Unknown Speaker  00:00
I should do today. Well all right My name is Julio Durham. My paper is called telco by devoting a heterosexual clock. I'm going to speak with Richard Branson this week and enjoy.

Unknown Speaker  00:38
I'm going to be talking about lesbian rights and literary convention. And my paper has an epigraph. It's from Virginia Woolf normal between the and she's describing one of the characters in this novel who has always been writer and she writes, she was an outcast. Nature had somehow set her apart in Rakhine, yet she had scribbled in the margin of her manuscript, I am slave with my audience. But do you have argued in her essay modern fiction in 1919, that if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feelings and not upon convention, there would be no plot, no comedy, no tragedy, no love, interest or catastrophe in the accepted style. Up until this point, lesbian writing has been considered primarily in relation to its social context. The relation of lesbian writing to literary convention has usually been subsumed into that larger capital, with little effort made to distinguish between the roles of lesbian writers, characters and readers. I am primarily concerned with that good writers, especially novels, in the first half of the 20th century. That period between 19th century medical classification of homosexuality to sickness, and the later political rebellions and reclassifications of gains liberation in the 1960s. One of the factors that distinguishes the lesbian writer from lesbian read his book characters is that the lesbian writer has had to deal with in particular forms of convention. When she continued her discussion of convention and Mr. Bannon and Mrs. Brown in 1924, Virginia Woolf described literary convention in more detail. What is the convention you may ask? The question is difficult, I will attempt to shortcut. A convention in writing is not much different from the convention in that both in life and in literature, it is necessary to have some means a big gulf between the hostess and her unknown guest. On the one hand, the writer and his unknown reader on the other. The hostess within sort of the weather, for generations of hostesses have established the fact that this is a subject of universal interest in which we all believe, she begins by saying that we are having a wretched May, and having this garden to touch with her unknown guest proceeds to matters of greater interest. So it is in literature, the writer must get into touch with his reader by putting before him something that he recognizes, which therefore stimulates his imagination, and makes him willing to cooperate in the far more difficult business of intimacy. And it is at the highest importance that this common meeting place should be reached easily, almost instinctively, in the dark with one's eyes shut. Having already charged that convention was responsible for determining what was considered the proper stuff of fiction, a category that she explicitly opposed. Virginia Woolf nevertheless also had to admit how keenly I felt the lack of a convention. Although its initial statement of the literary dilemma posed by convention, the limits convention imposes and yet the value of convention was made in terms of the writer P. This problem was particularly significant for women writers in the 1972. So what can inherently do, or why we can't write, Joanna Russ discuss the limits convention imposes on the options available to women writers, particularly for the representation of female characters, she concluded that there is only one occupation of a female protagonist in literature. One thing she can do, and by God she does it and does it and does it over and over and over again. She is the protagonist of a love story. The tone may range from grave to gate, and the tragedy of Anna Karenina to the comedy, but the myth is always the same, innumerable variants of falling in love, on courtship on marriage on the failure of courtship and marriage. For female protagonists, the love story includes not only personal relationships such that buildings romance, wealthy, successful wealthy failure, Korea, the exposition of character, crucial learning experiences, the transition to adulthood, rebellion, and everything else. This limitation of women as subject to the literary convention of the love story, is what feminist critic Nancy Miller has is referred to more recently as the topographical imperative of women's fiction, whereby a world outside love comes to be out of the world altogether. In her essay emphasis added plot and fourth abilities in women's fiction. She also points to the political nature of this constraint. The fictions the desire behind the disadvantage of fiction are masculine and not universal constructs, the Maxim's that pass the truth of human experience, and the encoding of that experience into literature, or organizations when they are not fantasies of the dominant culture.

