Woman has been defined in classic political theory as elusive yet dangerous, by her nature fundamentally destructive to public life. In the view of Linda M. G. Zerilli, however, gender relations shape the very grammar of citizenship. In deeply textured interpretations of Rousseau, Burke, and Mill, Zerilli recasts our understanding of woman as the agent of social chaos and makes a major advance for feminist political theory.
1. Political Theory as a Signifying Practice -- 2. "Une Maitresse Imperieuse": Woman in Rousseau's Semiotic Republic. The Maternal Voice. The Field of Female Voice and Vision. Making a Man. The Semiotic Republic -- 3. The "Furies of Hell": Woman in Burke's "French Revolution" Terror and Delight. Burke's Reflections as Self-Reflections. Breaking the Code. The Furies at Versailles -- Postscript: The Maternal Republic -- 4. The "Innocent Magdalen": Woman in Mill's Symbolic Economy. Political Economy of the Body. Political Economy of the Female Body. Angel in the House. Angel out of the House. The Innocent Magdalen -- 5. Resignifying the Woman Question in Political Theory.
A bold book, built of close readings, striking in its range and depth, The Signifying Eye shows Faulkner's art take shape in sweeping arcs of social, labor, and aesthetic history. Beginning with long-unpublished works (his childhood sketches and his hand-drawn and handillustrated play The Marionettes) and early novels (Mosquitoes and Sartoris), working through many major works (The Sound and the Fury, As I Lay Dying, Sanctuary, Light in August, and Absalom, Absalom!), and including more popular fictions (The Wild Palms and The Unvanquished) and late novels (notably Intruder in the Dust and The Town), The Signifying Eye reveals Faulkner's visual obsessions with artistic creation as his work is read next to Wharton, Cather, Toomer, and—in a tour de force intervention—Willem de Kooning. After coloring in southern literature as a "reverse slave narrative," Waid's Eye locates Faulkner's fiction as the "feminist hinge" in a crucial parable of art that seeks abstraction through the burial of the race-defined mother. Race is seen through gender and sexuality while social fall is exposed (in Waid's phrase) as a "coloring of class." Locating "visual language" that constitutes a "pictorial vocabulary," The Signifying Eye delights in literacy as the oral meets the written and the abstract opens as a site to see narrative. Steeped in history, this book locates a heightened reality that goes beyond representation to bring Faulkner's novels, stories, and drawings into visible form through Whistler, Beardsley, Gorky, and de Kooning. Visionary and revisionist, Waid has painted the proverbial big picture, changing the fundamental way that both the making of modernism and the avant-garde will be seen. A Friends Fund publication
Focuses on late 19th- and early 20th-century American society, where, the author says, "the beginnings of modern sexuality and psychology intersect with the foundations of modern womanhood...." Suffragettes demanding social and political independence were often transformed by literature and the popular press into "masculine women" and female sexual "inverts." While Judith Halberstam's Female Masculinities (1998), say, focused on contemporary society and the idea of male masculinity, Behling (English, Gustavus Adolphus College) exclusively addresses an earlier time when sartorial and political masculinity in relation to the female body was often interpreted as a medical as well as political condition. Behling's documents include Gertrude Stein's early novel Fernhurst, Henry James' Bostonians, Dr. William Lee Howard's novel The Perverts, newspaper accounts, Hellen Hull's "Fire," Sherwood Anderson's Poor White, and the artwork that accompanied Djuna Barnes's satiric Ladies Almanack. Annotation copyrighted by Book News Inc., Portland, OR
How do we live ethically? What role do sex and race play in living or being ethically? Can ethics lead to ontology? Can literature play a role in ethical being? Drawing extensively on the work of Luce Irigaray, Frantz Fanon, and Martin Heidegger, Penelope Ingram argues that ethical questions must be understood in light of ontological ones. It is only when sexual and racial difference are viewed at an ontological level that ethics is truly possible. Central to the connection between ontology and ethics is the role of language. Ingram revisits the relationship between representation and matter in order to advance a theory of material signification. She examines a number of twentieth-century film and literary texts, including Neil Jordan's The Crying Game, J. M. Coetzee's Foe, Toni Morrison's Paradise, and Don DeLillo's The Body Artist, to demonstrate that material signification, rather than representation, is crucial to our experience of living authentically and achieving an ethical relation with the Other. By attending closely to Heidegger's, Irigaray's, and Fanon's positions on language, this original work argues that the literary text is indispensable to a "revealing" of the relationship between ontology and ethics, and through it, the reader can experience a state of "authentic Being ethically."
This popular text provides an in-depth introduction to debates within post-colonial theory and criticism. The readings are drawn from a diverse selection of thinkers both historical and contemporary.
Hailed in The New York Times Book Review as "eclectic, exciting, convincing, provocative" and in The Washington Post Book World as "brilliantly original," Henry Louis Gates, Jr.'s The Signifying Monkey is a groundbreaking work that illuminates the relationship between the African and African-American vernacular traditions and black literature. It elaborates a new critical approach located within this tradition that allows the black voice to speak for itself. Examining the ancient poetry and myths found in African, Latin American, and Caribbean culture, Gates uncovers a unique system for interpretation and a powerful vernacular tradition that black slaves brought with them to the New World. Exploring the process of signification in black American life and literature by analyzing the transmission and revision of various signifying figures, Gates provides an extended analysis of what he calls the "Talking Book," a central trope in early slave narratives that virtually defines the tradition of black American letters. Gates uses this critical framework to examine several major works of African-American literature--including Zora Neale Hurston's Their Eyes Were Watching God, Ralph Ellison's Invisible Man, and Ishmael Reed's Mumbo Jumbo--revealing how these works signify on the black tradition and on each other. This superb 25th-Anniversary Edition features a new preface by Gates that reflects on the impact of the book and its relevance for today's society as well as a new afterword written by noted critic W. T. J. Mitchell.
