship, 43 Beaten,” 143-44, 151; Civilization Gorlich, E. J., 53 and Its Discontents, 122, 148, 154, Grien, Hans Baldung von, 98—99 165, 192, 194; “Economic Problem Grimm, Hans, 116-17, 128; of Masochism,” 140, 145-56, 218; Liideritzland, 116-17; “Steppe Is

Ego and the Id, 110, 155; “Instincts Burning,” 116 and Their Vicissitudes,” 142-43, Grosrichard, Alan, 94, 95 146; Interpretation of Dreams, 141; Guattari, Félix: Anti-Oecdipus, 22 “On Narcissism,” 144; Three Essays on the Theory of Sexuality, 122, 141, Haase, Lene: Raggy Goes to South-West,

144-45, 152-54 122-24 258 i! Index |

Habermas, Jiirgen, 199, 211 parody of, 10; and Reik, 184, 185; Haeberle, Erwin J., 29-30 and sexuality, 7; and slavery, 48; and

Haeckel, Ernst, 78 stereotype, 10, 206; and Wetzstein,

Hahn, A., 26 215

“Happiness in Slavery” (Paulhan), Imperialism, 105-40

46-49 In a Year of Thirteen Moons (Fassbinder),

Harding, Sandra, 173-74 39

Haverbecke, Kathelyne van, 51-52 “Instincts and Their Vicissitudes” Heart of Darkness (Conrad), 111-13 (Freud), 142-43, 146 Hegel, Georg Wilhelm Friedrich, 11, International Classification of Diseases, 19

44, 206 Interpretation of Dreams, The (Freud), Herodotus, 102 I4I Hill, Fanny (character), 81-82, 84, 85 Irigaray, Luce, 172, 174-75

Hirschfeld, Magnus, 150 Isis, 102 History, 197; and Bakhtin, 213; and

Foucault, 102; and Freud, 148, 151, Jaeckin, Just: Story of O, 36

162, 165, 166; and Krafft-Ebing, Jones, Ernest, 192, 195 56-57, 61, 65, 96-98, 102-3; and modernity, 205; and Reich, 194; and Kafka, Franz, 43, 46

Reik, 185-86; and Sacher-Masoch, Kamel, G. W. Levi, 30 51-53, 73, 75, 79, 149, 207-8; and Kant, Immanuel, 204 subjectivity, 6, 23, 34, 186; and Kathy Goes to Haiti (Acker), 2

universality, 24 Kern, Ernest, 101 History of Sexuality (Foucault), 10, 218 Kind, Alfred: Die Weiberherrschaft, Hobsbawm, Eric, 106 98-100, 126 Holland, Zachary, 14, 226n58 Knight, Julia, 36 Holm, Orla: Ovita, 119-21, 122, 124 Kofman, Sarah, 146-48, 152-54; Horney, Karen, 17, 166, 172—81, 187, “Femininity,” 174 189; New Ways in Psychoanalysis, 175, Koschorke, Albrecht, 54, 55, 71 179-81; “Flight from Womanhood,” Krafft-Ebing, Richard von, 5 —6, 8—9,

173-74; “Overvaluation of Love,” 71,74, 76—78, 85 —86; and civilization,

172-73; “Problem of Feminine 124; and corporal punishment, 92 -

Masochism,” 1-75-78, 181 93; and flagellation, 81-82, 95, 96,

Human nature, 23-33 228n12; and Freud, 141-42, 144, 145, Hyde, Montgomery, 85 148-51, 236nn27, 39; and history, 56-57, 61, 65, 96-98, 102-3; ICD. See International Classification of Koschorke on, 55; and pain, 101;

