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.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
The Queen's Looking Glass
The "killing" of oneself into an art object — the pruning and preening, the mirror madness, and concern with odors and aging, with hair which is invariably too curly or too lank, with bodies too thin or too thick — all this testifies to the efforts women have expended not just trying to be angels but trying not to become female monsters.
Sayfa 34
The Queen's Looking Glass
Excluded from the human community, even from the semidivine communal chronicles of the Bible, the figure of Lilith represents the price women have been told they must pay for attempting to define themselves. And it is a terrible price : cursed both because she is a character who "got away" and because she dared to usurp the essentially literary authority implied by the act of naming, Lilith is locked into a vengeance (child-killing) which can only bring her more suffering (the killing of her own children).
Sayfa 35
The Queen's Looking Glass
...a life of feminine submission, of "contemplative purity," is a life of silence, a life that has no pen and no story, while a life of female rebellion, of "significant action," is a life that must be silenced, a life whose monstrous pen tells a terrible story.
Sayfa 36
The Queen's Looking Glass
An angel in the house of myth, Snow White is not only a child but (as female angels always are) childlike, docile, submissive, the heroine of a life that has no story. But the Queen, adult and demonic, plainly wants a life of "significant action," by definition an "unfeminine" life of stories and story-telling. And therefore, to the extent that Snow White, as her daughter, is a part of herself, she wants to kill the Snow White in herself, the angel who would keep deeds and dramas out of her own house.
Sayfa 39
The Queen's Looking Glass
Surely, fairest of them all, Snow White has exchanged one glass coffin for another, delivered from the prison where the Queen put her only to be imprisoned in the looking glass from which the King's voice speaks daily. There is, after all, no female model for her in this tale except the "good" (dead) mother and her living avatar the "bad" mother. And if Snow White escaped her first glass coffin by her goodness, her passivity and docility, her only escape from her second glass coffin, the imprisoning mirror, must evidently be through "badness," through plots and stories, duplicitous schemes, wild dreams, fierce fictions, mad imper- sonations. The cycle of her fate seems inexorable.
Sayfa 42