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The Transgender Subject, Experimental Narrative and Trans-Reading Identity in the Fiction of Virginia Woolf, Angela Carter, and Jeanette Winterson
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 7-2006 “A Highly Ambiguous Condition”: The Transgender Subject, Experimental Narrative and Trans-Reading Identity in the Fiction of Virginia Woolf, Angela Carter, and Jeanette Winterson Jennifer A. Smith Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the English Language and Literature Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Smith, Jennifer A., "“A Highly Ambiguous Condition”: The Transgender Subject, Experimental Narrative and Trans-Reading Identity in the Fiction of Virginia Woolf, Angela Carter, and Jeanette Winterson" (2006). Dissertations. 990. https://scholarworks.wmich.edu/dissertations/990 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. “A HIGHLY AMBIGUOUS CONDITION”: THE TRANSGENDER SUBJECT, EXPERIMENTAL NARRATIVE AND TRANS-READING IDENTITY IN THE FICTION OF VIRGINIA WOOLF, ANGELA CARTER, AND JEANETTE WINTERSON by Jennifer A. Smith A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of English Dr. Gwen Raaburg, Advisor Western Michigan University Kalamazoo, Michigan July 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “A HIGHLY AMBIGUOUS CONDITION”: THE TRANSGENDER SUBJECT, EXPERIMENTAL NARRATIVE AND TRANS-READING IDENTITY IN THE FICTION OF VIRGINIA WOOLF, ANGELA CARTER, AND JEANETTE WINTERSON Jennifer A. Smith, Ph.D. Western Michigan University, 2006 This dissertation examines how the constantly evolving gender identity of a text’s transgender subject relates to the text’s narrative structure and shapes the orientation of the reader to the text. -
Rereading the American Short Story
The Explorative Value of Computational Methods: Rereading the American Short Story Stephanie Siewert and Nils Reiter ABSTRACT This article explores the use of computational methods to study stylistic and content shifts of the nineteenth-century short story. It is generally assumed that the modern American short story somehow represents the democratic discourse of the United States. This paper argues that an explorative computational approach can help us to reconsider the connections between the textual patterns of the short story and U.S.-American modernity. We offer a critical, digital perspective on the distribution of certain indicative linguistic features across 123 short stories from 1840 to 1916. We used methods from computational linguistics to automatically anno- tate the texts with various linguistic properties (named entities and direct speech, for instance). The quantitative results of automated text processing are presented against the backdrop of the major social, economic, and cultural developments of the time. Our findings provide further insights on the tensions between processes of individualization and economic dependencies dur- ing the nineteenth century, especially with respect to the publishing industry. In addition, we propose that the more experimental nature of a macro-analytical perspective can direct our attention to texts or groups of texts that remain underestimated as to their literary value or exemplary nature for a certain topical, structural, or linguistic pattern. In this vein, the article offers a close reading of Thomas Bailey Aldrich’s short story “Mademoiselle Olympe Zabriski,” which features an above-average number of proper names within the corpus. When re-read in the light of quantitative results, we see the text comment humorously on 1870s class issues in New England. -
Uncovering and Recovering the Popular Romance Novel A
Uncovering and Recovering the Popular Romance Novel A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jayashree Kamble IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Timothy Brennan December 2008 © Jayashree Sambhaji Kamble, December 2008 Acknowledgements I thank the members of my dissertation committee, particularly my adviser, Dr. Tim Brennan. Your faith and guidance have been invaluable gifts, your work an inspiration. My thanks also go to other members of the faculty and staff in the English Department at the University of Minnesota, who have helped me negotiate the path to this moment. My graduate career has been supported by fellowships and grants from the University of Minnesota’s Graduate School, the University of Minnesota’s Department of English, the University of Minnesota’s Graduate and Professional Student Assembly, and the Romance Writers of America, and I convey my thanks to all of them. Most of all, I would like to express my gratitude to my long-suffering family and friends, who have been patient, generous, understanding, and supportive. Sunil, Teresa, Kristin, Madhurima, Kris, Katie, Kirsten, Anne, and the many others who have encouraged me— I consider myself very lucky to have your affection. Shukriya. Merci. Dhanyavad. i Dedication This dissertation is dedicated to my parents, Shashikala Kamble and Sambhaji Kamble. ii Abstract Popular romance novels are a twentieth- and twenty-first century literary form defined by a material association with pulp publishing, a conceptual one with courtship narrative, and a brand association with particular author-publisher combinations. -
