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Neville Hoad

Core FacultyPh.D., 1998, Columbia University

Associate Professor in the Department of English, College of Liberal Arts
Neville Hoad



Victorian feminism; psychoanalysis (particularly Freud and Klein); contemporary feminist theory in French and English; lesbian and gay studies; queer theory; international human rights law pertaining to sexual orientations; sexuality and gender issues in Southern Africa


College: Liberal Arts

Home Department: English

Additional department affiliations: Asian-American Studies

Education: Ph.D., Columbia University

Research interests:Victorian feminism, psychoanalysis, (particularly Freud and Klein), contemporary feminist theory in French and English, lesbian and gay studies, queer theory, international human rights law pertaining to sexual orientations, sexuality and gender issues in Southern Africa

Courses taught:
E 376 L The Literature of African AIDS

E 360 L Introduction to South African Fiction in English

E 375 L Representations of the Mob in Victorian Fiction

E 324 K Victorian beauty


WGS 393 • Sexualities In Translation

48080 • Fall 2014
Meets MW 500pm-630pm CAL 419
(also listed as E 397N)

In this course, students would read a number of contemporary novels and films that mess with the ways increasingly globally hegemonic discourses translate human erotic intimacy into the sexuality of the homo/hetero identity binary. Drawn from diverse national contexts in multiple languages, much of what we read (and watch) will be in translation or subtitled. I hope that we will learn to think about sexuality itself as a translation or recoding of bodies, practices, pleasures and economic exchanges. We will also ponder the global politics of language in relation to questions of sexuality. Why does Deepa Mahta make Fire in English? Why is Sevaldurai’s Funny Boy written in English? Has the emergence of a lesbian and gay cultural public sphere in the Anglophone world facilitated the translation and global distribution of cultural products that are legible as gay or lesbian to an international audience? Does this mis/recognition give them an edge over other local products in a globalizing cultural market-place? Do these works imagine the lineaments of a transnational lesbian and gay subject, anticipating their translation or do they remain in certain ways stubbornly local? How has sexuality become a vector for the working out of the relationship between diasporic and home and host national communities? Fiction could include Barakat’s The Stone of Laughter (Lebanon), Al Shaykh’s Women of Sand and Myrrh (Kuwait), Sevaldurai’s Funny Boy (Sri Lanka/Canada), Rao’s One Day I locked my flat in Soul City (India), Puig’s Kiss of the Spiderwoman (Argentina), Blu’s Hanging (Hawaii) and Gray’s Time of Our Darkness (South Africa), Jude Dibia’s Walking with Shadows (Nigeria). Films could include My Beautiful Laundrette (U.K.), Dakan (Guinea), Woubi Cheri (Ivory Coast), Heavenly Creatures (New Zealand), Law of Desire (Spain), Dangerous Living (U.S), The Man who drove with Mandela (South Africa), Apostles of Civilized Vice (South African television series), Uncut  and /or Zero Patience (Canada), The Wedding Banquet (U.S.),  Fire (India) and episodes from the television series Queer as Folk (both the British and U.S. versions.)

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