Unknown Speaker  05:35
What Joanna Ross referred to earlier as the love story has been recognized as a control and condensed tension and identified with this idea of thought and its role has passed on to the lexicon of feminist literary criticism, as Miller and others refer to the Marriage Plot the erotic plot about Nancy Miller herself uses this concept of plot to resolve a contradiction in the history of 19th century women's literature that feminist critics have frequently remarked, the contradiction between George Eliot's life for achievement as both a novelist and the woman who chose to live with a man beyond the bounds of Victorian social mores, and the unexceptional the conventional face she imposed on heroin to her fictions. Eliot could not allow her heroines, her own professional success or survival of sexual transgressions, nor advice, because that female unconventionality could not be accommodated within the bounds of the central plot. This argument also applies to a parallel 20th century example, a contradiction between a woman writer's life and her work. Well read this whole enjoyed alone and publicly very successful relationship between a lady Trubridge her most famous work the Well of Loneliness, has served as the definitive statement that the inevitable failure of lesbian relationships for generations of readers, Catherine Stimson, in zero degree deviancy lesbian novel in English, explains the trajectory when she labeled which labeled the dying fall as holds response to social convention. I quote, because the violent yoking of homosexuality and Deviance has been super basic in the modern period. Little or no writing about it can ignore that conjunction. A text may support it, leering ruefully. It may reject it fiercely or brilliantly moral or emotional indifference and probably it is undeniable that consideration for social hostility influenced Paul's writing. I would argue however, that literary Convention also had a part to play in the shape of the novel. Paul always wrote in a conventional style. And within the framework if that star she wanted to tell him how it was my story, family, childhood adolescence as well as adults. The Well of Loneliness is an exemplary novel with a female subject operating strictly within the conventions of the heterosexual plot. It begins with a marriage and the birth of a child a heroine. It is principally concerned with the direction of the heroines emotional life, and is as all such novels as opposed to with a marriage. In this case, the heroines Mother Mary, the will has been married to Martin Helen, the man Steven herself had rejected the suitor as successful resolution of the conventional erotic plot here required. As the example of reticle illustrates, though, as Nancy Miller suggested, all the matters might change at the boundaries of the sexual plot. The relation to the lesbian writer to a dominant literary convention, that is inherently heterosexual, must be different from the heterosexual women writers relation to the same convention. Contemporary lesbian novelist Jane rule has written explicitly about her awareness of the connection between morality, obvious devices, a plot, and what she describes as lies about sexual experience. Morality for the novelist is expressed not so much in the choice of subject matter, as in the plot of the narrative, who is materially rewarded emotionally fulfill allowed to live a more powerful judgments than pages of seminar resisting judgment and plot is not simply a matter of squeamishness, uncertainty or lack of responsibility. It is, in my case, resisting the stakes and life, particularly in the realm of sexual experience. The understanding that we have described is implicitly present. Virginia Woolf span the moment between the ads. They're a lesbian writer, the playwright and director Mr. Trump is shown creating a village pageant, in which the cause of literary and political history are both represented two versions of the sexual plot. One of the spectators a young married woman observes to herself, did the court matter. The clerk was only there to get emotion. There were only two emotions, love and hate. There was no need to puzzle out the plot. later on humans spread it slightly. Love Peak Peak, these emotions may apply a human mind.

Unknown Speaker  10:09
But between the question does not matter and her own conclusion, the plot was only there to beget emotion, she has turned to look for the man she desires. The novel does not end with love, hate and peace, but love hate and war. will answer to the characters question is that the plot does matter. Not only because as we discussed, which functions is the literary constraint and the representation of women, but because it is there to be get emotion. It is supposed to be get only the love and hate between husband and wife and peace. But the relations between husband and wife identified the images of war rather than peace, and the plot justifies the social hatred of homosexuality, which has created fear and self hatred for the male homosexual character and dodge. For the lesbian mistletoe, has created a fierce pain in her isolation. For the course of the play her work, she has a bed by the village actor and the upper class audience for life. But after the play is over, she can be kept by everyone, even older women with only the grades of dead husbands to attest to their superior heterosexual social status. Considering the conventional plot and its role in shaping the possibilities of women's writing, from the perspective, we'll finally proposed, that of this Latrobe, the woman writer who's lesbian, the first observation is necessarily a redefinition. There is no undifferentiated sexual plot. Since the love story that dominates women writers practice and cultural expectations of what his writing is a heterosexual love story, the sexual plot is more accurately described as the heterosexual. At the same time, as the convention that dominated the representation of women, the literature was heterosexual. There was no plot for the representation of lesbian experience, sexual or otherwise. HD is novel command, completed in 1927, illustrates the importance of the heterosexual clock, and the potential complexity of the lesbian martyrs response to that. At the beginning of the novel, which bears her name, her mind is in the position of many of the heroines of her own and proceeding literary generations. From the Emma's, Elizabeth and James are often in the Brontes to Virginia walks Rachel dinners and Catherine Hilbert in the void out the night and day 1960s 1920. C'mon is living with her respectable upper middle class family, expected to hand small sandwiches in tea to the gossipy University lady, wives of her father's colleagues to attend her mother's afternoon. It is Pennsylvania just outside of Philadelphia at the beginning of the 20th century. The question of what Hermione might do with her life is entirely open and completely closed. Unlike the heroines of the English novels of this generation HDS American Hermione has had access to a college education. She has just returned home from Bryn Mawr, after failing the examinations in mathematics, and consequently ending the university career and any possibility of gaining independence for the teacher. The fact that teaching is the only source of independence mentioned serves to emphasize the continuity between harmonious situation and those are comparable to previous generations. The role of literary convention and the restrictions of the lack is confirmed when to the PErforM of the heterosexual plus, Colonia is offered a way out of her stasis by the intuitive doors now to become so suited. George provide the direction a plot for the mind is life and HD is text. The male suitor will cancel out by his person such matters as her academic failure, her confusion and lack of purpose. He represents a means of escape that is social, geographical and psychological. HD foregrounds the conventions indicating repeatedly that Hermione is attracted to George because he represents a way of entering adulthood and leaving behind both your family and your country. What distinguishes this not from the stories of Elizabeth Bennet, Dorothy Brooke and Rachel denies however, is that he counterpoints is conventional heterosexual club. The story of George's Advent is courtship, their engagement, the family's resistance and then reconciliation to the engagement. The announcement and preparations for a wedding with the story of her mind his love for another woman, saying read. In the discussion of this novel, critics, Susan Friedman and Rachel bladder classic observed the care with which can HD balance the two stories heterosexual and lesbian. These critics refer to the novel bisexual plot

