Introduction 1. Woman's Place in Man's Life Cycle 2. Images of Relationship 3. Concepts of Self and Morality 4. Crisis and Transition 5. Women's Rights and Women's Judgment 6. Visions of Maturity References Index of Study Participants General Index

In a Different Voice. Psychological Theory and Women’s Development. Cambridge, MA (Harvard University Press) 1982.

On death and dying

Culture and Imperialism

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

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The Value of Narrativity in the Representation of Reality

The essential introduction to the most important texts in post-colonial theory and criticism, this second edition has been thoroughly revised and updated to include 121 extracts from key works in the field. Leading, as well as lesser known figures in the fields of writing, theory and criticism contribute to this inspiring body of work that includes sections on nationalism, hybridity, diaspora and globalization. The Reader's wide-ranging approach reflects the remarkable diversity of work in the discipline along with the vibrancy of anti-imperialist writing both within and without the metropolitan centres. Covering more debates, topics and critics than any comparable book in its field, The Post-Colonial Studies Reader is the ideal starting point for students and issues a potent challenge to the ways in which we think and write about literature and culture.

The Post-Colonial Studies Reader

Historiographic metafiction: “the pastime of past time”

This study has a double focus: in the first place, it seeks to chart the parallel re-evaluation of both formalism and psychology in twentieth-century literary theory by using the work and career of the French literary critic, Charles Mauron (1899-1966) as a scaffolding. Using a structure of biography and literary history, it investigates Mauron's rather odd position, both inside and outside two different critical contexts, the French and the English, a position that makes his work a particularly revealing reflection of the diverse critical trends and tensions of our age. The second focus of this study is suggested in the tension in Mauron's work created by his need to objectivise the subjective. The recent conflicts between continental and British criticism or, more generally, between the new formalism (represented by structuralism and semiotics) and the liberal humanist tradition raise an important contemporary issue prefigured in Mauron. The broader context of his work is that of the eternal theoretical debate regarding the designation of literary criticism as an objective or a subjective activity, as a science or as the ultimate human and humane act.

Formalism and the Freudian Aesthetic: The Example of Charles Mauron

When one theorist publishes a book-a novel, at that-which contains in its title the name of another theorist, the academic reader is likely to be unable to resist looking for \"in-group\" ironies. When that novelist-theorist is Umberto Eco, who just happens to be someone who rarely mentions Michel Foucault by name, puzzlement may jostle for position with irony, even if we realize that Jean Bernard Leon Foucault was a nineteenth-century physicist whose famous pendulum hangs in the Conservatoire des Arts et Metiers in Paris. Nevertheless, I want to argue that it is almost impossible not to think of Michel Foucault when reading this novel. But as the puzzlement dissipates, the ironies remain. Eco has made it his specialty to write learned novels, bringing together his two worlds as creative writer and critical theorist, media darling and dissertation fodder. He has also made it difficult for reviewers and critics to engage with those novels, despite the tantalizing lures, because he selfreflexively ironizes the position not only of author but also of reader, thus reminding critical commentators of their secondary, even parasitic role. Given that, what do we do with a novel likeFoucault' sPendulum that ironizes all attempts at either deconstruction or construction of meaning? What happens when pages of contradictions get welded into a totalized vision of order, when life imitates art, when the narrative structure, while seemingly loose and baggy, is in fact obsessively ordered around the form of the occult Tree of the Sefirot? And what has any of this to do with Michel Foucault? Despite its overt trappings and publicity blurbs, Foucault' s Pendulum is not really an adventure story, a thriller, or a detective story, like The Name of the Rose, Eco's first novel. Foucault's Pendulum ends, rather than begins, with the requisite deaths. There is a plot-or rather, a plethora of plots-all brought together into something called the \"Plan.\" Instead of the causality we have been taught to expect in traditional plotting of popular genres, this Plan is governed by what Eco elsewhere calls \"a sort of spiral-like logic of mutually sympathetic elements. If the universe is a network of similitudes and cosmic sympathies, then there are no privileged causal chains\" [The Limits 19]. And this novelistic universe is just such a network, as we shall see. Michael Holquist has argued in \"Whodunit and Other Questions\" [135] that the detective story is to postmodernism what myth and depth psychology were to moderism. In Eco's perverse version of the postmodern, however, the detective as the metaphor of order and logic is ironized by the decisive

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Eco's Echoes: Ironizing the (Post) Modern@@@Foucault's Pendulum

Adaptation and Opera

From its inception in late sixteenth-century Italy, opera has been a multimodal art form, and each mode deployed has always contributed to its 
complex of musical, verbal, visual, and dramatic meanings. It is no accident 
that Gunther Kress and Theo van Leeuwen use the image of the Gesamtkunstwerk for multimodality (2001, 1), but live staged opera did not have 
to wait for Richard Wagner’s christening of that term for the reality of the 
operatic “total work of art” to come into being.1 But Wagner was perhaps 
the fi rst composer to think-and create-multimodally: he wrote his own 
poetic and dramatic verbal libretti; he composed the music; he acted as 
stage director, helping design sets and costumes; he rehearsed the orchestra 
and singers; he even built his own theater at Bayreuth. He was the fi rst, in 
short, to foreground how each semiotic resource brought with it new meaning and did so at every stage of the creation and reception process.2

Linda Hutcheon

Papers

Historiographic metafiction: “the pastime of past time”

Formalism and the Freudian Aesthetic: The Example of Charles Mauron

Eco's Echoes: Ironizing the (Post) Modern@@@Foucault's Pendulum

Adaptation and Opera

Opera: Forever and Always Multimodal