The Following Is a Transcript of a Presentation I Made at the in Your Write Mind Conference at Seton Hill University on 22 June 2018
The following is a transcript of a presentation I made at the In Your Write Mind Conference at Seton Hill University on 22 June 2018. The audience comprised largely graduates of the University's MFA program for novelists. - FAJr. WRITING FOR THE NEW PULP FICTION MARKET Ever hear of The Purple Scar? Lady Domino? The Black Bat? How about the Shadow? Doc Savage? Conan the Barbarian? Ah, I see recognition lighting up a few faces. The aforementioned heroes and heroine are members of the pantheon of pulp fiction characters popular in the magazines of the 1930s and 40s. Literary types are fond of tagging Pulp Fiction as "escapist literature named after the cheap pulp paper on which the magazines were printed." I prefer to think that Pulp Fiction is named after the state in which the villains are left after the hero is finished beating the living snot out of them. Hundreds of pulp magazines graced the newsstands and magazine racks of America, some monthly and some weekly in the 1930s and 40s. And they kept authors like H.P. Lovecraft, Fritz Leiber, Ray Bradbury, Robert E. Howard, Robert Bloch, Kenneth Robeson, Dashiell Hammett, Raymond Chandler and a host of others from starving to death in the hard times of the Great Depression. As a matter of fact, during the Depression, the prolific Robert E. Howard had a greater income than the President of the bank in his hometown of Cross Plains, Texas. The magazines had titles like Spicy Detective Stories, Weird Tales, Astounding Science Fiction, THRILLING ADVENTURE, THRILLING DETECTIVE, THRILLING MYSTERY, THRILLING RANCH, THRILLING SPORTS, THRILLING WESTERN, and THRILLING WONDER STORIES. -
The Myth of Empty Iraq in Kevin Powers's the Yellow Birds
Website : www.uoajournal.com E-mail : [email protected] The Myth of Empty Iraq in Kevin Powers’s The Yellow Birds Sarah A. Majeed, Omar Mohammed Abdullah* College of Education for Women, University of Anbar, Iraq * [email protected] ABSTRACT: This paper explores the myth of empty Iraq in Kevin Powers’s The Yellow Birds ( 2012). The study accentuates the Anglo-American invasion of Iraq as pseudo-fact i.e., the war was waged on the grounds of bogus claims. That is, there had been no justified allegation upon which the invasion would be initiated. Therefore, the study will examine the narrative reliability that tells the story from an objective perspective. The American protagonist narrator discovers the deception of the American government when he repatriates. He becomes convinced that his military experience reinforced his belief that the war was waged for nihilistic purposes when he was deployed in Iraq; and there was no real reason for invading it since it does not have mass destruction weapons. The study, accordingly, will unravel this experience as a conspicuous proof of the empty Iraq; and the invasion was fabricated on imperial ideologies. Through the protagonist’s omniscient narrative perspective, Iraq will be scrutinized as a heavenly arcadia for peace and universal coexistence. As such, the discussion will prove the mythical fraudulent contemporary western mass media’s depiction of Iraq as a hellish abyss inferno. Instead, the study will identify it as a perfect place of unprecedented hospitality and empty of malicious feud towards the west, which is meticulously portrayed by the novel’s American narrator. -
Politicizing Fantasy in Angela Carter's Selected Fiction
1 REPUBLIC OF IRAQ MINISTRY OF HIGHER EDUCATION UNIVERSITY OF AL-QADISIYAH COLLEGE OF EDUCATION DEPARTMENT OF ENGLISH POLITICIZING FANTASY IN ANGELA CARTER'S SELECTED FICTION A THESIS SUBMITTED TO THE COUNCIL OF THE COLLEGE OF EDUCATION, UNIVERSITY of AL-QADISIYAH, IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE By RIDHA'A' ALI JELAAWEIY SUPERVISED BY PROF. BASIM NESHMY JELOUD AL-GHIZAWI December, 2018 2 ﴿ َوﻻَ تَتَ َمنَّ ْوا َما َف َّض َل ََّّللاُ بِ ِه بَ ْع َض ُك ْم َعلَى بَ ْع ٍض ِل ل ِ ر َجا ِل نَ ِصي ٌب ِ م َّما ا ْكتَ َسبُواْ َو ِللنِ َساء نَ ِصي ٌب ِ م َّما ا ْكتَ َس ْب َن َوا ْسأَلُواْ ََّّللاَ ِمن َف ْض ِل ِه إِ َّن ََّّللاَ َكا َن بِ ُك ِ ل َش ْي ٍء َع ِلي ًما﴾ صدق هللا العظيم ))سورة النساء ٢٣(( 3 4 5 Dedication To Imam Ali (Peace be upon him) 6 ACKNOWLEDGMENTS First and foremost, all praise is to Al-Mighty Allah, without His Blessing, this study would never have been completed. I would like to thank my supervisor, Prof. Basim Neshmy Jeloud Al-Ghizawi, for his guidance, considerable help, kindness, and patience in the course of writing this thesis. A respectful thank you for the Deanery of the college Prof. Dr. Khalid Al-Adeily, and the English Department head, Prof. Dr. Sami Basheer Matrood. My sincere thanks are due to the staff in the Department of English. Writing this thesis was my ambition for many years. Thank you for letting me fulfill it. -
