A01=Marianne DeKoven
Allusion
Ambiguity
Ambivalence
Anti-Oedipus
Author_Marianne DeKoven
Awakenings
Castration
Category=DSBH
Category=DSK
Category=JBSF1
Conflation
Counterstereotype
Cowardice
Cynicism (contemporary)
Deconstruction
Dialectic
Disgust
Emblem
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Eroticism
Fatalism
Femininity
Feminism
Feminism (international relations)
Genre
Gertrude Stein
Gloom
Ideology
Imagery
Imperialism
Indication (medicine)
Infanticide
Irony
Jacques Derrida
John Barth
Joseph Conrad
Kurtz (Heart of Darkness)
Literature
Loneliness
Lord Jim
Luce Irigaray
Masculinity
Memoir
Metonymy
Misogyny
Modernism
Mr.
Mrs.
Narrative
Novel
Novelist
Oppression
Patusan
Pity
Plotinus
Poetry
Postmodernism
Promiscuity
Race (human categorization)
Racism
Result
Reterritorialization
Selfishness
Simile
Stanza
Subjectivity
Superiority (short story)
Sympathy
T. S. Eliot
Terence
The Other Hand
The Voyage Out
Thought
Western culture
Writing
Product details
- ISBN 9780691014968
- Weight: 369g
- Dimensions: 152 x 229mm
- Publication Date: 27 Oct 1991
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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Like the products of the "sea-change" described in Ariel's song in The Tempest, modernist writing is "rich and strange." Its greatness lies in its density and its dislocations, which have until now been viewed as a repudiation of and an alternative to the cultural implications of turn-of-the-century political radicalism. Marianne DeKoven argues powerfully to the contrary, maintaining that modernist form evolved precisely as a means of representing the terrifying appeal of movements such as socialism and feminism. Organized around pairs and groups of female-and male-signed texts, the book reveals the gender-inflected ambivalence of modernist writers. Male modernists, desiring utter change, nevertheless feared the loss of hegemony it might entail, while female modernists feared punishment for desiring such change. With water imagery as a focus throughout, DeKoven provides extensive new readings of canonical modernist texts and of works in the feminist and African-American canons not previously considered modernist.
Building on insights of Luce Irigaray, Klaus Theweleit, and Jacques Derrida, she finds in modernism a paradigm of unresolved contradiction that enacts in the realm of form an alternative to patriarchal gender relations.
