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

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

Eco's Echoes: Ironizing the (Post)Modern

INTERDISCIPLINARITY has clearly become both an embattled site of controversy and a new battle cry. For every colleague who thinks it spells the death of the discipline of English studies, there is another for whom it is the best thing yet for the health of the discipline (as well as of scholars within it). It will prevent clogging of the intellectual arteries, these others assert, and they respond to institutional hesitations or resistances with suspicion and irritation. But those resistances can have complex origins, not all of which are easily traced to innate disciplinary conservatism or intellectual purism. Of course, there are those who worry about the threat that interdisciplinarity might pose to the specificity of both literature and its analysis, to the particularity of literary criticism, to why anyone takes [literary criticism] seriously, as Stanley Fish writes (Literary Criticism). In times of budget constraint, even those who are most enthusiastic about crossing disciplinary boundaries (in either research or teaching) might understandably be loath to dismantle existing departmental structures: the humanities are too often seen as dispensable already. (Such a scenario may well be less paranoid than metanoid or whatever the situation is called when it doesn't seem that enemies are everywhere; they really are). Interdisciplinary programs have a long history in North American universities. Even in more flush financial times, when they were easily staffed by borrowing faculty time from established departments, programs like women's studies have often been precariously funded. In harder times like these, different issues have arisen: for instance, some department chairs may well worry that in collaboratively taught courses the institutional credits (for the students taught by members of their departments) will be recorded elsewhere, to the department's detriment. And, of course, some administrators support interdisciplinary endeavors as a way to eliminate expensive departmental structures.

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Disciplinary Formation, Faculty Pleasures, and Student Risks

Subject in/of/to history and his story

“Death, Where Is Thy Sting?” The Emperor of Atlantis

This article by Linda Hutcheon is a review of Charles Bernheimer’s 1993 ACLA report as well as Comparative Literature in the Age of Multiculturalism, the collection of essays discussing the extend of the report from various point of views. The nature of the essays reveals the close relation among the social sciences, their overarching fields and how comparative literature finds itself in such state of affairs. On this, Hutcheon writes her essay summarizing the challenges posed by various definitions for the extent of comparative literature. The writers contributing Comparative Literature in the Age of Multiculturalism has varying positions. Putting them together, Hutcheon claims that such an angst for a definition of a vague field is actually its strength. As the discussions on relatively recent tendencies such as feminism or postcolonial studies gain popularity, Hutcheon observes that the literary studies takes a more central position in social sciences. Her ideas provide an example for the relation between comparative literature and cultural studies where the interdisciplinar approaches makes the problem of boundaries more eminent. The ideas presented in the paper still carries relevance today and I believe Turkish translation might help further discussions on the field in Turkey.

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Linda Hutcheon

Papers

Eco's Echoes: Ironizing the (Post)Modern

Disciplinary Formation, Faculty Pleasures, and Student Risks

Subject in/of/to history and his story

“Death, Where Is Thy Sting?” The Emperor of Atlantis

Productive Comparative Angst: Comparative Literature in the Age of Multiculturalism