En Eski Sandra M. Gilbert Gönderileri
En Eski Sandra M. Gilbert kitaplarını, en eski Sandra M. Gilbert sözleri ve alıntılarını, en eski Sandra M. Gilbert yazarlarını, en eski Sandra M. Gilbert yorumları ve incelemelerini 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
The Queen's Looking Glass
...this image of God alone making sky, earth, sea, it is this image which has confused woman.
Sayfa 3
The Queen's Looking Glass
"...Jane Austen's Anne Elliot understates the case when she decorously observes, toward the end of Persuasion, that "men have had every advantage of us in telling their story. Education has been theirs in so much higher a degree; the pen has been in their hands" (II, chap II
Sayfa 7
The Queen's Looking Glass
No doubt this complex of metaphors and etiologies simply reflects not just the fiercely patriarchal structure of Western society but also the underpinning of misogyny upon which that severe patriarchy has stood. The roots of "authority" tell us, after all, that if woman is man's property then he must have authored her, just as surely as they tell us that if he authored her she must be his property. As a creation "penned" by man, moreover, woman has been "penned up" or "penned in."
Sayfa 13
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
The Queen's Looking Glass
Finally, no human creature can be completely silenced by a text or by an image. Just as stories notoriously have a habit of "getting away" from their authors, human beings since Eden have had a habit of defying authority, both divine and literary.
Sayfa 16
The Queen's Looking Glass
A woman writer must examine, assimilate, and transcend the extreme images of "angel" and "monster" which male authors have generated for her.
Before we women can write, declared Virginia Woolf, we must "kill" the "angel in the house."
Sayfa 17
The Queen's Looking Glass
For to be selfless is not only to be noble, it is to be dead. A life that has no story, like the life of Goethe's Makarie, is really a life of death, a death-in-life. The ideal of "contemplative purity" evokes, finally, both heaven and the grave.
Sayfa 25
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
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