Caputo-Angela-Carter POSTPRINT
Oxford Bibliographies Angela Carter Nicoletta Caputo University of Pisa Table of Contents • Introduction • General Overviews o Monographs o Edited Collections • Bibliographies and Reference Works • Biographies o Interviews o Personal Reminiscences and Obituaries • Reviews • Criticism of Individual Works o Early novels up to 1972 o The Passion of New Eve o Nights at the Circus o Wise Children o Fairy Tales o Short Stories o Essays and Journalism o Radio, Film and Television • The Gothic • Magic Realism • Feminism • Psychoanalysis • Postmodernism and History • The Grotesque and the Carnivalesque • Carter and Other (Women) Writers • Carter in the Panorama of Contemporary Fiction 1 Introduction Angela Carter (née Stalker) was born on 7 May 1940 in Eastbourne, Sussex. She spent much of her childhood in South Yorkshire with her maternal grandmother, a very strong woman who had a lasting influence on her. At the end of the war her family went back to London and, after leaving school, Carter worked briefly as a junior reporter for a local newspaper. In 1960 she married and went to Bristol, where she graduated in 1965, specializing in medieval literature. Her first novel, Shadow Dance , was published in 1966. The Magic Toyshop , which won the John Llewellyn Rhys Prize, followed in 1967. In 1969, after separating from her husband, she went to live in Japan for two years on the Somerset Maugham Travel Award she had won for her third novel, Several Perceptions . There, as she claimed in Nothing Sacred , she “learnt what it is to be a woman and became radicalized.” In 1969 Heroes and Villain was also published. -
H. G. WELLS: Luis Alberto Lázaro Lafuente (University of Alcalá) Ever Since Classical Times Criticism Has Tended to Ditinguish
H. G. WELLS: LITERARY ARCHETYPES IN NON-CABONICAL LITERATURE Luis Alberto Lázaro Lafuente (University of Alcalá) Ever since classical times criticism has tended to ditinguish between "high" and "low" forms of literature. In ancient Greece hierarchy in genres reflected hierarchies in society: epic and tragedy were considered "high" or elevated genres because their protagonists were people of high "degree" or social rank, whereas comedy and satire were "low" because they used less elevated characters. Different criteria established by literary theory have always made critics, academics and institutions carry out the grading of literary genres and the selection of literary from non literary, creating the canonical corpuses of literary works. Por many years, science fiction has been considered a "low" form of literature. It seems that one of the principIes upon which this decision has been based has to do with "realism" in literature; that is to say, good stories should directly reflect experience of what happens or has happened in our world. Most escapist fiction then is not considered seriously and tends to be labelled as popular or just light entertainment. It is quite illustrative to see that the definition of the novel given by the Oxford English Literature (vol. VII) excludes all science fiction stories, since representations of future life are not taken into account: Marginal Discourse. (Eda. M. Aguirre, M. Bengoechea, R.K. Shepherd), Servicio de Publicaciones, Universidad de Alcalá de Henares, Alcalá 1993. 177 A fictitious prose narrative or tale of considerable length - now usually one long enough to fill one or more volumes -, in which characters and actions representative of the real life of past or present times are portrayed in a plot of more or less complexity. -
A Few Observations on American Fiction, 1851-1875
A Few Observations On American Fiction, 1851-1875 BY LYLE H. WRIGHT AT the present time, I am engaged in compiling a bibli- Ix. ography of American fiction published in this country between 1851 and 1875. It is to be a continuation of my earlier published work which covered the years 1774 to 1850. In the course of my work, I have visited several libraries known to have good collections in this field. I spent a very profitable month at this Society's Library where one of the outstanding collections of American fiction is to be found, thanks to the efforts of Clarence Saunders Brigham, Director. During my search, I have brought to light many novels and tales that had dropped completely out of sight. Literary historians will say, I am sure, that some of these titles were better forgotten, but that is a bibliographical impossibility. No doubt, some statistics covering the number of novels written on any one subject will have to be revised upward. Moreover, with a better knowledge of the total output of fiction which falls within the scope of my work—I estimate the total will exceed four thousand titles—the scholar has a much broader view of the literary activity in this field during the third quarter of the nineteenth century. It is not my purpose here to evaluate these resurrected works or the works of any author in this twenty-five year period. I wish only to offer my observations and venture a few opinions, based on my findings, on a number of out-of- the-way facts, and to discuss a few points not to be found in 76 AMERICAN ANTIQUARIAN SOCIETY [April, literary histories. -