Diseases Psychopathia Sexualis, 5-6, 50~51,

Identity: breakdown of, 39; and 55-68; and rationality, 199, 201; and carnival, 213; as commodity, 215-17; Reik, 182; and Riimelin, 205-6; and construction of, 31, 205; and contract, Sacher-Masoch, 5-6, 54-56, 79; and _ 202; and control, 10; and Fanny Hill, society, 57-58, 60-63, 65, 67, 74, 85; and Foucault, 220; and Horney, 121; and subjectivity, 55-57, 78, 204; 180; and modernity, 214-15, 217; and truth, 205; and universalism, 96— Index ill 259

Krafft-Ebing, Richard von (continued) Lotringer, Sylvére, 219

98; and women, 56, 59-60, 65-68, Lowry, Lord, 203

97, 107, 125, 126, 130-31 Liideritzland (Grimm), 116-17

Kraus, Karl, 6 Lynch, David: Blue Velvet, 35

Kristeva, Julia, 213-14 Lyotard, Jacques, 199, 201, 211 Kiirnberger, Ferdinand, 53 Macho Sluts (Califia), 33

Lacan, Jacques, 96, 143, 161, 172, 178, Male masochism, 9, 39, 52, 65, 68, 73-

206, 215, 236n19 74, 109-13, 122, 131-32, 223nI17 Laing, R. D., 18 Male Subjectivity at the Margins Lamarckianism, 148, 178 (Silverman), 216-17

Language, 12, 34, 141-44, 157-60, Malinowski, Bronislaw, 189

199, 206, 213-14 Marcus, Maria, 12

Laplanche, J., 145, 154, 237n44 Marcus, Steven, 13 Lautéamont, Comte de, 214 Maria Magdalena of Pazzi, 95 Law, 71, 201-4, 206; and aggression, Marlowe, Christopher, 82-83 28; and biology, 56; and corporal Masochism, defined, 20-23, 41, 50-51. punishment, 91-93; and Foucault, See also Feminine masochism; Male 218; and Freud, 156; and: Krafft- masochism; Men; Moral masochism; Ebing, 56; and liberalism, 71; and Primary masochism; Women masochism, 15, 41; and nineteenth- ‘“‘Masochistic Character, The” (Reich),

century culture, 78; and parody, 71, 193-94 202; and psychiatry, 22; and Sacher- Massé, Michelle, 44, 172 Masoch, 70-73, 76, 78—79; and Mass Psychology of Fascism, The (Reich),

violence against women, 18. See also 187—88

Contract Maudsley, Henry, 57

Lawrence, TI. E., 124; Seven Pillars of Mauron: Cully Flaug’d, 82 ~—83

Wisdom, 113-15 Meibomius, Henry: Treatise of the Use Legacy of Cain, The (Sacher-Masoch), 68 of Flogging at Venereal Affairs, 84, 94

Legman, G., 87, 101 Meister, Hulda, 205

Leo, John, 20 Memoirs of a Woman of Pleasure (Cleland), Leshia Brandon (Swinburne), 87 80-85, 103 Lévi-Strauss, Claude, 178 Men: and Ackeren, 38; and domination, Liberalism: and aggression, 26-28, 203; 18, 29, 98—100; and Freud, 150, and control, 41; and Krafft-Ebing, 56; 152-53; and identity, 85, 108-9;

and law, 71; and normality, 6; and and imperialism, 106-9, 113-16, pleasure, 41; and Sacher-Masoch, 51, 120-21, 125-27, 131-32, 135-38; 53, 54, 76, 79, 210-11; and Spencer, and Krafft-Ebing, 97—98; and power,

59, 61; and truth, 204-5; and 17; and Sacher-Masoch, 53, 70, 73, violence, 27-28; and women, 61, 71 76, 124-25; and society, 18; and

Lich, Hans, 102 Spencer, 59-60; and Story of O, 47 Lombroso, Cesare, 57, 131 Meyer, Adolf, 18-19

Lorenz, Konrad, 26 Mikesch, Elfie: Seduction, 36 Loti, Pierre (Julien Viaud): Aziyade, Miller, W., 24-25, 101

