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 Judith Surkis - No Fun and Games Until Someone Loses an Eye: Transgression and Masculinity in Bataille and Foucault - Diacritics 26:2Fri Oct 03 2003 00:44:59 Europe/Copenhagenfile://localhost/Volumes/Arkiv/DownLoads/Judith%20Surkis%20-%20No%20Fun%20and%20Games%20Until%20Someone%20Loses%20an%20Eye%20Transgression%20and%20Masculinity…Page 1
Copyright © 1996 The Johns Hopkins University Press. All rightsreserved.
Diacritics 
26.2 (1996) 18-30
[Proj[Searc[Journals][This Journal][Contents]
No Fun and Games Until Someone Loses an Eye:Transgression and Masculinity in Bataille andFoucault
Judith Surkis
In August 1963
Critique
published an "Hommage à Georges Bataille," a specialissue commemorating the death of its founder. How did the volume's contributorsgo about the seemingly tricky business of pledging fealty to the philosopher of sovereignty? How did they profess loyalty to, in effect recognize, the sovereignsubject known to insistently refuse masterful identity?Apparently undisturbed by this difficulty, the articles written by Bataille'sacquaintances--Alfred Metraux, Michel Leiris, Raymond Queneau, André Masson,and Jean Piel amongst them--establish an explicitly fraternal relation to their contemporary. Piel begins his homage with an account of their initial encounter 
chez 
Queneau in 1927, noting his "impression of extraordinary fraternity, an impressionwhich, through our last meeting days before his death, never diminished" [721].Intermingling intellectual and personal history, these occasional pieces remember Bataille in a variety of contexts: the awakening of his interest in ethnology and workon
Documents
in the 1920s, his early "confrontations" with Hegel and work on
Critique sociale
and
Contre-attaque
in the 1930s, his sensitivity to events anddevelopments in post-World-War-II Europe. While significantly diverse in focus,these articles manifest a similar approach, at once biographical andautobiographical, detailing the unfolding of shared intellectual
amitié
in favoritecafés, apartments, and studios. Bataille emerges here as a historical subject whoseinterests and investments, while multiple and, to use Leiris's metonym, even"impossible," are repeatedly linked to a variety of intellectual and political milieux.Michel Foucault's "Preface to Transgression" assumes a more reverential tone thanthe pieces written by members of Bataille's own generation. While framed as anexplicit "homage" in its recognition of a certain debt to Bataille, Foucault's essayalso plays upon the contradiction of pledging loyalty to a "sovereign" who repeatedlyrenounces his own claim to mastery. Bataille's death becomes an occasion onwhich to herald the "breakdown" and "shattering" of the masterful philosophicalsubject conventionally assumed to be in control of the "natural" language of dialectics [42-43]. For Foucault, a new possibility for philosophy is seen to arise in"the non-dialectical language of the limit which arises only in transgressing the onewho speaks" [44], a transgression repeatedly performed, according to Foucault, in
 
 Judith Surkis - No Fun and Games Until Someone Loses an Eye: Transgression and Masculinity in Bataille and Foucault - Diacritics 26:2Fri Oct 03 2003 00:45:00 Europe/Copenhagenfile://localhost/Volumes/Arkiv/DownLoads/Judith%20Surkis%20-%20No%20Fun%20and%20Games%20Until%20Someone%20Loses%20an%20Eye%20Transgression%20and%20Masculinity…Page 2
Bataille's own writing and metaphorically enacted in and by his death. Bataille had,after all, proclaimed in the conclusion to
Erotism
: "To give transgression tophilosophy as a foundation (it is the approach of my thought) . . ." Bataille's theoryof transgression aims to evoke a "world of play" in which "philosophy disintegrates"[275]. Yet, if the disintegration of philosophy in and through transgression is alreadyBataille's "project," we might inquire into why Foucault frames his article as apreface.
[End Page 18]
In introducing this presumably already achieved transgression, the "Preface" affectsa curious, alternating temporality, a certain confusion of anteriority and posteriority.
1
At once following and preceding Bataille, Foucault remains out of sync and henceunable to coincide with Bataille in the shared
amitié
inscribed by the author'scontemporaries; it would appear that this generational gap introduces a certain shiftin the recollection of Bataille's legacy. Following in his footsteps, Foucaultappropriates one of Bataille's own disorienting gestures--the tactical use of prefaces, itself mentioned in the "Preface" [43]--in order to dislodge Bataille from hisanterior position; instead, Bataille comes to epitomize the transgression predictedby Foucault's "philosophical" preface. Bataille's (and, by implication, Foucault's own)"location" becomes confused and obscured; as I hope to show, Foucault is investedin achieving this state of indeterminacy for both himself and Bataille.To honor Bataille in death assumes a double significance for Foucault: it representsa "transgression of the philosopher's being" which "has sent us to the puretransgression of his texts" [40] and simultaneously allows Foucault to sacralizeBataille. "Pure transgression" becomes liberated from the historically located beingof the philosopher. And further, since the language of transgression is linked byFoucault to the "death of God," Bataille becomes, in a sense, "deified" in theannouncement and celebration of his death. In introducing us to the "image" of thenow passed, absented Bataille, the "Preface" offers up a void into which Foucault(as well as the reader) may proceed to fall, thus facilitating a self-shattering. Thequestion is whether Bataille is as lost in the "pure transgression of his texts" asFoucault makes him out to be.In his attempt to lose himself (rupture his own philosophical and discursive limits) inBataille, Foucault both appropriates and repositions Bataille's theory of transgression, effacing the gendered dynamic that I think structures Bataille'sconcept, an exclusion upon which, I will argue, Foucault's own project of self-lossrelies. Moreover, an examination of the gendering of transgression might throw itsvery viability into question. In order to sketch this complex play of positions, I willbegin with Bataille's own model of eroticism.The vision of erotic transgression set forth in
Erotism
concentrates on theexperience of the "discontinuous subject" in his attempt to transgress the limits of individual existence by leaping or falling into the realm of continuity or limitless beingin order to access the zone of death.
2
For Bataille this experience of continuityshould not be confused with absolute and final death; he stresses that "continuity iswhat we are after, but generally only if that continuity which the death odiscontinuous beings can alone establish is not the victor in the long run" [18-19].The experience of death in eroticism is, by definition, always only proximate-simultaneously rupturing and maintaining the limits of individual existence. Batailleinsists: "At all costs we need to transcend [limits], but we should like to transcendthem and maintain them simultaneously" [141]. The transgressive experience is
 
