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.Infection in the Sentence: The Woman Writer and the Anxiety
Certainly when we consider the "oddity" of women's writing in relation to its submerged content, it begins to seem that when women did not turn into male mimics or accept the "parsley wreath" they may have attempted to transcend their anxiety of authorship by revising male genres, using them to record their own dreams and their own stories in disguise. Such writers, therefore, both participated in and —to use one of Harold Bloom's key term— "swerved" from the central sequences of male literary history, enacting a uniquely female process of revision and redefinition that necessarily caused them to seem "odd."
Sayfa 73
Infection in the Sentence: The Woman Writer and the Anxiety
As Elaine Showalter has shown, until the end of the nineteenth century the woman writer really was supposed to take second place to her literary brothers and fathers. If she refused to be modest, self-deprecating, subservient, refused to present her artistic productions as mere trifles designed to divert and distract readers in moments of idleness, she could expect to be ignored or (sometimes scurrilously) attacked.
Sayfa 61
Infection in the Sentence: The Woman Writer and the Anxiety
What all these characters and their authors really fear they have forgotten is precisely that aspect of their lives which has been kept from them by patriarchal poetics: their matrilineal heritage of literary strength, their "female power" which, as Annie Gottlieb wrote, is important to them because of (not in spite of) their mothers.
Sayfa 59
It is debilitating to be any woman in a society where women are warned that if they do not behave like angels they must be monsters.
Sayfa 53
The Queen's Looking Glass
In addition, as Karen Horney and Dorothy Dinnerstein have shown, male dread of women, and specifically the infantile dread of maternal autonomy, has historically objectified itself in vilification of women, while male ambivalence about female "charms" underlies the traditional images of such terrible sorceress- goddesses as the Sphinx, Medusa, Circe, Kali, Delilah, and Salome, all of whom possess duplicitous arts that allow them both to seduce and to steal male generative energy.
Sayfa 34
The Queen's Looking Glass
But repeatedly, throughout most male literature, a sweet heroine inside the house (like Honoria) is opposed to a vicious bitch outside.
Sayfa 29
The Queen's Looking Glass
A final paradox of the metaphor of literary paternity is the fact that in the same way an author both generates and imprisons his fictive creatures, he silences them by depriving them of autonomy (that is, of the power of independent speech) even as he gives them life. He silences them and, as Keats's "Ode on a Grecian Urn" suggests, he stills them, or — embedding them in the marble of his art — kills them.
Sayfa 14