107-9 Mitscherlich, Margarete, 236n26 260 i Index

Modernity, 198—211, 215, 218 Hill, 81; and Freud, 142, 162, 179; Morality/ethics: and Bakhtin, 213; and and Horney, 172; and morality, rorbiology, 57; and corporal punishment, 2; vs. pleasure, 8; and pornography, go, 91; and Darwin, 63; and Fanny 41; and Reik, 182, 184-86; and Hill, 85; and flagellation, 84, 87; and religion, 93—96; and society, 32; Krafft-Ebing, 57-58, 60-65, 77; and and stimulus-response study, 25; and

modernity, 199; and pain, 101-2; Story of O, 49 and Sacher-Masoch, 72, 201, 204; Parody, 5, 10, 71, 73, 166, 180, 186, and Spencer, 59, 61; universality of, 187, 200-203, 206, 211, 216-17. See

203-4; and violence, 88 also Play/game Moral masochism, 97, 110, 149, 151, Passion, 54, 70, 75-78, 112 154-57, 167, 180, 181, 187, 197 “Passivity, Masochism, and Women”

Moran, Frances M., 237n44 (Bonaparte), 171

Morel, 68 Paulhan, Jean, 42, 50, 109; “Happiness Morris, David, 32, 93, 96 in Slavery,” 46—49

Morton, William, 93 Paullini, 84—85 Mouton, Jan, 36 Pauvert, Jean-Jacques, 42

Movies. See Film “People’s Court” (Sacher-Masoch), 52 Mulvey, Laura, 35-36, 38 Perversion, 55—56, 61-72, 78, 85, 144,

Musset, Alfred de, 97 154, 192-93. See also Deviance;

. Normality

“Nero in a Hoop Skirt” (Sacher- Peter Moor’s Fourney to Southwest Africa

Masoch), 206-10 (Frenssen), 125

New Ways in Psychoanalysis (Horney), Philosophische Kultur Simmel), 173

TT5>3 79-81 . . Philosophy of As If (Vaihinger), 205 Nietzsche, Friedrich Wilhelm, 204,214 pig r, Fanny, 71-72

Night Porter, The (Cavani), 35 Play/game, 16, 21, 30-31, 34, 72, 73, Nordau, Max, 63, 76-78, 154 81, 199, 211, 242n71. See also Parody Normality: and biology, 19; and Pleasure, 11; and aggression, 30; and Deutsch, 169— 73 and deviance, body, 206; and control, 9-10; and 30; and dysfunction, 21; and Freud, corporal punishment, 90-92, 94; and 142, 145, 1 9% T5T, 74 and Krattt- discipline, 88-90; and Fanny Hill, 85; Ebing, 56, 645 and liberalism, 6; and and flagellation, 84, 94; and Freud,

postmodernity, 212; and psychiatry, 142, 145-46, 148, 153, 160, 162, : . 23; and Reich, 191; and Sacher- 163; and gender, 41; and George IV, Masoch, 743 and society, 21; and , 87; and Horney, 172; and Krafft-

subjectivity, 6 Ebing, 64, 66; and liberalism, 41; and

“On Narcissism” (Freud), 144 modernity, T99; and pain, 8; and Otway, Thomas: Venice Preserv’d, 85-86 postmodernity, 247; and Reich, 191,

“Overvaluation of Love, The” 193-953 and Reik, 182-86; and

(Horney), 172-73 : representation, 40; and Sacher-

Ovita (Holm), 119-22, 124 Masoch, 51, 72, 73-75, 79, 209; and sadomasochism, 212; and self-defeat,

Pain: and deconstruction, 3-4; and 21; and Story of O, 49; and DSM, 20; erotics of, 9; and Fanny women, 96 Index I! 261

