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Emma Kirby - madness, independence
āthe madness of women is indicative of something greater than individual instability - they point to the lack of stories available to women, to a world of literature dominated by patriarchal discourseā
Woolf, Room of Ones Own - perspective, public vs private
āthis is an important book, the critics assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing roomā
Hill Rigney - sex, love, self
āsex and love, for both septimus and clarissa as for jane eyre, threaten a violation of the inner self which one must struggle to keep intactā
Mozely (1848) - Jane Eyre, desire, rebellion
āburning with revolutionary french anti-monarchistsā
DH Laurence - passion, sexuality, Jane Eyre
āverged toward pornographyā
Zwerdling - Mrs Dalloway, class, status, femininity
the female is either āshaped or deformedā by her standing in the social system
Gilbert and Gubar - Jane Eyre, red room
āa kind of patriarchal death chamberā
Billington - Jane Eyre, rebellion, escape
when jane leaves āthere is no sense of feminist emancipationā¦nothing that feels like an achievementā¦only lonliness and longingā¦this is heroism that has no glamour of the heroicā
Billington - writing, genre, rebellion, jane eyre
ānot only the heroine, but the novelistic form which shapes her, are challenging conventional normsā
Woolf (diary) - mrs dalloway, doubles, madness
a desire to see āthe world seen by the sane and the insaneā
Woolf - expectations of femininity, angel in the house
ākilling the angel in the house was part of the occupation of a woman writerā
Zwerdling - mrs dalloway, class, status
clarissa and her class are āliving on borrowed timeā
Groover - mrs dalloway, marriage, choice
āviewing the house as a potentially liminal space reveals the extent to which clarissa has chosen this life, not only for its priviliges ad protections, but for the deep sense of privacy it affords her, and with that privacy the freedom of her imaginationā
Ranthee - mrs dalloway, madness, medical institutions
āseptimus, being clarissaās double and alter ego, reaffirms virginiaās āvehement indictmentā of the horrors of womenās psychiatric incarcerationā
Poovey - jane eyre, governesses
āthere were strong middleclass fears about inappropriate governesses, who instead of functioning as a bulwark against immorality, were the conduit through which it infected the homeā
Hill Rigney - madness, passion
āin jane eyre, the price of sexual committment is the loss of self in madness or death. in mrs dalloway, madness becomes a kind of refugue for the self rather than its lossā
E.M Forster - mrs dalloway, doubling, status
āthe societified lady and the obscure maniac are in a sense the same person. his foot slipped through the gay surface on which she still standsā
Hill Rigney - mrs dalloway, gender expectations
ā[clarissa and septimus are seen] as essentially āfeminineā in that both are victimised, to varying extents, by a male-supremacist systemā
Bournhela - female power, restraints
āthis fantasied female power is continually tethered and troubled by the realist narrative of social determination and patriarchal imbricationā
Showalter - madness, sexuality
āsexual appetite was considered one of the chief symptoms of moral insanity in women: it was subject to severe sanctions and was regarded as abnormal or pathologicalā
George Elliot - public v private
āthere is no private life that has not been determined by a wider public lifeā
Gilbert and Gubar - jane eyre, bertha, helen, emotion, expectation
āthe fate of victorian women who, like helen, cannot express her anger or, like bertha, cannot contain it, is erased from the textā
Grudin - sexuality, morality
āsexual license in a woman is unforgivable, irreversible and literally unspeakableā
Southey (1837) - priorities of women
āliterature cannot be the business of a womanās life, and it ought not to beā
Schroder - female roles, rebellion
āit is the feminine in the novel that so often destabilises the sociohistorical perimeters that seek to limit human idenityā¦through the figure of the female, political and patriarchal hegemony is overthrowā
Wood - jane eyre, jane and rochesterās relationship, patriarchal values
āthe relationship between jane and rochester cannot operate wholly within a patriarchal system, but neither can it escape itā
Gilbert and Gubar - jane eyre, berthaās laugh, doubling
āthe laugh [Berthaās] is the voice of janeās submerged and inner self, which lurks behind the bars of social restraintā
