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This paper uses a Deleuzian frame of reference to draw out the potential political implications of masochism, contrasting Bloom’s “failed” masochism in “Circe” with the more positively engaged relation to masochistic scripting which is represented by Molly in “Penelope”. It contrasts respective uses of masochism as ritual in the episodes, moving beyond this in order to read Molly as non-corporeal book-body and in terms of the process of “becoming-woman”. The essay employs a range of concepts from Deleuze which are glossed, including “symptomatology”, “becomings” and the “Body without Organs”.