Rich and Strange: Gender, History, ModernismPrinceton University Press, 27 հոկ, 1991 թ. - 248 էջ Like the products of the "sea-change" described in Ariel's song in The Tempest, modernist writing is "rich and strange." Its greatness lies in its density and its dislocations, which have until now been viewed as a repudiation of and an alternative to the cultural implications of turn-of-the-century political radicalism. Marianne DeKoven argues powerfully to the contrary, maintaining that modernist form evolved precisely as a means of representing the terrifying appeal of movements such as socialism and feminism. Organized around pairs and groups of female-and male-signed texts, the book reveals the gender-inflected ambivalence of modernist writers. Male modernists, desiring utter change, nevertheless feared the loss of hegemony it might entail, while female modernists feared punishment for desiring such change. With water imagery as a focus throughout, DeKoven provides extensive new readings of canonical modernist texts and of works in the feminist and African-American canons not previously considered modernist. Building on insights of Luce Irigaray, Klaus Theweleit, and Jacques Derrida, she finds in modernism a paradigm of unresolved contradiction that enacts in the realm of form an alternative to patriarchal gender relations. |
From inside the book
Արդյունքներ 38–ի 1-ից 5-ը:
... James , Gilman , Stein , Con- rad , Chopin , and Woolf ( chapters 2-5 ) , then locating sous - rature in a range of canonical and noncanonical texts of the high modernist period ( chapter 6 ) , and finally positing the disintegration of ...
... James , Yeats , Pound , Eliot , and Joyce are credited not with giving birth to modernism — that metaphor itself would change , and is intended to change , the picture— but with inventing modernism : the figure of " invention " locates ...
... James's The Portrait of a Lady ( 1881 ) both fore- shadows modernism and reveals the distance from it of this late Victorian novel . Sea - change momentarily becomes a possible alternative for Isabel Archer to her either / or trap , her ...
... James uses water imagery to represent Isabel's desire for Good- wood as something other than self - betrayal , because that desire is a be- trayal only of the " self " constructed by the schooling of her subjectivity to the laws of ...
... James's cue , that the flood has gone too far . In the very " movement " of sinking , she " seemed to beat with her feet , " an image that foreshadows Stein's description in Lord Jim of how to move when immersed in the destructive ...
Բովանդակություն
Modernism under Erasure | 19 |
A Different Story The Yellow Wallpaper and The Turn of the Screw | 38 |
CONRAD AND OTHERS | 65 |
Darker and Lower Down The Eruption of Modernism in Melanctha and The Nigger of the Narcissus | 67 |
The Vaginal Passage Heart of Darkness and The Voyage Out | 85 |
The Destructive Element The Awakening and Lord Jim | 139 |
IN THE WAKE OF EARLY MODERNIST NARRATIVE | 177 |
AntiCanonical Modernism | 179 |
After Modernism | 208 |
NOTES | 217 |
245 | |