Rich and Strange: Gender, History, ModernismPrinceton University Press, 2021/07/13 - 257 ページ Like the products of the "sea-change" described in Ariel's song in The Tempest, modernist writing is "rich and strange." Its greatness lies in its density and its dislocations, which have until now been viewed as a repudiation of and an alternative to the cultural implications of turn-of-the-century political radicalism. Marianne DeKoven argues powerfully to the contrary, maintaining that modernist form evolved precisely as a means of representing the terrifying appeal of movements such as socialism and feminism. Organized around pairs and groups of female-and male-signed texts, the book reveals the gender-inflected ambivalence of modernist writers. Male modernists, desiring utter change, nevertheless feared the loss of hegemony it might entail, while female modernists feared punishment for desiring such change. With water imagery as a focus throughout, DeKoven provides extensive new readings of canonical modernist texts and of works in the feminist and African-American canons not previously considered modernist. Building on insights of Luce Irigaray, Klaus Theweleit, and Jacques Derrida, she finds in modernism a paradigm of unresolved contradiction that enacts in the realm of form an alternative to patriarchal gender relations. |
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... seemed to define itself as a repudiation of , and an alternative to the cultural implications of late nineteenth- and early twentieth - century feminism and socialism . I will argue here that , on the contrary , modernist form evolved ...
... seemed so large ; it seemed to open out , all round her , to take the form of a mighty sea , where she floated in fathomless waters . She had wanted help , and here was help ; it had come in a rushing torrent . I know not whether she ...
... seemed to open out , all round her , to take the form of a mighty sea . " Yet that positive opening out into a " mighty sea ” causes her to float , after a comma , in terrifyingly “ fathomless waters . ” In the next sentence , the sea ...
... seemed as if it might have reproduced all it had ever reflected between those placid banks , and brought nothing to the light save what was peaceful , pastoral , and blooming . 31 The illicit drowning embrace of Riderhood and Headstone ...
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目次
3 | |
CHAPTER 1 | 19 |
CHAPTER 2 | 38 |
CHAPTER 3 | 67 |
CHAPTER 4 | 85 |
CHAPTER 5 | 139 |
CHAPTER 6 | 179 |
CHAPTER 7 | 208 |
NOTES | 217 |
INDEX | 245 |