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 59–ի 1-ից 5-ը:
... language and conventions of form ... the shock , the violation of expected continuities , the element of de - creation and crisis " ( 24-25 ) . The term " form " itself , because of its critical history , might also re- quire some ...
... language ; its formal decentered- ness , indeterminacy , multiplicity , and fragmentation are very much in ac- cord with a feminine aesthetic or Cixousian ecriture feminine.18 As Ra- chel Blau DuPlessis says , " literature by women , in ...
... language that would no longer be corrupted by service to the " master narratives . " 21 As is probably ( though not intentionally ) apparent in my tone , my own political - aesthetic sympathies are promodernist . It is clear to me , how ...
... language . New Critical modernism not only omitted from its canon works like these by white women , and works by the black writers of the Harlem Renaissance , 23 but also valorized , at the expense of the progressive impli- cations of ...
... language James uses to describe the " fathomless waters " is thor- oughly ambiguous , reversing itself from one moment to the next . A phrase that is offered syntactically as supporting or extending the INTRODUCTION 13.
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 | |