Ploss, Hermann, 57 Rebellion in Ghent under Emperor Politics: and domination, 49; and Charles V, The (Sacher-Masoch), Krafft-Ebing, 56, 59-60, 96-97; and 51-§2 literature, 2—3; and mental disorder, Reed, Lou, 7 15—23; and psychiatry, 15-23; and Reich, Wilhelm, 18, 35, 166, 187-96; Reich, 190-95; and Sacher-Masoch, Character Analysis, 190; Function of 53, 55, 207-10; and Spencer, 59; and the Orgasm, 189-92; Mass Psychology

subjectivity, 6 of Fascism, 187-88; “Masochistic Pontalis, J. B., 145, 237n44 Character,” 193-94

Postmodernity, 200-201, 211, 213, Reik, Theodor, 100-102, 166, 181-87,

215-17, 219 203, 209, 211, 216

Potter, Sarah, 88 Religion, 93-96, 100-102 Power, 8, 16; and DSM, 17; and film, Rendon, Mario, 172 35; and Foucault, 205, 219, 220; and Representation: and Barnard, 33; and men, 17; and pornography, 41; and destruction, 39—40; and Freud, 141, psychiatry, 18; and Reich, 187; and 144, 159-61; and modernity, 199, Sacher-Masoch, 52, 54, 72, 73, 209; 216; and reality, 40, 41; and

and sadomasochism, 212; and society, violence, 18 | 17; and violence, 32 Robinson, Paul, 193 Primary masochism, 146-49, 152-54, Rommelspacher, Birgit, 17, 18, 175

167, 181-82, 187, 193, 195-97 Rosewater, Lynne Bravo, 18 “Problem of Feminine Masochism, Rousseau, Jean Jacques, 100; Confessions,

The” (Horney), 175-78, 181 97

Prostitution, 81, 86—88 Riimelin, Aurora, 205-6 Psychoanalysis of the Sexual Functions of

Women (Deutsch), 168 Sacher-Masoch, Alexander, 51 Psychopathia Sexualis (Krafft-Ebing), Sacher-Masoch, Leopold von, 5-8,

5-6, 50-51, 55-68 50-55, 65, 68-76, 103; and

Punishment, 9, 12, 44, 66, 71-73, aesthetics, 124; and Deutsch, 167;

88-94 and equality, 124~—25; and Freud, , 75, 140, 149, 156, 158, 161, 209;

Rado, Sandor, 177 , and Hegel, 206; and imperialism, Raggy Goes to South-West (Haase), 105, 119; and Kristeva, 214; and

122-24 modernity, 214, 218; and morality,

Raknes, Ola, 190 72, 201, 204; and rationality, 199; Ratzel, Friedrich, 121-22 and Reik, 183, 186, 209; and

Réage, Pauline (Anne Declos), 50; Story Riimelin, 205-6; and Spencer, 68;

of O, 42-49, 51, 161 and Story of O, 43; and Viaud, 109; Reason: and Enlightenment, 77; and and women, 53, 54, 65, 68—70, 73,

Freud, 162-63, 199; and Krafft- 75,76 ,

Ebing, 67-69, 74, 76, 199; and — works of: Don fuan of Kolomea, 53; modernity, 211; and Nordau, 77; and Emissary, 52; Galician Tale, 52; Legacy

Sacher-Masoch, 54, 68, 70-71, 73- of Cain, 68; “Nero in a Hoop Skirt,”

74, 76, 78, 79, 198-99, 201; and 206-10; “People’s Court,” 52;

Wetzstein, 215 Rebellion in Ghent under Emperor 262 ill Index

Charles V, 51-52; Social Silhouettes, Fanny Hill, 85; and fantasy, 32; and 52; Lales from the Russian Court, 206- Foucault, 218; and Freud, 57, 141, ro; “Wanderer,” 54; Venus in Furs, 5, 145, 151, 154-56, 162, 178; and 36, 52, 68-76, 79, 120, 161, 198-99, gender, 29; and Horney, 172-81;

201, 208, 210 and human nature, 23; and imagery, Sachs, Hanns, 172 34-35; and Krafft-Ebing, 57-58, Sack, R. L, 24-25, 101 60-63, 65, 67, 74; and law, 201-4;

