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In this work of feminist literary criticism the authors explore the works of many major 19th-century women writers. They chart a tangible desire expressed for freedom from the restraints of a confining patriarchal society and trace a distinctive female literary tradition.
When it was published in 1979, Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imaginationwas hailed as a pathbreaking work of criticism, changing the way future scholars would read Jane Austen, Mary Shelley, the Brontës, George Eliot, and Emily Dickinson. This thirtieth-anniversary collection adds both valuable reassessments and new readings and analyses inspired by Gilbert and Gubar’s approach. It includes work by established and up-and-coming scholars, as well as retrospective accounts of the ways in which The Madwoman in the Attic has influenced teaching, feminist activism, and the lives of women in academia. These contributions represent both the diversity of today’s feminist criticism and the tremendous expansion of the nineteenth-century canon. The authors take as their subjects specific nineteenth- and twentieth-century women writers, the state of feminist theory and pedagogy, genre studies, film, race, and postcolonialism, with approaches ranging from ecofeminism to psychoanalysis. And although each essay opens Madwoman to a different page, all provocatively circle back—with admiration and respect, objections and challenges, questions and arguments—to Gilbert and Gubar's groundbreaking work. The essays are as diverse as they are provocative. Susan Fraiman describes how Madwoman opened the canon, politicized critical practice, and challenged compulsory heterosexuality, while Marlene Tromp tells how it elegantly embodied many concerns central to second-wave feminism. Other chapters consider Madwoman’s impact on Milton studies, on cinematic adaptations of Wuthering Heights, and on reassessments of Ann Radcliffe as one of the book’s suppressed foremothers. In the thirty years since its publication, The Madwoman in the Attic has potently informed literary criticism of women’s writing: its strategic analyses of canonical works and its insights into the interconnections between social environment and human creativity have been absorbed by contemporary critical practices. These essays constitute substantive interventions into established debates and ongoing questions among scholars concerned with defining third-wave feminism, showing that, as a feminist symbol, the raging madwoman still has the power to disrupt conventional ideas about gender, myth, sexuality, and the literary imagination.
This book offers a discussion of the trope of madness in twentieth-century French women's writing, focusing on close readings of the following texts: Violette Leduc's "L'Asphyxie" (1946), Marguerite Duras's "Le Ravissement de Lol V. Stein" (1964), Simone de Beauvoir's 'La Femme rompue' (1967), Marie Cardinal's "Les Mots pour le dire" (1975), Jeanne Hyvrard's "Les Prunes de Cythere" (1975) and "Mere la mort" (1976). The discussion traces the evolution in the way madness is taken up by women authors from the key period starting just prior to the emergence of second-wave feminism and culminating at the height of the "ecriture feminine" project. This study argues that madness offers itself up to these authors as a powerful means to convey a certain ambivalence towards changing contemporary ideas on the authority of authorship. On the one hand a highly enabling means to figure transgression, the madwoman is equally the repository for a twentieth-century 'anxiety of authorship' on the part of the woman writer."
Is Marx relevant any more? Why should we care what he wrote? What difference could it make to our reading of literature? Terry Eagleton, one of the foremost critics of our generation, has some answers in this wonderfully clear and readable analysis. Sharp and concise, it is, without doubt, the most important work on literary criticism that has emerged out of the tradition of Marxist philosophy and social theory since the nineteenth century.
In this work, Jansen explores a recurring theme in writing by women: the dream of finding or creating a private and secluded retreat from the world of men. These imagined "women's worlds" may be very small, a single room, for example, but many women writers are much more ambitious, fantasizing about cities, even entire countries, created for and inhabited exclusively by women.
Critical approaches to the study of topics related to Persian literature and Iranian culture have evolved in recent decades. The essays included in this volume collectively demonstrate the most recent creative approaches to the study of the Persian language, literature, and culture, and the way these methodologies have progressed academic debate. Topics covered include; culture, cognition, history, the social context of literary criticism, the problematics of literary modernity, and the issues of writing literary history. More specifically, authors explore the nuances of these topics; literature and life, poetry and nature, culture and literature, women and literature, freedom of literature, Persian language, power, and censorship, and issues related to translation and translating Persian literature in particular. In dealing with these seminal subjects, contributors acknowledge and contemplate the works of Ahmad Karimi Hakkak and other pioneering critics, analysing how these works have influenced the field of literary and cultural studies. Contributing a variety of theoretical and inter-disciplinary approaches to this field of study, this book is a valuable addition to the study of Persian poetry and prose, and to literary criticism more broadly.
Mary Poovey's The Proper Lady and the Woman Writer has become a standard text in feminist literary discourse. In Uneven Developments Poovey turns to broader historical concerns in an analysis of how notions of gender shape ideology. Asserting that the organization of sexual difference is a social, not natural, phenomenon, Poovey shows how representations of gender took the form of a binary opposition in mid-Victorian culture. She then reveals the role of this opposition in various discourses and institutions—medical, legal, moral, and literary. The resulting oppositions, partly because they depended on the subordination of one term to another, were always unstable. Poovey contends that this instability helps explain why various institutional versions of binary logic developed unevenly. This unevenness, in turn, helped to account for the emergence in the 1850s of a genuine oppositional voice: the voice of an organized, politicized feminist movement. Drawing on a wide range of sources—parliamentary debates, novels, medical lectures, feminist analyses of work, middle-class periodicals on demesticity—Poovey examines various controversies that provide glimpses of the ways in which representations of gender were simultaneously constructed, deployed, and contested. These include debates about the use of chloroform in childbirth, the first divorce law, the professional status of writers, the plight of governesses, and the nature of the nursing corps. Uneven Developments is a contribution to the feminist analysis of culture and ideology that challenges the isolation of literary texts from other kinds of writing and the isolation of women's issues from economic and political histories.

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