Tambling - mrs dalloway, spaces, public vs private
ā[big ben and westminster are] the very embodiment of patriarchy, both assertive and restrictiveā
Showalter - mrs dalloway, peter, masculinity
ā[peter walsh] cannot reconcile alleged ideals with real feelings and actsā
Woolf - mrs dalloway, doubling, madness, death
āmrs dalloway was originally to kill herselfā
Elkin - writing, freedom, rebellion
āfor some women, writing is a way of stepping out of boundā
Showalter - madness, feminine
ācultural tradition that represents āwomanā as madness and that uses images of the female bodyā¦to stand for irrationality in generalā
Batchelor - mrs dalloway, public vs private
ā[mrs dalloway] uses the idea of a public and a private life as a means of exploring an opposition between a masculine view of the world (that of doing) and a feminine view (that of feeling)ā
Woolf - modernism
āthe āproper stuff of fictionā does not exist: everything is the proper stuff of fictionā
Tillotson - jane eyre, rebellion, outsider
jane eyre expresses a āvoice from the dangerous class of oppressed or āoutlawedā womenā
Rose - status, marriage, patriarchal authority
āthe name of the husband is one of the strongest insigna of patriarchal powerā
William Acton (1857) - female roles, domestic sphere, asexuality
ālove of home, children and domestic duties are the only passions women feelā
Billington - jane eyre, gender roles
ājaneā¦does not and will not fit the female roles conventionally assigned to herā
Winterson - public vs private, narrative
ātrying to get away from the recieved idea that women always write about āexperienceā - the compass of what they know, while men write wide and bold - the big canvas, the experiment with formā
Woolf - modernism, fiction
āthe proper stuff of fiction is little other than custom would have us believe itā
Garnallo - oranges, jane eyre, narrative, fantasy
integrating stories and reality āsubverts the possibility of a single authority reading of fictionā
Bettleheim - narrative authority
āexperience cannot be explained or legitimised by a singular overarching narrativeā
Winterson - narrative authority, perspective
āeveryone who tells a story tells it differently, just to remind us that everyone sees it differentlyā
Winterson - multiple stories, truth
āwe too are another story. not caught, not confined, not predestined, not only one gender or passionā
Morlan - oranges, dismantling narratives
āwinterson may be seen to be answering woolfās famous call for women-centred texts in which āheterosexual masculinityā is not the default termā
Elkin - quiet rebellion, private vs public
āwe may keep the home fire burning, or we may burn the house down; we may stay home, burning inwardly, or we may take off in a conflagration of self-assertion. we watch the fires of destruction, of desire, and wonder what we can risk, and what we might gainā
Dibattista and Nord - writing, rebellion
āwriting was not only equal to activism but also to leaving the domestic realmā¦womenās fictions faced outwardā
Adrienne Rich - rebellion, female relationships
āwomen's struggle against powerlessness, women's radical rebellion, not just in male-defined "concrete revolutionary situation" but in all the situations male ideologies have not perceived as revolutionaryā
Rich - female relationships as resistance
female relationships are a ānay-saying to patriarchy, an act of resistance"
LaMonaca - jane eyre, helen burns, rebellion
āHelen models for Jane an independence of thought on matters of theology and doctrineā
Vicky Simpson - jane eyre, narrative authority
āJane frequently invokes the truth, but complicates the very notion of truth by repeatedly emphasising that there is always more than one storyā
Meyer - jane eyre, colonial authority
āinterconnection between the ideology of male domination and the ideology of racial dominationā¦ in order to emphasise the inferiority of both to white menā
Bronte - jane eyre, narrative, religion
āConventionality is not morality. Self-righteousness is not religion."
Chase - jane eyre, rochester, injury
Rochesterās injuries as a āsymbolic castrationā
Gilbert and Gubar - jane eyre, societally acceptable behaviour
"The occasional woman who has a weakness for black-browed Byronic heroes can be accommodated in novels and even in some drawing rooms; the woman who yearns to escape entirely from drawing rooms and patriarchal mansions cannot."
Griffin - oranges, mother, power
Janetteās mother is āthe 'gatekeeper' for patriarchyā