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 become literally a house, after all, is to be denied the hope of that spiritual transcendence of the body which, as Simone de Beauvoir has argued, is what makes humanity distinctively human. Thus, to be confined in childbirth (and significantly "confinement" was the key nineteenth-century term for what we would now, just as significantly, call "delivery") is in a way just as problematical as to be confined in a house or prison.
Sayfa 88
Infection in the Sentence: The Woman Writer and the Anxiety
Indistinct and yet rapid, barely perceptible but inexorable, the progress of that cloud shadow is not unlike the progress of nineteenth-century literary women out of the texts defined by patriarchal poetics into the open spaces of their own authority. That such an escape from the numb world behind the patterned walls of the text was a flight from dis-ease into health was quite clear to Gilman herself.
Sayfa 91
The Parables of the Cave
Where are the songs I used to know,
Where are the notes I used to sing?
I have forgotten everything
I used to know so long ago.
Sayfa 93 - Christina Rossetti
The Parables of the Cave
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.'
Sayfa 99
The Parables of the Cave
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.
Sayfa 99
The Parables of the Cave
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.
Sayfa 100