Sade, Marquis de, 43, 214 and marriage, 131; and men, 18; and Sadism: and Ackeren, 38; and Bloch, mental disorder, 19, 20; nineteenth100; and Conrad, 111; and Deutsch, century, 78; and Nordau, 77; and 168, 169; and Freud, 141-46, 150, normality, 21; and pain, 32; and 155-58, 162, 171; and horror film, postmodernity, 214-15; and power, 4o; and Reich, 193-94; and Reik, 17; and psychiatry, 20, 21; and 182, 183; and voyeurism, 36 , Reich, 188—96; and Reik, 182, 183, Sadomasochism, 2, 24, 27, 31, 33-34, 185, 186; and Sacher-Masoch, 5,

42-43, 81, 86, 220 8, 51-53, 73, 75, 76, 79; and

Schopenhauer, Arthur, 54 sexuality, 32; and Spencer, 58-59, Schrenck-Notzing, A. von, 68 68; and subjectivity, 6, 20-22; and

Sebastian, St., 96 submission, II —12; and women,

Seduction (Treut and Mikesch), 36 125

Seltzer, Mark, 6 Sontag, Susan, 42

Seven Pillars of Wisdom (Lawrence), Spencer, Herbert, 58-61, 68, 120;

113-15 Social Statics, 58-59

Sex and Character (Weininger), 126 Staging, 28, 30, 70, 72, 81, 157-58,

Shadwell, Thomas, Virtuoso, 89 161, 185, 216

Shainess, Natalie, 17 “Steppe Is Burning, The” (Grimm), 116 Showalter, Elaine, 7, 106, 107, 121 Stereotype, 8, 10; and Ackeren, 37; and

Siegel, Carol, 35, 103, 117 aggression, 29—31, 33; and Biichner, “Significance of Masochism in the 74; and culture, 34; and Fanon, 114;

Mental Life of Women, The” and film, 35-36; and Freud, 114, 153,

(Deutsch), 169-71 162,177; and Haase, 124; and Horney, Silverman, Kaja, 39, 40, 113-16, 151, 172,174, 179-80; and identity, ro, 184, 214, 216-17, 237n43; Male 206; and In a Year of Thirteen Moons, Subjectivity at the Margins, 216-17 39; parody of, 5; and pornography, Simmel, Georg: Philosophische Kultur, 41; and postmodernity, 200, 214-15;

173 and Reik, 183; and Sacher-Masoch,

Sitzman, V., 203 51, 55, 73, 202, 207-8; and sexuality, Social Contract, The (Ardrey), 26-27 4; and Story of O, 46; and Venice Social Silhouettes (Sacher-Masoch), 52 Preserv’d, 86; and violence, 33

Social Statics (Spencer), 58-59 Sternberg, Josef von, 35

Society/culture, 22, 197; and aggression, Stoller, R.J., 30, 242n71 | 27-28; and Ardrey, 27-28; and Story of O (Jaeckin), 36 biology, 32-33; bourgeois, 37; Story of O (Réage), 42~49, 51, 161 and Biichner, 74; and deviance, 29; Strachey, James, 159, 237n44 and domination-submission, 27; and Studlar, Gaylyn, 35, 36 Index It 263

Subjectivity, 6, 172-73; and Ackeren, Unfit for Modest Ears (Vhompson),

37; and biology, 23; and Fanon, 114- 231n16 15; and film, 35; and flagellation, 94; Universalism, 24, 57, 96-104, 141-42,

and Foucault, 218; and Freud, 141, 172, 174, 177-78, 181, 203-4 148, 149, 151, 159, 162-63; and

history, 23, 34, 186; and Horney, Vaihinger, Hans: Philosophy of As If, 205

180; and horror film, 40; and In a Velvet Underground, 7 Year of Thirteen Moons, 39; and Venice Preserv’d (Otway), 85-86 Krafft-Ebing, 55-57, 78,204;and == = ~—-~ Venus in Furs (Sacher-Masoch), 5, 36,