Unknown Speaker  15:01
With such a description, like returns love partner sexual plot, obscures the inequality of the heterosexual and lesbian stories in relation to the authority of convention, and underestimates HDS awareness that aspect of your own literary context HDS counterpoints with the two relationships was purposeful. She used the heterosexual plot with a means of gaining access to representation for her literally unconventional lesbian story. The heterosexual plot provide the source and structure to the text, the frame and around around and against which she could describe an experience for which there was no plot, no literary as well as no social form. Nouns entry serves as unnecessary disruption of her mind is stasis, waking her from her imposed passivity and weakening family restraints, raising the possibility of her leaving the father's house and promising a sexual awakening. Reduced expectations of an erotic plot created by her mind is conventional situation, and advanced by George's entry, and then both fulfilled and challenged by fame. This pattern fulfillment in challenge compliance and disruption indicates the inevitably contradictory relation between a lesbian story and a heterosexual part throughout the book. Khomeini's relation to faith challenges the heterosexual assumption, but is recorded to comparison with those assumptions. He is able to represent the different social, emotional and sexual meaning to the lesbian relationship, in contrast to the experiences with the heterosexual but the mythology of the heterosexual cut still shed the comparisons that will be made, as it allows them to be closed. Bringing feign into contact with George as he does throughout the parallel development of the minds mediation each indicates the comparable status of her mind these relationships with both significant to the love between the women and also essential quality are recorded by being presented parallel to the heterosexual plot, as a threat to and then eventually as a reason for rejecting a heterosexual relationship. HD can record the different social significance of the two relationships by means of contrast in other characters responses to the mind is loss of faith, and fed himself with their responses to George and the heterosexual plot the neck. The extended the social and sexual transgression of the lesbian relationship represents is particularly marked by the fact that as her daughter becomes closer to fame, Amaya, his mother becomes increasingly willing to overlook what she had previously considered the insurmountable barrier of George's own social and sexual dispute. If marriage to George represents social and geographic mobility, the proof of command is less the same as explicitly couched in terms of rejection with that inability. The hope of social freedom Her mind is seen and managed to George is increasingly belied by the web of social obligations that engagement brings, and George is rapidly developing sense of her obligation to him. To mine is related relationship with famous in contrast initiatives completely breaking the social world. He also works to the central tropes of the heterosexual thought in order to contradict Hermione expects that the male level of George will define her and George does offer social and sexual definition of self is decorative why a definition should reject it is fine who is the source of the definition to accept the defining act in a heterosexual plot a sexual act, typically represented as a kid, which literally and metaphorically awakens the heroine. But he writes that George's his kisses, smudge and blur her line is instead during her first meeting is saying that her mind is awakened and takes place. She likes her gut tend to it's from an anesthetic. Just what you've been saying. She seemed to have answered this all girl word for word quick second clip, the exact requisite counter the same game but involved in something very different. HD turns the literary advantages of the heterosexual plus the access to very specific social, sexual and textual mobility back on itself. She is explicit that the social advantages belong to George the emotional and sexual advantages with failing lesbian born, but intended the narrative he created an impasse himself, emotionally and sexually reminded cannot marry George. But literally, as well as socially, the text cannot be concluded by her marriage to claim the heterosexual plot must and it's some form of marriage, some heterosexual relations. HD has found betray her mind with George this form of closure and she was the hegemony of the heterosexual club. Because all the fans response to her mind is put in doubt overshadowed by retrospectively conventional explanation, desire for George

Unknown Speaker  20:00
The Convention has put the meaning of the lesbian action into question. The challenge the faith and why and his love for her represented has been reincorporated into the plot. But the novel does not end with this conclusion of the heterosexual club. Hermione suffers a breakdown of delirious illness, in response to this betrayal. It is to the final passage of this chromatic illness that her motion conceptual dilemma choice of a male or a female lover, and her grief at that betrayal had brought to a symbolic resolution in a dreamlike passage in which her mind imagines herself as a great messenger. And I quote, run on and on Hermione, you are doing to the mind for the message she carries and forgotten to run, stripped across snowbanks fly down with the pulse baiting and cuddling veins I decided again for her. You had a message that you are dealing with, run across the stones and let your sandal strap break and stoop too fast and nothing. You have in your hands a message and a token, RON and RON Hermione run his way to each station to carry on the message. You know, running and running with the messenger will take your message and it's further and you will sit down exhausted, run and run from it. So the message of bear in next in line has turned against you dead dead or forgotten. You have a double burden, run her mind for yourself and saying that tell the lack of denoting that we live here till the Macedonians because we live here. Tell them back at the moments that we live here, obeying their orders. A message is a translation from the Greek of Simona days till the liquid emojis that we live here obeying the orders the epigram for the sparkling dead some other way, the first of the Battle of Thermopylae before ATBC. When a small band of 300 Spartans, for lack of demand says they will also call defended Greece against the Persian army in a desperate battle, establishing their own housing could finally defeated and killed in this passage HD record the battlefield Semafo and marathon, both of which represent for her desperate action for which a small band stands against a huge host. The epigraph was a message of obedience and a message of defeat. The fact that the Greek celebrated as heroic to defeat the centigram record is only one of the way of contradictions within the passage, the cost of obedience has been dead. But the run out the message there has escaped death, excused from the final act of obedience in which the court although she survived, she claims that she is doing it. When she delivers that message, she will sink down exhausted, perhaps dead herself, that the sense of fatality passivity and the finality of the message is completely contradicted by the messengers desperate case. There are in fact, two messages. One is the verbal message of a baby destined for the lack of demand and obedience, that is the acceptance of restriction and convention. The other is the message to the runner in scrubs with her body and the landscape she traverses the message and forgotten meters. The content of the second message is indicated by the fact that the runner who was next in line, who would have carried it on but he has instead turned against her mind, dead, dead or forgotten, was paying. he elaborates on the contradiction between these two messages, which might also be seen as a contradiction between the message and the messenger, or the messaging for obeying the orders, whose orders I have been almost faithful. In order to be faithful, I will feel good. I will creep back into the shell in order to emerge full fledged a bird feeds, tells it like it demands that we live here today in order to obedience will be the trail is saying and who loves the thing. The resolution of this contradiction is statistic, keeping faith by appealing to photos. Given the authority that the orders of the lack of demand means represents the authority of convention that has been saved to only be kept at hand the appearance of obedience to compulsory heterosexuality. Even without a reference to say, because of the passage, it is true that the shape of the messenger is desperate to keep this possibility that remains love to say, because of its historical setting. He was able to elude the topographical imperative of the heterosexual plot, to create a world outside of heterosexual love, but within a woman's fiction, because of her use of history. When loving fame, Hermione sees the fantasy of the world reversed. The new world that opens out the for her is created from a reimagined process. Command is love sustained simultaneously described through I've located in Greece in which

