Sandra M. Gilbert Sözleri ve Alıntıları
Sandra M. Gilbert sözleri ve alıntılarını, Sandra M. Gilbert kitap alıntılarını, Sandra M. Gilbert en etkileyici cümleleri ve paragragları 1000Kitap'ta bulabilirsiniz.
Kadını, melek gibi davranmadığı takdirde canavar gibi gören bir toplumda, melek olmadığını bilen kadın kendini canavar gibi görmek ya da bu bilincin suçluluğuyla bir sürü hastalıkla, delilikle, histeriyle boğuşmak zorunda kalmıştır.
Çağdaş kadın yazarlar bugün, kaleme enerji ve otorite ile türkü ile sarılabiliyorlarsa, bunu on sekiz ve on dokuzuncu yüzyıllardaki anneleri, hastalık hissi veren bir tecrit, delilik hissi veren bir yabancılaşma ve kendi edebi alt kültürlerinde yaygın yazarlık endişesinin felç hissi veren belirsizliği ile mücadele etmiş oldukları için yapabilmişlerdir.
Sayfa 100
Austen
Kadın teslimiyetinin yine kadının ayakta kalması için gerekliliğini resmederken Austen'ın öyküsü özellikle erkek okurlar açısından memnuniyet verici niteliktedir, çünkü herhangi bir kızın evcilleştirilmesi değil, akıllı bir erkeğin isyankar ve hayal gücü kuvvetli bir kıza tutkuyla hakim olmasını anlatmaktadır
Sayfa 220Kitabı okuyor
Austen romanları
Erkek olmak, evi geçindiren, kendini sınayan ya da bir meslek edinen bir kimse olmak anlamına gelirken, kadın olmak başarıdan vaçgeçmek ve kendini erkeğe ve erkeğin sağladığı alana uygun hale getirmek anlamına gelmektedir.
Sayfa 219Kitabı okuyor
The Parables of the Cave
Reconstructing Isis and Eurydice, then, the woman artist redefines and recovers the lost Atlantis of her literary heritage, the sunken continent whose wholeness once encompassed and explained all those figures on the horizon who now seem "odd," fragmentary, incomplete — the novelists historians call "singular anomalies," the poets critics call "poetesses," the revolutionary artists patriarchal poets see as "unsexed," monstrous, grotesque.
Sayfa 99
The Parables of the Cave
"for out of my Womb thou shalt be brought forth after the manner of a Spirit, Conceived and Born again."
Sayfa 104
The Parables of the Cave
Going "down to the woman" of Fate whom Helen Diner describes, the woman writer recovers herself as a woman of art. Thus, where the traditional male hero makes his "night sea journey" to the center of the earth, the bottom of the mere, the belly of the whale, to slay or be slain by the dragons of darkness, the female artist makes her journey into what Adrienne Rich has called "the cratered night of female memory" to revitalize the darkness, to retrieve what has been lost, to regenerate, reconceive and give birth.'
Sayfa 99
The Parables of the Cave
Where are the songs I used to know,
Where are the notes I used to sing?
I have forgotten everything
I used to know so long ago.
Sayfa 93 - Christina Rossetti
The Parables of the Cave
Detached from herself, silenced, subdued, this woman artist tried in the beginning, as we shall see, to write like an angel in the house of fiction: with Jane Austen and Maria Edgeworth, she concealed her own truth behind a decorous and ladylike facade, scattering her real wishes to the winds or translating them into incomprehensible hieroglyphics. But as time passed and her cave-prison became more constricted, more claustrophobic, she "fell" into the gothic/Satanic mode and, with the Brontes and Mary Shelley, she planned mad or monstrous escapes, then dizzily withdrew — with George Eliot and Emily Dickinson — from those open spaces where the scorching presence of the patriarchal sun, whom Dickinson called "the man of noon," emphasized her vulnerability. Since "Creation seemed a mighty Crack" to make her "visible," she took refuge again in the safety of the "dim hypaethric cavern" where she could be alone with herself, with a truth that was hers even in its fragmentation.
Sayfa 101
The Parables of the Cave
Emily Dickinson, a woman artist whose own carefully sewn together "packets" of poetry were — ironically enough — to be fragmented by male editors and female heirs, projected her yearning for this lost female home into the figure of a caged (and female) leopard. Her visionary nostalgia demonstrates that at times the memory of this Atlantis could be as painful for women writers as amnesia about it often was.
Sayfa 100
Cinsiyet ve tür
Evde yaşıyoruz; sessiz ve kapatılmış. Ve duygularımız da bizi huzursuz ediyor.
Sayfa 184 - Anne ElliotKitabı okuyor
Infection in the Sentence: The Woman Writer and the Anxiety
"...Constantly considering their nerves, urged to consider them by well-intentioned but short-sighted ad- visors, [women] pretty soon become nothing but a bundle of nerves."
Sayfa 55
Infection in the Sentence: The Woman Writer and the Anxiety
Each of the "subjects" in which a young girl is educated may be sickening in a specific way. Learning to become a beautiful object, the girl learns anxiety about — perhaps even loathing of — her own flesh. Peering obsessively into the real as well as metaphoric looking glasses that surround her, she desires literally to "reduce" her own body.
Sayfa 54
Shut Up in Prose: Gender and Genre in Austen's Juvenilia
...But critics who patronize or castigate Austen for her acceptance of limits and boundaries are overlooking a subversive strain in even her earliest stories: Austen's courageous "grace under pressure" is not only a refuge from a dangerous reality, it is also a comment on it.
Sayfa 112
Shut Up in Prose: Gender and Genre in Austen's Juvenilia
For, as Gaston Bachelard explains, the miniature "allows us to be world conscious at slight risk." While the creators of satirically conceived diminutive landscapes seem to see everything as small because they are themselves so grand, Austen's analogy for her art — her "little bit (two Inches wide) of Ivory" — suggests a fragility that reminds us of the risk and instability outside the fictional space.
Sayfa 108