Sources of the Self

Highlights the issues in feminist theory, epistemology and methodology. Combining introductory overviews with reflections, this title focuses on analytical approaches to gendered power differential ...

Feminist Studies: A Guide to Intersectional Theory, Methodology and Writing

https://www.ruor.uottawa.ca/bitstream/10393/10903/1/EC52066.PDF

The teaching of literature.

List of IllustrationsAcknowledgmentsIntroduction: Locational Feminism3Pt. IFeminism/Multiculturalism15Ch. 1\"Beyond\" Gender: The New Geography of Identity and the Future of Feminist Criticism17Ch. 2\"Beyond\" White and Other: Narratives of Race in Feminist Discourse36Ch. 3\"Beyond\" Difference: Migratory Feminism in the Borderlands67Pt. IIFeminism/Globalism105Ch. 4Geopolitical Literacy: Internationalizing Feminism at \"Home\" - The Case of Virginia Woolf107Ch. 5Telling Contacts: Intercultural Encounters and Narrative Poetics in the Borderlands between Literary Studies and Anthropology132Ch. 6\"Routes/Roots\": Boundaries, Borderlands, and Geopolitical Narratives of Identity151Pt. IIIFeminism/Poststructuralism179Ch. 7Negotiating the Transatlantic Divide: Feminism after Poststructuralism181Ch. 8Making History: Reflections on Feminism, Narrative, and Desire199Ch. 9Craving Stories: Narrative and Lyric in Feminist Theory and Poetic Practice228Notes243References281Index303

Geography Lessons@@@Mappings: Feminism and the Cultural Geographies of Encounter

To discover how women constructed their own mythology of the West, Kolodny examines the evidence of three generations of women's writing about the frontier. She finds that, although the American frontiersman imagined the wilderness as virgin land, an unspoiled Eve to be taken, the pioneer woman at his side dreamed more modestly of a garden to be cultivated. Both intellectual and cultural history, this volume continues Kolodny's study of frontier mythology begun in The Lay of the Land .

The Land before Her: Fantasy and Experience of the American Frontiers, 1630-1860.

ENERATiONS of critics have claimed that Edith Wharton liked both her gardens and her society well-pruned. In her late fictions, however, Wharton addresses the politics of intimate experience in the context of social debates. To that end, her characters often echo social policy, transformed as it is by Wharton's own bias against legislation of private morality. Although her late fictions have been read conservatively, they are not written in isolation from larger political issues. Instead, they insist on the relation between private and public rather than on a divorce between the two. In challenging her class's (as well as her culture's) gender ideology, Wharton manipulates the conventions of the realist novel to reconcile popular fiction with cultural criticism. My aim is not to reduce the ambivalence with which Wharton writes about anti-Semitism, nor her hatred of black culture, especially as Carl van Vechten describes it in his 1926 Nigger Heaven. I do, however, want to show how writing literature and writing culture, for Wharton, draws on a cultural unconscious, one associated for her with fascism. In Nancy Armstrong's terms, \"individual works and kinds of writing gather force, not as they exemplify [an] individual imagination, genre, or tradition of ideas, but as they enter into an unwitting conspiracy that extends throughout the figurative operations of cultural production to shape the lives of real people\" (357). I do not so much want to place Wharton's Twilight Sleep in the \"context\" of history, thereby writing a new historicism, as

Twilight Sleep: Edith Wharton's Brave New Politics

Nineteenth-Century American Women's Serial Novels explores the prolific careers of four exemplary novelists - E. D. E. N. Southworth, Ann Stephens, Mary Jane Holmes, and Laura Jean Libbey. These commercially successful writers helped to shape the popular tradition of serial magazine fiction by drawing on readers' tastes along with their cultural concerns. Their astonishing productivity led magazine editors and publishers to return to them repeatedly for more serials to be turned into even more novels, even as they reprinted these fictions under new titles. Dale M. Bauer analyzes how serials deployed the repetition of plots and the traumas representing the sources of women's anxieties and pain. Arguing that these novels provided temporary resolutions to the social, economic, and psychological tensions that readers faced, Bauer explains how this otherwise forgotten archive of fiction now offers an extraordinarily expanded range of women's literary effort from the nineteenth to the twentieth century.

Nineteenth-Century American Women's Serial Novels

Another F Word: Failure in the Classroom

Dennis D. Moore (2001: 418) is right to identify Pamela L. Caughie’s most important claim that pedagogy must be seen “not as a method but as an event.” For Caughie, the goal of teaching is to create a “performative classroom” (109). She explains her deliberate political approach to the dilemmas of teaching in and after postmodernism: “The double bind created by the discrepancy between what we profess and how we are positioned, between the demands of a critical pedagogy and the constraints of postmodern culture, cannot be resolved only in the register of theory but must also be confronted performatively in literature and composition classrooms” (199). This pedagogical “double bind” leads Caughie to develop the notion that “passing” is the major performance we “enact” in the classroom (94, 104): as teachers, we may profess one thing (say, a political commitment to multiculturalism) while positioning ourselves as another (for instance, as the authoritative expert on others or othering). Speaking for or speaking as the other conflicts with the very middleclass profession of teaching literature. Caughie argues that we must use this slippage responsibly, employing the double bind to debate ethics and values in our classes. This teaching “event” or opportunity occurs each time a professor enters a classroom, eliciting “deep anxieties” from students and teachers alike. In fact, this is an anxious book, and its uneasiness manifests itself early when Caughie observes that, in writing “this book over the past six years, I have been continually aware of the risks of employing the figure of

Dale M. Bauer

Papers

Twilight Sleep: Edith Wharton's Brave New Politics

Nineteenth-Century American Women's Serial Novels

Another F Word: Failure in the Classroom

Classroom Spaces and the Corporate University

Philosophy and Language