Unknown Speaker  24:52
a sister was a creature of ebony thrown with wild puppies, or an image of idly is like hips may parallel gaze or flex You could like parallel in a fountain basin, a sister would run Woodley would be concealed under the autumn sumac or why shaking the tail and last and some like at the moment. MIT herself has repeatedly described in such terms straight and strong like some girl athlete from a clarion hillslopes and brave like the maiden Artemis. The two women together are imagined the proper test of competence on some deltic headlines. HDS uses history gives depth and specificity to the New World Hermione seems insane guys, resources particular resonances because of the image of SATA, and also the conventional association of the grip of male homosexuality quickstop to and athletics definition and forms for HDS references to the body and the emphasis on physical action. The masculinity of Greece in particular, and history in general, gave actually scope for multiple plays on gender. From history she created and other reality and alternative typography both geographic and if history provided actually with the material, from which she could create her alternative to poverty, literary modernism provided her with the necessary meaning. Despite the conventionality of the situation in which the novel begins, and the development of its heterosexual plot, Kalani is written in a modernist stream of consciousness style. Within the stream of consciousness, the shaping of events can be altered, actions which will be overlooked by various conventions can be recorded, action can be subordinated to speech meditation illusion repetition images, although there are no conventions for the representation of lesbian action or notion in real time. Within this modernist style, conviction and intensity can be generated from the quality of the language, as well as in relation to the convention with the heading such as these particular manipulation of the heterosexual plot is made possible by harmonics. Significant to the lesbian emotion to be represented by passages, in which command is meditations on paying across social and sexual interactions with George. Within a volume of text, a resolution can be reached through a set of passages Her mind is really perhaps delirium perhaps, fantasy or projection or conscious explanation of experience, the image of the runner carrying a message for rapid demonium across history in the landscape. The resolution achieved to this passage depends on the figure provided the message, and the image of Hermione as a writer, rather than on the message itself. commanded an initial lack of vocation is superseded in the course of the novel by herself conscious recognition of the possibility of writing at the counter providers relationships with Jordan affect the choices she is faced with, or then worked out is an aspect of the question of writing. Combined is in development and a sense of herself as a writer is embedded in the context of ongoing discussions, primarily between the man George about valuing art, painting, music and writing discussions that turn on race, class and gender terms. When Hermione is overriding, it was brought into the text. George has commented on the poems in the context of an item they're having about a painting done by Hawaiian his mother, George prices combine these poems but insists of the painting love doesn't make good art my commodity does not say anything apply. But HD writes mid phase to George lands across as far as jungle writing, love is writing. He's collecting sent sense that lots of him were not helpful to do that or any. George has been a teacher, has given her books to read and praises her first poems that she is aware of. George was flattered to be such as some podium, I hate to equivocate practices. When it comes to understand that married differentiate the style, George's mother calls her undivided the switch regulator repeats and she responds decisively. I'm not undoing she said, for I'm dealing with the Little Mermaid, souls with glory for feet. And then all the little mermaid can speak after she assaulted your I will not sell my good. George himself putting her kidneys her to stop her from speaking. He is physically enacting the heterosexual called the silencing of alternative images of women, as he prevents her specifically from telling him about faith, and the revelation of the possibility of writing that she first sees and second time. He actually represents her mind is recognition of the possibility of desire between women for attraction to say, as a revelation of the possibilities of language.

