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.Infection in the Sentence: The Woman Writer and the Anxiety
To consider the afflictions of George Eliot, however, is to bring to mind another strategy the insubordinate woman writer eventually developed for dealing with her socially prescribed subordination.
Where women like Finch and Bradstreet apologized for their supposed inadequacies while women like Behn and Cavendish flaunted their freakishness, the most rebellious of their nineteenth-century descendants attempted to solve the literary problem of being female by presenting themselves as male.
Sayfa 65
Infection in the Sentence: The Woman Writer and the Anxiety
At the same time, however, the woman who squarely confronts both her own femaleness and the patriarchal nature of the plots and poetics available to her as an artist may feel herself struck dumb by what seem to be irreconcileable contradictions of genre and gender. An entry in Margaret Fuller's journal beautifully summarizes this problem:
For all the tides of life that flow within me, I am dumb and ineffectual, when it comes to casting my thought into a form. No old one suits me. If I could invent one, it seems to me the pleasure of creation would make it possible for me to write...
I love best to be a woman; but womanhood is at present too straitly-bounded to give me scope. At hours, I live truly as a woman; at others, I should stifle; as, on the other hand, I should palsy, when I play the artist.
Sayfa 71 - Margaret Fuller
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
Interestingly, indeed, several feminist critics have recently used Frantz Fanon's model of colonialism to describe the relationship between male (parent) culture and female (colonized) literature. "But with only one language at their disposal, women writers in England and America had to be even more adept at doubletalk than their colonized counterparts. We shall see, therefore, that in publicly presenting acceptable facades for private and dangerous visions women writers have long used a wide range of tactics to obscure but not obliterate their most subversive impulses."
Sayfa 74
Infection in the Sentence: The Woman Writer and the Anxiety
Conditioned to doubt their own authority anyway, women writers who wanted to describe what, in Dickinson's phrase, is "not brayed of tongue" would find it easier to doubt themselves than the censorious voices of society. The evasions and concealments of their art are therefore far more elaborate than those of most male writers. For, given the patriarchal biases of nineteenth-century literary culture, the literary woman did have something crucial to hide.
Sayfa 75
Infection in the Sentence: The Woman Writer and the Anxiety
More specifically, however, the one plot that seems to be concealed in most of the nineteenth-century literature by women which will concern us here is in some sense a story of the woman writer's quest for her own story; it is the story, in other words, of the woman's quest for self-definition...
...The story "no man may guess," therefore, is the story of her attempt to make herself whole by healing her own infections and diseases.
Sayfa 76
Infection in the Sentence: The Woman Writer and the Anxiety
It is significant, then, that when the speaker of "The Other Side of a Mirror" looks into her glass the woman that she sees is a mad- woman, "wild / With more than womanly despair," the monster that she fears she really is rather than the angel she has pretended to be.
What the heroine of George Eliot's verse-drama Armgari calls "basely feigned content, the placid mask / Of woman's misery" is merely a mask, and Mary Elizabeth Coleridge, like so many of her contemporaries, records the emergence from behind the mask of a figure whose rage "once no man on earth could guess."
Sayfa 77
Infection in the Sentence: The Woman Writer and the Anxiety
...the madwoman in literature by women is not merely, as she might be in male literature, an antagonist or foil to the heroine. Rather, she is usually in some sense the author's double, an image of her own anxiety and rage.
Sayfa 78
Infection in the Sentence: The Woman Writer and the Anxiety
From a male point of view, women who reject the submissive silences of domesticity have been seen as terrible objects — Gorgons, Sirens, Scyllas, serpent-Lamias, Mothers of Death or Goddesses of Night.
Sayfa 79
Infection in the Sentence: The Woman Writer and the Anxiety
For the great women writers of the past two centuries are linked by the ingenuity with which all, while no one was really looking, danced out of the debilitating looking glass of the male text into the health of female authority. Tracing subversive pictures behind socially acceptable facades, they managed to appear to dissociate themselves from their own revolutionary impulses even while passionately enacting such impulses. Articulating the "private lives of one half of humanity," their fiction and poetry both records and transcends the struggle of what Marge Piercy has called "Unlearning to not speak."
Sayfa 82