By Daphne Grace
"Articulations and expressions of gender might be destabilising, transgressive, innovative and radical, encompassing either a painful legacy of oppression and a joyous exploration of latest experience." Analysing key texts from the nineteenth to twenty first centuries, this ebook explores quite a number British and Anglophone authors to contextualise women's writing and feminist idea with ongoing debates in awareness stories. Discussing writers who try to redefine the gendered international of "sexualized" house, no matter if inner or exterior, psychological or actual, this publication argues how the "delusion" of gender distinction will be addressed and challenged. In literary conception and in representations of the feminine physique in literature, id has more and more develop into a moving, a number of, renegotiable-and controversial-concept. whereas acknowledging old and cultural buildings of sexuality, "writing the body" needs to eventually comprise wisdom of human cognizance. right here, an realizing of attention from modern technology (especially quantum theory)-as the elemental construction block of lifestyles, past the body-allows specific insights into literary texts to explain the matter of subjectivity and what it capacity to be human. together with dialogue of themes reminiscent of feminism and androgyny, organization and entrapment, masculinities and masquerade, madness and emotion, and person and social empowerment, this examine additionally creates a full of life engagement with the literary method as a method of fathoming the "enigma" of recognition.
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Extra info for Beyond Bodies: Gender, Literature and the Enigma of Consciousness (Consciousness, Literature and the Arts, Volume 38)
Moreover, the theory of rasa explains why the transformation from bhava (raw emotion) to rasa (suggested meaning) in a work of art is essential, since emotional modes in a work are: aesthetic idealisations [and] would not be a source of delight […] Yet rasa, as a “subjective experience objectified” involves the coexistence of feeling/intellect, unity/diversity, truth/rhetoric; it is therefore not purely subjective or extra-linguistic (Haney 1993: 49). The subtle experience process of rasa is one that turns the audience/reader away from the purely rational level of conventional meaning.
This overarching fear has created the tradition where powerful, conventional women must be punished, reduced in status by exile from society, or killed off through sickness or accident. The uncanny, as associated Forging roads into consciousness 41 with the female, and with lack of control, is closely connected with madness. Emily Brontë ’s Catherine falls into a state of apparent madness before her death, and as Nelly Dean narrates, she has to be dealt with in an appropriate manner: “Perceiving it in vain to argue against her insanity, I was planning how I could reach something to wrap about her, without quitting my hold of her myself, for I could not trust her alone […]” (109).
Even by the novel’s end, mysteries remain unresolved: what are Heathcliff’s origins and source of sudden wealth; are Heathcliff and Catherine incestuous half-siblings; and from exactly what ailment do they die? Such ambiguities or problems in the novel are not solvable by logic alone. It is this unaccountability, or paradoxical nature of Brontë’s novel that reiterates the need for a different kind of theory and criticism, one that can account for the diverse effects it produces in the reader. Rasa theory in drama and literature This chapter began by raising questions about the effect of Wuthering Heights on the reader, posing problems of interpretation and response.