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10: Love

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| Fall 1994 |

Editors: Janine Marchessault and Christine Davis


  • ‘Preface’, Janine Marchessault, Christine Davis
  • ‘Beyond Eurocentrism and Multiculturalism’, Cornel West
  • ‘Blue Skies From Now On Weather Motifs in Popular Song’, Jody Berland
  • ‘Love is the Law, the Passion of Revolt’, Lachlan Brown
  • ‘Casanova and the Revolution’, Chantal Thomas
  • ‘Love Potions, Truth Serums’, Paul Kelley
  • ‘Love Letters’, Micah Lexier
  • ‘The text opens up and lets her in’, Cheryl Sourkes
  • ‘The Language of Love’, John Yau
  • ‘Seamen’, Scott McLeod
  • ‘Picasso’s Corrida’, Allen S. Weiss
  • ‘Blue’, Derek Jarman
  • ‘Love Machines: Prostitute’, Hysteric /Automaton / Susan Lord
  • ‘That is light, thou is light’, Christine Davis, Vincent Tangredi
  • ‘Ophelia’s Lament’, Allen S. Weiss
  • ‘Butch/Femme and Drag Queerness in Forbidden Love and Lip Gloss’, Katharine Adrienne Setzer
  • ‘The Love That Can’t Remember Its Name’, Sean Cubitt


Sean Cubitt, “The Love That Can’t Remember Its Name”:

“TV as metaphor for sex: If McLuhan was right even about this tiny corner of the communicative universe, he was right only temporarily. No one ever learned anything about television by watching TV. You have to watch yourself watching TV, watch yourself making TV: that is TV culture. TV programmes are scarcely interesting because of what they say or do not say, or even the ways in which they say and refrain from saying. TV programmes are interesting only in the ways in which they speak to us about the conditions under which speaking and saying can be undertaken in our time, and about the history of how those conditions came to be.” (169)