 Judith Surkis - No Fun and Games Until Someone Loses an Eye: Transgression and Masculinity in Bataille and Foucault - Diacritics 26:2Fri Oct 03 2003 00:45:01 Europe/Copenhagenfile://localhost/Volumes/Arkiv/DownLoads/Judith%20Surkis%20-%20No%20Fun%20and%20Games%20Until%20Someone%20Loses%20an%20Eye%20Transgression%20and%20Masculinity…Page 3
thus organized and produced by the imposition of a limit always existing in relationto it, even and especially at the moment of its rupture. The sensation of transgression is conditioned by a cognizance of the taboo and is, as a result,fundamentally "duplicitous," performing "a reconciliation of what seems impossibleto reconcile, respect for the law and violation of the law . . . " [36].
[End Page 19]
Transgression thus
heightens
or 
 
creates
 
an
 
awareness of the law. As Bataillewrites: "If we observe the taboo, if we submit to it, we are no longer conscious of it.But in the act of violating it we feel the anguish of mind without which the taboocould not exist . . . That experience leads to the completed transgression which, inmaintaining the prohibition, maintains it in order to benefit by it [
 pour en jouir 
]" [38;
OC 
42]. Since the pleasures or 
 jouissance
of eroticism are intimately related to theinjunctions that prohibit them, the subject must always be aware of the existence of the law in order to experience limitless being in the moment of transgression; hemust be sensitive "to the anguish at the heart of the taboo no less great than thedesire which leads him to infringe it" [38-39]. This is the fundamental structure of Bataille's transgression, and, as Carolyn Dean has argued, this paradoxical dynamicis integral to his understanding of the subject. Because his self-loss actually makeshim aware of the law, it is "lived as the constituent moment of self-hood" [242; seealso Hollier]. However, Dean questions the universal applicability of a subjectivityfounded by its own dissolution. She argues that it presumes a "masculine" subjectwho initially possesses a position or self to transgress or lose. Dean suggests that,for Bataille, the reconciliation of "manhood" and castration are constitutive of hisnotion of the "virile" rather than incompatible with it. In effect, the "wholeness" of Bataille's virile man is, as she writes, "paradoxically linked to an experience of transgressing limits rather than of containment within boundaries that woulddemarcate his being." If this virility is repeatedly produced in and by self-dissolutionof a masculine subject, Dean wonders where "women figure in this scheme of things" [244-45].
3
Upon reading
Erotism
, we find that images of women's self-lossare prominent in Bataille's theory of erotic transgression; they are instrumental tothe enactment of 
masculine
self-loss.Bataille's introductory discussion of the process by which individual discontinuity isruptured--the
mise en oeuvre
of eroticism--relies on an initial, gendered differencebetween erotic partners. Bataille writes:The transition from the normal state to that of erotic desirepresupposes a partial dissolution of the person as he exists in therealm of discontinuity. . . . In the process of dissolution, the masculinepartner [
 partenaire masculin
] has generally an active role, while thefeminine part [
 partie féminine
] is passive. The passive, female side isessentially the one that is dissolved as a separate entity [
en tant qu'êtrecontinué
]. But for the male partner the dissolution of the passivepartner means one thing only: it is paving the way for a fusion whereboth are mingled, attaining at length the same degree of dissolution.[17;
OC 
23]A fundamental division is enacted here between the "masculine partner" and the"feminine part"; the feminine side is already lost as a subject, a partial object fromthe beginning. In order for the masculine side to lose himself, the passive, feminineside must be always already dissolved as a continuous being:
her 
loss initiates hisfall into continuity. In the meantime, the masculine partner is only "relativelydissolved," remaining "discontinuous" enough to derive meaning and sense from
of 00

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