Woolf, De Quincey and the Legacy of ‘Impassioned Prose’

Author(s):  
Elsa Högberg

In this chapter, Elsa Högberg illuminates Woolf’s sensual, lyrical writing in light of its contact with Thomas De Quincey’s ‘impassioned prose’, drawing out the erotic and political dimensions of the book as a gift to Sackville-West. Examining the dream-like, visual and musical aspects of a long sentence at the end of Chapter V, Högberg considers the gender politics involved in Woolf’s appropriation of De Quincey’s prose style. In Högberg’s reading, the lyricism of Orlando unravels the time of the legal sentence, and thereby the logic by which aesthetic and material property is passed down an exclusively male line of inheritance.

Author(s):  
Jane K. Stoever

The book, THE POLITICIZATION OF SAFETY, will critically explore political dimensions of interventions in or failures to intervene in domestic violence. The Introduction identifies how domestic violence is commonly assumed to be a bipartisan, nonpolitical issue, yet racial and gender politics, the move toward criminalization, reproductive justice concerns, gun control debates, and other factors and political interests significantly shape responses to domestic violence. The development of the anti-domestic violence movement and has a complex history, and the way forward during the Trump Era will certainly be fraught as protections and services for survivors of gender-based violence are under siege.


2016 ◽  
Author(s):  
Lisa A. Kihl ◽  
Vicki D. Schull ◽  
Sally Shaw

2018 ◽  
Vol 46 ◽  
pp. 73-90
Author(s):  
Young chang Son
Keyword(s):  

Author(s):  
renée c. hoogland

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.


2003 ◽  
Vol 42 (2) ◽  
pp. 26-34 ◽  
Author(s):  
Hannah Thompson
Keyword(s):  

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