ror Has Two Faces-in class no less-with Jane Gallop's essay, "The Teacher's Breasts," and you find an apparent contradiction. The professor played by Barbra Streisand blithely lectures about sexuality and casually acknowledges the students' awareness of her breasts, shown off in a low-cut black dress; Gallop, however, contends that the teacher's breasts create a conflict about "the question of sex" and, thus, "the question of authority" (84-85). In Gallop's view, the teacher's display of authority "makes the male student more not less recalcitrant, and more not less sexual" in the struggle for power (86). As usual, Gallop offers a startling interpretation: "The breast-singular, symbolic, and maternal-is precisely the imaginary organ of nurturance, what the good feminist teacher proffers to her daughterstudents. Refusing to nurture, . . . the bad, sexual teacher brings into the discourse of feminist pedagogy not the breast, which is already appropriately there, but the breasts" (87). By mentioning her breasts in the plural, Streisand sexualizes the literature classroom, exactly as the camera does when it follows the boys hurrying to class or pans the intensely yearning students' faces. Streisand's movie demonstrates these cultural politics, showing how the female teacher's sexuality has to be managed in order to avoid the threat of the sexual power struggle Gallop accurately predicts. What we see in Streisand is a version of Gallop's theory: the maternal breast-safe and good-is opposed to more dangerous plural breasts, offered promiscuously to the class's gaze. The erotics of the literature classroom in the Hollywood imagination comes as no surprise. Hollywood eventually misrepresents all professions, and all voca

Indecent Proposals: Teachers in the Movies.

Review of New Essays Concerning Human Understanding.

It would seem an understatement to remark, as Freud once did, that "incest is not a rare occurrence even in our society" (Totem and Taboo, 901). Incest is, in fact, the event that therapists expect to hear about perhaps more than any other; it is a crucial plot point in their master-narratives of human life. For example, Freud's own early Studies on Hysteria, written with Josef Breuer, features five case histories in which the eponymous pathology arises out of forbidden father-daughter contact: Fraulein Anna

https://www.jstor.org/stable/pdfplus/40755428.pdf

Caught in the Wrong Story: Psychoanalysis and Narrative Structure in Tender Is the Night

This article situates itself in cross-disciplinary work to combine reflection on my own teaching and my own “queer locatedness” (Grace, 2000) with more traditional elements of media studies and critical pedagogy. The circle around this reflection is defined by ruminations on the relationship between eros and the erotic, media representations of teachers, and morality and mortality in male identity and pedagogy. I offer several tentative conclusions: the role of a queer teacher is more conflicted than that of a heterosexual; good teaching may not be possible unless there is an element in it of seduction, but it is teachers who are seduced by their students. Good teaching—ethical teaching—celebrates differences by exploring them. Interrogating Eros in teaching leads to an appreciation of the sweetness of morality and the stench of mortality along the parabola connecting body and mind, and the construction of a queer teaching identity.

Queering Seduction: Eros and the Erotic in the Construction of Gay Teacher Identity

Abstract:This essay addresses the black presence in F. Scott Fitzgerald's Tender Is the Night (1934) not simply as an episode but as the very backbone of the plot. Inserting Fitzgerald into an unexpected lineage that originates with James Weldon Johnson and moves to Ishmael Reed and Toni Morrison, it argues that Fitzgerald shares with these writers a complex fusion of racial disorder, musical contagion, and intergenerational rivalry. Like Johnson and Reed, Fitzgerald also uses the figure of Harriet Beecher Stowe's Topsy to announce the various permutations of race in the novel and to uncover the white characters' fear of miscegenation and incest. Tender Is the Night is a \"topsy-turvy\" novel because of the dynamic patterning of black and white imagery Fitzgerald employs to reveal the slippery racial surface of the 1920s.

A Topsy-Turvy Novel: “Coloring Gestures” in Tender Is the Night

La lecture de " Fantasia of the Unconscious " par F. et la composition de " Tender is the Night "

http://www.jstor.org/stable/pdfplus/2927122.pdf

F. Scott Fitzgerald and D. H. Lawrence: Bicycles and Incest

(2001). Fairy Tale Time: A Pedagogical Caprice. College Teaching: Vol. 49, No. 3, pp. 91-95.

Fairy Tale Time: A Pedagogical Caprice

Professors profess professing. Pro fessing is the pretext, established by an institutional and tradition al context. Colleges and universities have professors of this and that field of inquiry. They are supposed to profess their special subjects. From the first day of class the professor stands at the front of the room and professes. He or she may also lounge, sit, walk about, even place chairs in a circle and invite everybody to introduce themselves by their nicknames?no matter. Regard less of posture or personality, the pro fessor still strikes the contextual pose and sounds the expected note. The stu dents remember it not only from the previous May but also from a number of Septembers, all the way back to when professors were simply called teachers. This is my name and office number. These are my office hours. Here is the syllabus. These are the re quired texts for the course. Answer when I call the roll. And now, as to our goals. . . . To profess literally means to own up to something?guilt, innocence, the Apostles' Creed. The word professor is now a title only vestigially recalling a

Robert Wexelblatt

Papers

F. Scott Fitzgerald and D. H. Lawrence: Bicycles and Incest

Fairy Tale Time: A Pedagogical Caprice

Professors at Play