Unknown Speaker  29:48
Her guards came to us from the anesthetic. Just what did she can say? She said in advance of this odd girl word for word, like snap and click the exact represent town to the same day I got involved in something very different from the casual after dinner sort of auction with her words met with the others. Her words were now again was heritage, heavy things they could win for her they would lose for her. Now she realized that the very words must stand forever. I counted, win or lose. Her cheekbones felt as if they were tinted with the most hectic point of the Indian paintbrush. Color seem to have drawn a cycle across the world is marked out isn't a continent, there was a zone she had not explored. She produced the same counter, the same sort of password that she used with all these people that she had passed out in a twinkling of an eye into another forest. This forest was reality. They're the very speaking of the world conjured up proper answer. A whole world was open, she looked in through a wide doorway. A lesbian sexual awakening is an awakening to language. This is the love of his writing. The connection that he makes between lesbian sexuality and language by representing the revelation of lesbian desires the revelation of land which is central to the normal, loving and writing are both associated with the energy of the Greek figure. And with the transgression of gender roles, of which Hermione is essential image. Failure is also described as both male and female but not feminine. At the second meeting fair, Hermione recognizes fame in a boy's costume. love of writing both provokes social disability, the negative reactions of her mind is mother to her relationship. By the end of the novel love and writing are interchangeable terms for the nonconformity that Hermione had come to understand needs to be heard. Love is writing in a literary sense, the images of this love can only be found in writing rather than the social world. In the great books and general books about people who love differently, that HD subconsciously inboxes are indeed loving differently Hemani has to realize the limit the conventional language. Firstly, the sense of the casual after dinner sort of auction was valued, was usually having social encounters, but also illustrated by her comment on her mother's descriptions of both George and normal unwholesome, the vocabulary gets more meager. The sexual awakening is an awakening to the possibilities of language, because it requires an understanding of things beyond those that words in conventional order can usually express. It is an awakening to the value of language because words are when all those candidates to gamble within a social context in which direct speech is unimaginable, and an unwelcome physical gesture could be dangerous. words become a necessary first gestures of the nine experiences designed specifically as a revelation, a double communication, language that appears to be conveying one meaning by expressing order in one sociality, which is in fact doing another, expressing an order to the other reality. Love his writing, that the novel is structured by and is also about this experience of double reality. He built the necessary understanding of the duality of language and social work into the structure of the text. She then has a character the neck the principle behind the form of the text, the scene of her mind is awakened and provide the narrative explanation for HD models. It also suggests the rationale for the text double construction for modernist style and heterosexual plot, a rationale which he goes on to make explicit the event which marks the transition at the conclusion of the first is a mining second meeting is saying, when her mining and George are attending a play and fails to perform a leading role. debrief is that most important conversation between the two women takes place in the corridor before the play begins. They're interrupted by George, who are these wretched dramatists? These highbrow arts are the college girls. Using gender as a means of denigration to conclude the attack of it began earlier on the cultural value of everything connected with this play. As they're entering the theater and being seated, she responds to this question of steering the fact that she's there because she wanted to do things again. Hemani answers. I don't know who they are. I mean, I only know who you want. I mean, that girl I spoke to is Pygmalion and met her at a party and sort of hopped in and the dust was so hot. That so much isn't it? It's fine. Isn't it cool? And she knew that she would always say to George now until all the George's the dust was so hot. It's so much isn't it cooler? It's quiet. Isn't it cool? During an overview on the violin and seeing the form step forward.

Unknown Speaker  34:43
The chapter and the first half of the novel and fear because her mind is decision. A decision with sexual and literary as well as social consequences, completes the education of combining the character becoming a writer who will become the writer of this novel. The form step in forward to figure her Miami we've been watching as she takes all of the Georgia Tech conversation conventions is famed for another woman he implies. She does not have a spell that out. Her mind is decision is already the basis of the text. HDS choice of the weather is the conversation of convention Hermione would use to protect the daughters is particularly appropriate, as it the cause was earlier use a conversation about the weather, the social convention that illustrates the function were banality but also the necessity of literary conventions. HDS declaring her own acceptance of the duality Hermione discovers to her love affair, the necessity for both a double text and a double message, one part of which will be constructed the most obvious convention as a means of negotiating a hostile social and literary event. But by making this declaration, by staging her own understanding of the necessity of duality within story, as she constructs her double test, she definitively undermines the convention, the heterosexual clock, that she is making use of. He is engaged in a text with a talk which is carried out through the connection of the form and the narrative of her novel through the character of Hermione who is both heroine and writer. Love is right in her mind, his love for fame has shown in the course of the novel to be the source of the novel structure, as well as the source of the understanding which led her mind to become a writer and ultimately the writer of this text. The book could not have been written if Hermione had not desired thing. If love is writing, writing is also love, the possibility of desire and fairness the possibility of writing, and the choice between saying Georgia the choice between writing and science. So her mind is constantly questioning yourself. One I love to I love I am and love is answered by the fact that she can ask the book could not have been written without the mind and hadn't chosen. In the course of the narrative thing betrays her mind with George in accordance with the convention of the heterosexual plot. But as the message of obedience that the runner that Hermione carries to go after demonium, is contradicted by the image of the donor. The message of obedience that the plot conveys, for all the GA is belied by the fact that the book itself as the novel ends, after HD occurs, her mind is renewed acceptance of this double strategy, through the dream of the runner. Command is immediately shown recovered from her breakdown in the novel's last chapter, c'mon is now able to decide to travel to Europe without a lot, perhaps with friends, and using the money that she would have spent on her wedding to finance the journey. There has to be a marriage, and she says she claims the journey to Europe as her marriage, her love and writing and then go into conjunction again and another final sentence. When having made the decision to leave, she returned from walking in order for us to be told that fame is waiting. A minute was not published during the daughter's lifetime. Although HD published other pros works as well as a purchase. She's usually identified and heard. She was also usually identified as heterosexual. For a woman with HDS literary connection and access to financial resources, publication is always possible. The reasons why she chose not to publish certainly include the obvious fear of such a hostility given that he might have known as she was writing her mind that she would not publish the novel. The fact that she still felt it necessary to rely so heavily on convention on the heterosexual plot is a further indication of the authority of that convention. The fact that she did not publish this and other models that you know, obviously meant that her primary identification with color was not seriously challenged. From identification of HD as a lesbian writer, and relying on Katherine Stimson, conservative and severe the literal definition of a lesbian as a woman defines other women radically attractive and verify age these relationships with men do not cancel out the fact of the lesbian, sexual and social experience. All of the lesbian writers at HDS time had to deal with a heterosexual partner in some way to establish their own relation to the oldest in the market domain. Many of them choose versions of the two parts HD followed in homebuyer history and modern writers as diverse as Willa Cather Bri narrow the middle and Margaret your center provides possibilities of historical fiction, sometimes using techniques derived from modern

