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In his paper, "Western Culture and the Ambiguous Legacies of the Pig," Benton Jay Komins provides a cultural lineage of the pig by the example and reading of Piggies by the Beatles. Komins observes that Piggies enacts the possibilities of the ubiquitous pig in Western culture by juxtaposing swinish antics with interpretations of limitation and heartbreak thereby forcing listeners to blur the distinctions between struggle, unrequited love, and boorishness. Komins continues his discussion by locating this juxtaposition within the Western pantheon of real, metaphorical, and imaginary animals, where the pig is noted to have obsessively endured. Komins argues that through the depictions and representations of the pig, we are able to gain particular insight into Judeo-Christian ambiguities, fixations, and inconsistencies. Komins's observations about the pig in Western culture serve to define and to delineate a boundary between the civilized and the uncivilized, the refined and the unrefined. This real or imagined border is further mapped out in the paper via a consideration of Orwell's Animal Farm, Carter's Nights at the Circus, and Henson's Miss Piggy.

In his article, "Popular Culture, Kitsch as Camp, and Film," Benton Jay Komins argues that at the crossroads of kitsch, between the irresistibly human and total spuriousness (Milan Kundera's and Clement Greenberg's respective definitions), lies the first serious glimmer of camp. Komins evaluates the connections between the phenomenon of kitsch and the phenomenon of camp through a theoretical discussion and the cinematic language of Percy Adlon's Rosalie Goes Shopping (1989-90). Critics like Susan Sontag and Andrew Ross, as well as Adlon's film, ask us to consider if camp is a pretentious expression of kitsch that belongs to the "artsy" demimonde. As Komins argues, two questions lie at the heart of the camp phenomenon: How does the camp sensibility contribute to contemporary interpretations of art and what promise of change does it playfully conceal?

In his article "Sightseeing in Paris with Baudelaire and Breton," Benton Jay Komins discusses the tensions between Charles Baudelaire's acts of modern appropriation and André Breton's imaginative seizing of the démodé. While Breton roams the Parisian cityscape with the same aspect of creative gazing as Charles Baudelaire's nineteenth-century dandy, the objects and experiences that he privileges are different from the dandy's fashionable marvels. In texts such as Nadja passé artifacts captivate Breton. Between Baudelaire's revelling in the elegant modern possibilities of dandysme and Breton's imaginative seizing of démodé objects, something significant has occurred: Twentieth-century urbanites like Breton no longer celebrate the experience of the new; rather, they privilege the obsolete, injecting it with inspirational possibilities. Against the cultural frame of Baudelaire's dandy and the social phenomenon of the fetishized commodity, Breton's twentieth-century descriptions of ruined Parisian landmarks, decrepit neighbourhoods, and exhausted everyday objects indeed become political.

In his article, "Comparative Spaces and Seeing Seduction and Horror in Bataille," Benton Jay Komins explores Bataille's preoccupation with "seeing": The eye holds a preeminently ambiguous position in Georges Bataille's universe of enucleated priests and scatological window scenes. Komins' comparative examination presents several aspects of Bataille's eyes: Existing between fascination and revulsion, this most Bataillean organ moves between subjective vision and objective blindness. The eye both captures and is captured in episodes of seductive horror. Through the denigration of vision, Bataille's dethroned eye exceeds the confines of visuality. Bataille develops an extraordinary notion of ocularity -- as a metaphor, action, and traumatic fixation -­ in his novels, autobiographical notes, and critical writing. His compelling eyes surface between written genres and lived experience, that is to say, in the comparative space between the phantasmatic and the social, inviting psychological and historical analysis.