Sandra M. Gilbert

22 Ağustos 2023 17:41

Shut Up in Prose: Gender and Genre in Austen's Juvenilia

Jane Austen has always been famous for fireside scenes in which several characters comfortably and quietly discuss options so seemingly trivial that it is astonishing when they are transformed into important ethical dilemmas.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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19 Ağustos 2023 17:05

Shut Up in Prose: Gender and Genre in Austen's Juvenilia

Although she has become a symbol of culture, it is shocking how persistently Austen demonstrates her discomfort with her cultural inheritance, specifically her dissatisfaction with the tight place assigned women in patriarchy and her analysis of the economics of sexual exploitation. At the same time, however, she knows from the beginning of her career that there is no other place for her but a tight one, and her parodic strategy is itself a testimony to her struggle with inadequate but inescapable structures.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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19 Ağustos 2023 17:05

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.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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19 Ağustos 2023 17:04

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.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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19 Ağustos 2023 17:04

Shut Up in Prose: Gender and Genre in Austen's Juvenilia

They shut me up in Prose —As when a little Girl They put me in the Closet —Because they liked me "still"—

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

"for out of my Womb thou shalt be brought forth after the manner of a Spirit, Conceived and Born again."

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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.

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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination Sandra M. Gilbert

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.'

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