Unknown Speaker  39:31
history itself is revised and revised in the modernist writing of Virginia Woolf, Gertrude Stein, and advance some of the characters HDS who mine Virginia works mistletoe are also writers. But these writers were not simply characters in their own sections or the accounts of homosexuality promulgated during their lifetimes. Carrying the message of obedience that she does ensures HDS run out of space between the battleground with Repeat however heroic is assured, and the judgment of the lack of determining which command to the

Unknown Speaker  40:05
command depth

Unknown Speaker  40:07
in this space Hermione as message bear, as writer can record a contradiction of the message she is caring. For the lesbian writer, there was always some space between the inscription and being described. This love is relative, everything they told the lack of demand deserves our careful reading.

Unknown Speaker  40:42
The description refers to the ownership things should say good things to do. I'm Rachel Brownstein. And we are not going to discuss instead, I'm going to talk about a tradition of a novel that is in the tradition in the canon Charlotte Bronte's villa, and its plot and what plot means really, in that novel, we can define women's fiction and then playing against the title, tradition and plot and women's fiction, as fiction by or for or about women or all of the above. And net whatever we do will agree with Julie that traditional plot is romantic plot, a love story, which implies a woman is always motivated by heterosexual love or the desire for that love and that her destiny hangs on her relationship with a man.