Kristeva, 214; and men, 39, 40; and 52, 68-76, 79, 120, 161, 198-99,

mental disorder, 19—20, 22; and 201, 208, 210 modernity, 199, 204, 206; and Paulhan, _Viaud, Julien: Azzyadé, 107-9 48; and postmodernity, 211;and Reik, | Violence: and control, 14; and corporal

182, 187; and Sacher-Masoch, 55) punishment, go; and deconstruction, 71, 201, 209, 210; and sexuality, 3; 3-4; and eroticism, 3; and

and Silverman, 114-15; and society, imperialism, 110, 115-18; and 20-22; and Story of O, 44, 48, 49; Krafft-Ebing, 62; and liberalism, and subversion, 40; and universalism, 27—28; and masochism, 4; and

1o1; and Wetzstein, 215 | modernity, 199; and morality, 88; Sulloway, Frank, 63, 141, 147-48 and parody, 203; and play, 31, 220; Swinburne, Alergnon Charles: Lesbia and pornography, 41; and

Brandon, 87 prostitution, 87—88; and Reik, 183;

Symonds, Alexandra, 17 and representation, 18; and SacherMasoch, 8, 51, 52, 69-71, 74-76,

Tales from the Russian Court (Sacher- 79, 201; and sadomasochism, 212;

Masoch), 206—10 and sexuality, 7, 32; staged, 28; and ,

Tannahill, Reay, 13-14 stereotype, 33; and Story of O, 45, 46; Teresa of Avila, St., 96 and women, 15-18. See also Theater, 2, 81, 91, 166, 184, 200, 216, Destruction

217 Virtuoso, The (Shadwell), 89

Thompson, Roger: Unfit for Modest

Ears, 231n16 Walker, Lenore, 16

Three Essays on the Theory of Sexuality “Wanderer, The” (Sacher-Masoch), 54

(Freud), 122, 141, 144-45, 152-54 Warhol, Andy, 7

Todorov, Tzvetan: Encyclopedic Warmbold, Joachim, 117

237047 118-19

Dictionary of the Sciences of Language, Wedekind, Frank: The Earth-Spirit,

Tolstoi, Leo, 100 Weiberberrschaft, Die (Fuchs and Kind), Treatise of the Use of Flogging at Venereal g8—100

Affairs, A (Meibomius), 84, 94 Weinberg, Thomas S., 9, 30, 220 Treut, Monika: Seduction, 36 Weininger, Otto: Sex and Character,

Trotha, Lothar von, 119 126, 236n32

Turgenev, Ivan: Fathers and Sons, 124 Westermarck, Edward, 57

264 ili Index

Wetzstein, Thomas, 25~—26, 28, 30, 31, and Kind, 126; and Krafft-Ebing, 56,

202-3, 212-13, 215, 221 59-60, 65-68, 97, 107, 125, 126, 130— Wilhelm Meister’s Apprenticeship 31; and literature, 2 —3; nature of, 16-

(Goethe), 43 17, 47-48; and pleasure, 96; and Williams, Linda, 34, 40-41 pornography, 41; as predators, 35; Willy, A., 97 and Reich, 193; and Reik, 186-87; Woman in Flames, A (Ackeren), 36-39 and Sacher-Masoch, 53, 54, 65, 68—

Women: and biology, 15—16; and 70, 73, 75, 76; and Spencer, 59-61; civilization, 125; and Deutsch, 167- and Story of O, 47; and submission, 71, 176; and dominance, 98 — 100, 29; and violence, 15-18; and

226n58, 228n12; and equality, 61, Weininger, 126 65, 76, 124-25; and film, 35, 36, 4o; Working Group for Social Research and Freud, 15, 141, 144, 149-54, 168, and ‘Training, 30 174, 176; and Haase, 122-24; and Woyzeck (Biichner), 74 Horney, 172 —81; and imperialism,

107, I17—19, 120, 122-26, 128-39; Zola, Emile, 97

| Index I 265 |