By Daphne M. Grace
Articulations and expressions of gender may be destabilising, transgressive, innovative and radical, encompassing either a painful legacy of oppression and a joyous exploration of latest adventure. Analysing key texts from the nineteenth to twenty first centuries, this ebook explores quite a number British and Anglophone authors to contextualise women's writing and feminist idea with ongoing debates in awareness reports. Discussing writers who attempt to redefine the gendered international of "sexualized" area, even if inner or exterior, psychological or actual, this publication argues how the "delusion" of gender distinction will be addressed and challenged. In literary concept and in representations of the feminine physique in literature, id has more and more turn into a transferring, a number of, renegotiable-and controversial-concept. whereas acknowledging old and cultural structures of sexuality, "writing the physique" needs to finally contain wisdom of human attention. right here, an figuring out of recognition from modern technology (especially quantum theory)-as the elemental construction block of lifestyles, past the body-allows certain insights into literary texts to clarify the matter of subjectivity and what it skill to be human. together with dialogue of subject matters akin to feminism and androgyny, employer and entrapment, masculinities and masquerade, madness and emotion, and person and social empowerment, this research additionally creates a full of life engagement with the literary approach as a way of fathoming the "enigma" of recognition
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Extra info for Beyond Bodies : Gender, Literature and the Enigma of Consciousness
Cognition, consciousness and literary contexts 29 order exists within chaos, a fact that resolves long-standing metaphysical problems, since “it reconciles being with becoming” (10). Chaos theory thus has its implications for the humanities, for the dichotomy of order/disorder (which she sees as central to Western thought) is destabilised, along with the associated constructions in culture and language. Hayles extends the boundaries of literary analysis to create a mode of theorizing that takes into account up-to-date knowledge in the sciences.
Any word, passage or text has the capacity for invoking specific emotional rasas and be savoured in the consciousness of the reader. Rasa is thus “a kind of contemplative abstraction in which the inwardness of human feelings irradiates the surrounding world of imbedded forms” and “an essential element of any work of art that can only be suggested, not described” (“rasa”: Encyclopaedia Britannica). The aesthetic images that induce rasa correspond to the basic human emotions latent within the mind.
Rasa, is in fact “the manifestation […] of the intrinsic bliss of the Self”, whereby basic human emotions are freed from attachment to the ego, “like a mirror cleaned of dirt”, which is then able to “reflect the bliss of the self” (Ramachandran 1980: 101). Finally, within the text, Brontë’s image of the window swinging open as the rain lashes in upon Heathcliff’s smiling corpse (while being eerily foreshadowed in the similar scene with Lockwood at the novel’s start) is symbolic of the fact that he has at last broken through to another, happier, state of being.