Unknown Speaker  42:01
The purpose of this panel is to ask questions about that traditional plot and I think in the end to talk about what questions writers when asked about it. The novel I want to talk about is by a woman writer whose works are included in the Pentagon or tradition, but the book in question is an eccentric one, maybe even a suppressed one girls read Jane Eyre and dawn to Emily Bronte's Wuthering Heights, but until recent feminist critics reread it Villette, Charlotte Bronte his last novel, which was published in 1853, had been largely overlooked. When it was first published, Harriet Martineau objected to it for being excessively concerned with love. The heroine who is the narrator, as the heroine is the narrator in her mind and as the heroine to whom Bronto deliberately gave the cool name. Lucy snow is an unloved child seen only as an outsider in a family circle where she feels alien at the beginning of the novel. We don't see her with her parents. We see her with her godmother, who is very attached to her son godmothers son. Lucy has to seek her bread because she's poor. And in search of that and friendship and love. She traveled from England to the foreign city of Villette in a country run to a cause Law School, which is obviously Belgium, where she finds employment as a governance to the children are the director of a school for girls with envy and score and Lucy records the love stories of the women around her watching them feeling herself watched by other people, never revealing what we're who she is. Who are you they see snow as a character in the middle of the novel and Lucy sort of fobs, her off with anything inadequate answer. She furls falls in love herself, with one man unrequited Lee and then with a second man and early critics condemned the novel for this super fluid T of lovers which was judged immoral, and again her desire is toward it. She ends up at the novels and neither married nor dead as the conventional plot would have her be but living alone and living as the director of her own school girls in Villette, an expatriate with her destiny in her hands. Lucy calls herself a looker on at life and because she is poor and playing and unloved, and without friends, she seems to be utterly at the mercy of circumstances and nearly reactive rather than active she guards her inner life seething and speculative behind an exterior which is gray almost to the point of invisibility, and her motives remain obscure to us. As a narrator she defies us to find her focus and the plotline of her story. She is evasive and untruthful, she leaves things out. Gillette, I want to suggest is about learning Lucy's learning. It's an interesting about Lucy's learning to translate desire into action, or actions, if not quite a plot or a single, comprehensive action that will totally expressor and that the difficulties of finding one's bearings is one read the novel reflect the difficulties of this enterprise. Two of my key words translate and desire were suggested by two linguistic elements of the novel, one very obvious and one very tiny. The obvious one is that a good deal of Villa is in French, the language of the foreign city where Lucy spends much much of her time and some of it even reads as if it were a translation. The tiny linguistic fact is that in the first of the four key episodes I will discuss, Lucy is observed by her employer, Madam Beck, requiring a child it's Madame Beck's child to translate in order to test your knowledge of a book. Impressed by this educational technique. Madame deck proposes that Lucy promote herself from Child's governance to English teacher in charge of 60 Girls, the name of the child is Desi obey this design. Before I describe this episode, and the three that said that succeeded, in which Lucy comes first to teach and then to act on the stage and then to write and finally to engage in an undertaking for which I have as yet no words, I want to sketch for you the source of another key word I've been using which is action. its source in the in the text is appropriately not a matter of work, but a performance. At almost the dead center of the lead. Lucy the looker on it life is brought to the theater to see a celebrated actress when she calls Vashti. As she describes this glowing, self consuming star, who spends herself and luminous exhausting performances, Lucy makes it clear that play acting is not so much a metaphor for action, as a metonymy of it. Vashti acts out her passions, her passions on stage, her acting is killing her as she pretends to the place safe to die, and Lucy feels revulsion at this excess of self expression, and also pity and terror not only for the character, but for a woman who seems more an extension than a reflection of herself. Vashti is hot and self consuming. Lucy is reserved and cool but Vashti poses the critical questions of Lucy's life, which are how act without being consumed by action. To what extent can one dare to reveal how one feels to other people? And how can one translate one's desire into action? What action is possible outside the love story? Lucy is obliged a character in the novel says to act and not be served by her circumstances. That is she has to work just a just because of who she is genteel, and an English lady. She has the credentials to be a companion to someone and a governess, which is the way she begin, or she can work at becoming independent. She can study steeled herself and dare. She attains prestige and power and more money than she's getting at Madame Beck school. When she responds to that terrifyingly tidy little woman's half scornful challenge to take the position of an English teacher. Lucy is afraid to take charge of 60 girls in her class. She says to madam back that although I have studied French hearts since I came here, yet I speak it with far too much hesitation, too little accuracy to be able to command their respect. I shall make blunders that will lay me open to the scorn of the most ignorant. She is physically small, unimpressive, and the girls who are gorgeous and gross have known their good contemptible governance. But she masters her fears of them and mastering them in response to Madame Beck's challenge and coercion. She mounts the Escalade or little platform that a teacher has to stand on or sit on in front of the class which is like a little stage and she proves herself mistress of the class in a brilliant maneuver where she she maneuvers the wildest of the girls in the class the most provocative in the direction of a closet, shoves her in the closet Luxor in pockets the key and then is mistress of all the rest of the girls and she Commonly then takes her place of two men.

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That's her first stage in finding an action and the action and conventional teaching girls, women have been on teachers. This second episode in Lucy's progress toward expressive action requires her to close a desire not to lock it away. Now a man not a woman urges her to act and this time again it is in a way that seems to be against her nature, which is obscure and unassuming. The man is miss your poor Emmanuelle. Eventually he will declare himself her mother and she will love him. But at this point in the story, he is only her fault her fellow teacher, he mocks her for being English and approved, but he asks her to play the part of a man in a school play when one of the actresses girls play boys parts because it's a girl school is sick and can't perform. She agrees in spite of herself, partly because she feels she has to rise to his challenge, and partly because she sees in his eyes a plea as well as a gap year. It's interesting that where her courage swelled in defiant response to the jeers of the mother figure, Madame Baek the father figure gains or acquiescence by a can a mixture of demand and need. It is interesting too, that while the teaching episode takes place entirely within the world of women in response to a woman's demand, and requiring that Lucy take command over 60 Girls, and requiring that she locked with wild stuff in a way closet, the second episode, the onstage acting occurs in a world that has been made heterosexual by the importation of men into what is their roped off and not invent skill, so that the girls look at them but can't touch them and feel desire and the excitement that they caused by simply being there extends itself to the parents, Madam back figures, and the parents will be thrilled by what an exciting place this school is and continuing to pay the tuition and send the girls to school. Okay, the prelude to this performance of Lucy's this command or demand performance is described in heavily symbolic terms. Miss your pole the fiery little man hustles Lucy through the passageways and stairs of the house into a hot attic that is infested with rats and black beetles that threatened to climb her skirts. She sits on top of a box on top of the table to prevent them from doing so she learns her partner right