'His Peremptory Prick': the Failure of the Phallic in Angela Carter's The
Charnock, Ruth. "‘His Peremptory Prick’: The Failure of the Phallic in Angela Carter’s The Passion of New Eve (1977)." Patriarchal Moments: Reading Patriarchal Texts. Ed. Cesare Cuttica. Ed. Gaby Mahlberg. : Bloomsbury Academic, 2016. 171–178. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781472589163.ch-022>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 07:28 UTC. Copyright © Cesare Cuttica, Gaby Mahlberg and the Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 21 ‘His Peremptory Prick’: The Failure of the Phallic in Angela Carter’s The Passion of New Eve (1977) Ruth Charnock Then the loudspeaker crackled again, to attract my attention: a gong sounded and a crisp voice with the intonations of an East Coast university delivered these maxims. […] ‘Proposition one: time is a man, space is a woman. Proposition two: time is a killer. Proposition three: kill time and live forever.’ The gong struck again, and then the same voice delivered the following lecture. ‘Oedipus wanted to live backwards. He had a sensible desire to murder his father, who dragged him from the womb in complicity with historicity. His father wanted to send little Oedipus forward on a phallic projector (onwards and upwards!): his father taught him to live in the future, which isn’t living at all, and to turn his back on the timeless eternity of interiority. But Oedipus botched the job. In complicity with phallocentricity, he concludes his trajectory a blind old man, wandering by the seashore in a search for reconciliation. -
The Ecological Imagination of John Cowper Powys: Writing, 'Nature', and the Non-Human
The Ecological Imagination of John Cowper Powys: Writing, 'Nature', and the Non-human Michael Stephen Wood Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English September 2017 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2017 The University of Leeds and Michael Stephen Wood The right of to be identified as Author of this work has been asserted by in accordance with the Copyright, Designs and Patents Act 1988 Acknowledgements Thanks are due, first and foremost, to Dr. Fiona Becket for her unswerving belief and encouragement. This thesis would not have been possible without the support of Stuart Wood, Susan Bayliss, Elaine Wood, Paul Shevlin, and Jessica Foley, all of whom have my love and gratitude. Further thanks are due to Dr. Emma Trott, Dr. Frances Hemsley, Dr. Ragini Mohite, Dr. Hannah Copley, and Dr. Georgina Binnie for their friendship and support, and to Kathy and David Foley for their patience in the final weeks of this project. Thanks to Adrienne Sharpe of the Beinecke Rare Book and Manuscript Library for facilitating access to Powys’s correspondence with Dorothy Richardson. I am indebted to everyone in the Leeds School of English who has ever shared a conversation with me about my work, and to those, too numerous to mention, whose teaching has helped to shape my work and thinking along the way. -
In Angela Carter's the Passion of New Eve the Passion of New
Violent Spaces, Violated Bodies: The Representations of Violence . Tom 5/2017, ss. 61-72 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(5) www.sej.pwszplock.pl Papatya Alkan-Genca Manisa Celal Bayar University, Turkey Violent Spaces, Violated Bodies: The Representations of Violence in Angela Carter’s The Passion of New Eve Przestrzenie przemocy, skrzywdzone ciała: obrazy przemocy w powieści Angeli Carter The Passion of New Eve Abstract Abstrakt Published in 1977, The Passion of Opublikowana w 1977 roku powieść New Eve depicts a dystopian America where Angeli Carter The Passion of New Eve kre- violence has become the norm. From rape śli dystopijną wizję Ameryki, gdzie przemoc to murder, from re-creation to violation, the stała się normą. Od gwałtu do morderstwa, od text provides a variety of contexts in which przetworzenia do przekroczenia, tekst przed- violence operates. Regardless of one’s gender stawia szeroki wachlarz kontekstów, w jakich and sometimes because of that, everyone can mamy do czynienia z przemocą. Bez względu become the victim or the perpetrator. More- na płeć, a czasem właśnie ze względu na nią, over, the spaces occupied by the characters każdy może stać sie ofiarą lub sprawcą. Co contribute to the novel’s handling of violence. więcej, przestrzenie, w których przebywają This paper argues that Angela Carter’s The bohaterowie mają wpływ na przedstawienia Passion of New Eve is a text in which space, przemocy w powieści. Artykuł ten dowodzi, self, gender, and body are the sites where vio- że powieść Angeli Carter The Passion of lence is presented and re-presented, inflicted New Eve jest tekstem, w którym przestrzeń, and experienced, and it contends that violence tożsamość, płeć i ciało stają się miejscami, 62 Papatya Alkan-Genca Tom 5/2017 serves as a means to problematize conven- gdzie przemoc jest tworzona i odtwarzana, tional ways of perceiving and making sense zadawana i doświadczana.