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Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’S Life Writing

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Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’S Life Writing Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’s Life Writing Emma Jenkins A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Arts and Media Faculty of Arts and Social Sciences The University of New South Wales March 2018 Thesis/Dissertation Sheet Surname/Family Name : Jenkins Given Name/s : Emma Abbreviation for degree as give in the University calendar : PhD Faculty : Faculty of Arts and Social Sciences School : School of Arts and Media Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’s Thesis Title : Life Writing Abstract 350 words maximum: (PLEASE TYPE) Contemporary feminist life writing is built on an extraordinary tradition of category-testing experimentation with language and form. The specific textures and individual embodiments of gendered experience have frequently inspired challenges to accepted renditions of canonical genres of ‘the life’. This thesis argues that contemporary women’s life writing continues to interrogate the limits of the discourse and genres of the self by examining three texts by North American feminist authors. These texts are Chris Kraus’s Aliens & Anorexia (2000), Sheila Heti’s How Should A Person Be? (2010), and Maggie Nelson’s The Argonauts (2015). From the 1990s onwards, following the problematisation of the category of ‘woman’ and the ensuing ontological crisis in feminism, metatheoretical women’s life writing has been deployed to explore and manage a set of productive and seemingly irresolvable contradictions around the state of women’s identity. These contradictions manifest in these texts as parataxis, comic inversion, and as the queer strategy to sit ‘athwart’ opposing ideologies rather than ‘against’ them. Using accounts of the grotesque and relational ontology as theoretical frameworks, this thesis explicates how these texts have commented on this ontological uncertainty, disrupted genre taxonomies, and challenged the individuality of the ‘I’. Both frameworks propose that identity functions in both literary and social contexts as a mediation or dialogue between self and other that allows for a feminist ontology that is both individual and collective. These frameworks are appropriate for the state of contemporary women’s life writing for their ability to parse contradiction, and for their ability to challenge boundaries. Through these frameworks, this thesis maintains a particular focus on the role of the body and the limits of individualism. All categories are at stake in these texts. These texts understand that the questions and complications raised by the avant garde work of the twentieth century and the feminist theory of the 1990s cannot be solved, and a solution is not their desire. This thesis contributes to this ongoing discussion by arguing that ontological uncertainty is a compelling position from which to write and that this uncertainty has produced engaging and inventive contemporary experimental women’s life writing. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….…28/3/2018 Signature Witness Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: Originality Statement ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed…………………………………………….............. Date……………………………………………..............28/3/2018 i COPYRIGHT STATEMENT 'I hereby grant the University of New .South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restricti oft e digital copy of my thesis or dissertation.' Signed Date . ...... .f./.!t./12 AUTHENTICITY STATEMENT 'I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content h s occurred and if there are any minor variations in formatting, th are the esult of the conversion to digital format.' Signed Date ..... f./lf/18. Acknowledgments Foremost, I would like to thank my supervisor, Fiona Morrison, for her continuous support and guidance not only throughout these past four years, but through the years preceding this project as well. Her expertise has been invaluable and I have learnt a great deal more from her than what is recorded here. I would also like to extend this thanks to my co-supervisor, Liz McMahon, and to the members of my panel, Meg Mumford and Chris Danta, for their feedback and encouragement throughout. I would like to thank my family—Mum, Dad, Huw, Hannah, Antoine, and Bridie—for their enthusiastic support, for taking care of me, and for creating environments that have let each of us do our best. I’m very lucky to have you all. Finally, I would like to thank the friends who have shared this journey with me; Lizzie King and Trish May, whose constant company has brightened not only the process of researching and writing, but also the challenges and rewards of everyday living; and Liam Robertson, whose friendship has brought a great sense of belonging to my life. ii Table of Contents Originality Statement i Acknowledgements ii Abstract iii Introduction: The Grotesque and Relational Ontology 1 Chapter One: Porous Skin: Neo-Medieval Bodies and their Paratactic Dis/Continuities in Chris Kraus’s Aliens & Anorexia (2000) 39 Parataxis 50 Collectivity 68 Anorexia 82 Porosity 92 Chapter Two: Serious Play: Laughing through the Binary in Sheila Heti’s How Should A Person Be? (2012) 98 Masquerade 102 Carnivalesque 117 Laughter 134 Genius 146 Chapter Three: Athwart Athwart Athwart! Ontological Irresolution in Maggie Nelson’s The Argonauts (2015) 155 Taxonomy 159 Family 181 Motherhood 193 The Cave 199 Conclusion 208 Bibliography 214 ii Abstract Contemporary feminist life writing is built on an extraordinary tradition of category-testing experimentation with language and form. The specific textures and individual embodiments of gendered experience have frequently inspired challenges to accepted renditions of canonical genres of ‘the life’. This thesis argues that contemporary women’s life writing continues to interrogate the limits of the discourse and genres of the self by examining three texts by North American feminist authors. These texts are Chris Kraus’s Aliens & Anorexia (2000), Sheila Heti’s How Should A Person Be? (2010), and Maggie Nelson’s The Argonauts (2015). From the 1990s onwards, following the problematisation of the category of ‘woman’ and the ensuing ontological crisis in feminism, metatheoretical women’s life writing has been deployed to explore and manage a set of productive and seemingly irresolvable contradictions around the state of women’s identity. These contradictions manifest in these texts as parataxis, comic inversion, and as the queer strategy to sit ‘athwart’ opposing ideologies rather than ‘against’ them. Using accounts of the grotesque and relational ontology as theoretical frameworks, this thesis explicates how these texts have commented on this ontological uncertainty, disrupted genre taxonomies, and challenged the individuality of the ‘I’. Both frameworks propose that identity functions in both literary and social contexts as a mediation or dialogue between self and other that allows for a feminist ontology that is both individual and collective. These frameworks are appropriate for the state of contemporary women’s life writing for their ability to parse contradiction, and for their ability to challenge boundaries. Through these frameworks, this thesis maintains a particular focus on the role of the body and the limits of individualism. All categories are at stake in these texts. These texts understand that the questions and complications raised by the avant garde work of the twentieth century and the feminist theory of the 1990s cannot be solved, and a solution is not their desire.
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