ABSTRACT

In this article we situate Alan Moore and Melinda Gebbie's Lost Girls as a ‘pornographic playground' arguing that it is through ‘play' that the text is able to position itself as serious and not-serious simultaneously, something central to its navigation of the ethics of its pornographic mode. Contextualising our analysis by considering the relative absence of ‘sex' as an example of ‘play' in scholarly texts, as well as the debates around the porn-wars, we argue Lost Girls uses a playful mode as part of its subversive reiteration of pornography, and as an attempt to render pornography ‘feminine’. In doing this, it nevertheless creates a space of tacit exclusion, creating a sexual playground predicated upon class privilege. However, it is as a space of play that the text navigates the ethics of representation – something particularly important to its dealing with serious themes including sexual assault, incest and paedophilia – by insisting upon the simultaneous connection and separation between the actual and imaginary, the real-world and not-real-image/text/imagination. Speaking back to wider debates around pornography, the text positions the navigation of such ambiguity as central not only to the ethics of texts, but also to the creation of spaces of play.

摘要

在这篇文章中，我们将艾伦·摩尔和梅琳达·格比的《迷失的女孩》定位为“色情游乐场”，认为正是通过“游戏”，文本能够同时将自己定位为严肃和不严肃，这是其伦理导航的核心其色情模式。通过将“性”的相对缺失作为学术文本中“游戏”的一个例子，以及围绕色情战争的辩论，将我们的分析背景化，我们认为失落的女孩使用俏皮的模式作为其对色情内容的颠覆性重复的一部分，并试图将色情内容渲染为“女性化”。在这样做的过程中，它仍然创造了一个默认的排斥空间，创造了一个以阶级特权为基础的性游乐场。然而，正是作为一个游戏空间，文本通过坚持现实和想象之间的同时连接和分离来引导再现伦理——这对于处理包括性侵犯、乱伦和恋童癖在内的严重主题尤其重要。真实世界和非真实图像/文本/想象。回顾围绕色情的更广泛的辩论，文本将这种模糊性的导航定位为不仅是文本伦理的核心，也是创造游戏空间的核心。