Linda Hutcheon

Bio: Linda Hutcheon is an academic researcher from University of Toronto. The author has contributed to research in topics: Postmodernism & Opera. The author has an hindex of 27, co-authored 146 publications receiving 8146 citations. Previous affiliations of Linda Hutcheon include National Autonomous University of Mexico & McMaster University.

Revolt and the Ideal in Bloomsbury

Abstract: One good justification for a study of revolt and the ideal in the sex and art of Bloomsbury-at a time when feminism and homosexuality are current issues-can be found in the public response to members of the Bloomsbury group' during their own lifetimes. Although the aim of their contemporaries' criticism ran the gamut from class to personality, from financial status to ideology, the major emphasis seems to have rested upon their art and their sexual mores. At first the relationship between these two points of attack seems rather startling, given the relative lack of explicit sex in the published works of E. M. Forster, Lytton Strachey, and Virginia Woolf-the three major writers of the group. Their books were never banned, as were those of D. H. Lawrence or Radclyffe Hall, yet critics such as Roy Campbell attacked them as both artists and as \"sexless folk whose sexes intersect.\" In The Georgiad, Campbell set out, among other things, to parody Virginia Woolf's Orlando with his own Androgyno, a \"joint Hermaphrodite-ofletters,\" complete with long blue stockings and a sexual metamorphosis. His multi-directional satire seems to be directed against Vita Sackville-West and also Woolf's androgynous literary creation, since he specifically calls his creature a \"new Orlando\" speaking with a \"Bloomsbury accent.\" However, the homosexuality of Bloomsbury in general also comes under attack;

Both/And: The Alternative of Relational Thinking

Abstract: To call the issues facing departments of English today difficult or sensitive would obviously be understating the case. Chairs would be forgiven if they had nightmares about the incommensurability of the demands made on them and the kind of institutional and collegial support they can count on. Some of the problems they face are internal ones, such as how to deal with the ideological factions—often generational—within departments. Others are more public: how to justify our discipline to a population indoctrinated with the notion that what we do has been irremediably politicized, rendered incapable of disinterested intellectual investigation.

Death in Venice and Beyond: Benjamin Britten's Late Works

Abstract: This article analyzes Benjamin Britten’s late works through the lenses of late style discourse and theories of aging, showing how these final compositions can be read as a reflection of the ways in which Britten’s illness and physical disability in the last years of his life prematurely ushered the composer into ‘old age’ and its attendant physical and psychological difficulties. From Death in Venice on, Britten’s compositions display an unmistakable preoccupation with mortality, both in terms of subject matter and in terms of an even further finessed concision of musical style. While the stylistic decisions in these last works cannot be divorced from Britten’s very real sense and eventual acceptance of the nearness of his own death, neither can they be wholly accounted for by it, marking as they do an undiminished capacity for creative achievement in the midst of significantly diminished physical capabilities.

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

Abstract: 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

The Value of Narrativity in the Representation of Reality

Abstract: 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

The Post-Colonial Studies Reader

Abstract: 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.