Contexts and Continuities: An Introduction to Women's Experimental Fiction in English

Friedman, Ellen G.; Fuchs, Miriam

doi:10.1515/9781400859948.3

Cited by 3 publications

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“…103-4 and 106. Her latest work, not surprisingly, cannot be included in the category of that women's experimental fiction described by Friedman and Fuchs (1989). 25.…”

Section: Ungendering the Narrative Voice: A Conclusionmentioning

confidence: 99%

Palimpsests

Maioli

2009

European Journal of Women's Studies

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This article analyses Jeanette Winterson's Written on the Body, discussing its use of the female body as a text and, more specifically, as a palimpsest. The article aims to demonstrate that the novel's genderless narrator uses the beloved's body as a palimpsest since in trying to celebrate it, s/he is unable to depict it as it is and merely inscribes a set of meanings onto it. The female body is described through two major sets of images: as a landscape, via a colonial language, and as a diseased body, via an anatomical language. The article discusses this particular use of the female body as a traditional way of describing it, which is confirmed by the novel's wide use of literary references from canonical texts. The novel, then, appears to be positioned outside a feminist or lesbian tradition, since it is not able to represent the female body in a new and fertile way and draws too much on an all-male literary tradition, configuring itself as a palimpsest just like the body it is trying to describe.

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“…103-4 and 106. Her latest work, not surprisingly, cannot be included in the category of that women's experimental fiction described by Friedman and Fuchs (1989). 25.…”

Section: Ungendering the Narrative Voice: A Conclusionmentioning

confidence: 99%

Palimpsests

Maioli

2009

European Journal of Women's Studies

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“…In exploding dominant forms, women experimental writers not only assail the social structure, but also produce an alternate fictional space, a space in which the feminine, marginalized in traditional fiction and patriarchal culture, can be expressed. 2 Thus, one of the most important characteristics of womens experimental writing is that a certain marginal and feminine speaking position is accompanied by the radical questioning of traditional literary forms. The focus of my interest in this paper is the relation between experimentalist textual devices and the marginal, feminine speaking position.…”

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confidence: 99%

Speech From the Margin: Gertrude Stein1s Tender Buttons and Agáta Gordon’s Kecskerúzs

Zsadányi¹

2001

Hungarian Studies

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Where Are the Missing Contents? (Post)Modernism, Gender, and the Canon

Friedman¹

1993

Publ. Mod. Lang. Assoc. Am.

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Jean-François Lyotard has argued that the master narratives sustaining Western civilization in the past have been delegitimated and can no longer be presented. Although a sense of loss for these “missing contents” marks modernist and postmodernist literature, this sense seems more evident in texts written by men than in texts written by women. Women's texts that convey these missing contents do not look backward toward past master narratives. Rather, what is missing is the “not yet presented,” that which has not yet come into range. This pattern of bifurcation in modernism and postmodernism suggests that male texts are more readily adopted into the canon than female texts are because their nostalgic stance toward the past binds them, as female texts generally are not bound, to the long reach of the male Western narrative tradition. (EGF)

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Contexts and Continuities: An Introduction to Women's Experimental Fiction in English

Cited by 3 publications

References 0 publications

Palimpsests

Palimpsests

Speech From the Margin: Gertrude Stein1s Tender Buttons and Agáta Gordon’s Kecskerúzs

Where Are the Missing Contents? (Post)Modernism, Gender, and the Canon

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