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in in a sort of hot surroundings, and he rewards her with food against the protests of arrival of snake like elegant teacher from Paris. She insists that she were only symbols of male attire rather than dress like a man for her part. On stage, she finds herself terrified of the sound of her own voice. But soon she feels, quote, the right power come, the spring demanded rise and gosh, I'm sorry and rise inwardly. At this point precisely at this point. She doesn't really lose her consciousness, consciousness of herself but she becomes conscious of your fellow actors and of the audience and of the interplay between them. She observes that the girl playing the heroine is really playing to two men in the audience, and that one of them is the man that she will see is in love with the other man. The one that girl obviously prefers is the equivalent of the man that she Lucy is playing on the stage. Inspired by the desire to eat clips Dr. John the man she loves and who loves the girl playing the heroine. Inspired by the desire to win the heroine for herself to separate the man she loves from the woman he loves. Lucy throws herself into the play. She writes, retaining the letter, I recklessly altered the spirit of the role without heart without interest. I could not play at all, it must be played in with the yearn for seasoning, thus flavored. I played it with relish, translating her own desire into performance, translating her own feelings into the structure of the play. She plays very well. She acts she says to please myself, and later she compares her experience to being lifted in a trance to the seventh seventh to an ascent in a balloon or a voyage to Cape Horn. The experience is exhilarating, exalting an adventure and exploration of foreign lands. Like teaching acting requires her to use a foreign tongue she acts in French, like teaching acting requires her to perform in front of others to take charge of hers. Sal, both mounting the strahd in the classroom and mountain stage for the performance of things Lucy does because she is coerced in the second case because she was coerced and also pleaded with the first requires that suppression of desire. The second the transfer transformation of it is a third significant episode. Lucy is forced to perform by writing. Again, she she responds to an exigent demand. This time the demand is made of her by the authorities rather than by specific individuals known to her who are to her in loco parentis. These are school inspectors. They're suggestively named one sec and Rochambeau Deadwood and dry rock. And she's forced by them to compose an essay, because they suspect that Mr. Paul, her teacher has submitted essays that he himself wrote, as hers. She has said earlier in the novel that she can only write when she's inspired that she can't write at command. But partly in order to free Mr. Paul, who at this point she loves she submits to being examined by these characters. The test begins badly. She doesn't have the language, the years of education and cultivation that a native would have, presumably a classically educated man would have. But then suddenly, she recognizes the examiners she looks at them and she realizes who they are. Miss your block set in motion all these bearded pillars of the establishment are the same, lecherous, lounging men who had terrified her by following her and her dog on the evening. She arrived in Villette. The subject they set her is human justice and recognize it they didn't just have this circumstance, she is absolutely inspired, empowered and fueled by anger. She has therefore a vivid satirical vision of human justice as a drunken slothful, unjust mother. And this is what she writes and like this is what she tells us to write an idea when thieves I fail to work, human justice rush before me in novel guys. human justice, of course, is often is usually portrayed as a slender, pale, blind woman, holding scales, but lovely. This is a new version of the stereotype. human justice rush before me in novel guys, a red random Belden with arms akimbo. I saw her in her house the damage, confusion, servants call to her for orders or help that she did not give. Beggars stood at her door waiting and starving unnoticed, a swarm of children sick and quarrelsome crawled around her feet and yelled in her ears appeals for notice sympathy, cure redress. The honest woman cared for none of these things. She had a warm seat of her own by the fire. She had her own solace in a short black pipe and a bottle of Mrs. Sweeney's soothing syrup. Mrs. Sweeney is the alcoholic governors that lucid interestingly enough replaces in Mrs. Bharat Mata bags establishment. She smoked and she said and she enjoyed her paradise and whenever a cry of the suffering souls about her pierced her ears too keenly, my jolly Dane sees the poker the hearts brush. If the offender was weak, wronged and sickly. She effectually settled him if he was strong, lively and violent. She only menaced and punched her hand and her deep passion flung a liberal shower of sugar drums. Having sketched this death, and unjust human justice in this revolutionary image, Lucy scornfully and dismissively leaves the room freeing herself clearly along with Monsieur Paul. The grotesque adversarial image, the image that's offered is a brilliant substitute for the cut and dried expository prose that's being demanded. The amalgam of abstractions that these dead wood characters expect her to serve up to them is the fruit of Lucy's translation of her own feeling. Her scorn and her anger Her Fury, ad corruption and coercion coerce coercive powers into a poetical literary form. This performance is the final stage in progress that will be familiar to most of you here. One begins by teaching which requires a certain amount of acting, and in the end when is obliged to publish or perish to write

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both teaching which is always to some extent reforming and writing our traditional women's occupations. That leaves the ends up as a director of a school just like Matt and Beck is neither overwhelming and overwhelmingly happy ending to his story, nor a tragic one, nor indeed a revolutionary one. It is traditional in real life, if not in fiction. Which brings me to the final episode in my story of business development as an actor. I had met to write this as the story of Lucy's development into a writer liberate herself by writing, but then I laid this all out in front of another group the other day, and a person in the audience, a woman, anyone that reminded me of this final episode, and I think it was just appropriate that it would have to come to me from someone else. And with that, three times in the course of her life at Madame Beck's establishment, this is seeing a vision of a nun, reputedly a ghost. It has visited Lucy and interesting moments precisely when she was on stage of erotic excitation and expected and compromised with a gothic element. The realism of the story that Lucy narrates, toward the end of the novel, there was an extraordinary surreal episode of dream life kind of chapter in which Lucy wanders through the city of the lat at night after having been given a sleeping draft that has the perverse effect on her of keeping her away. She says, maybe it's a dream. The episode is certainly has a dreamlike quality. She slips out of the dark dormitory and finds everybody who matters in her life, a stand up somewhere in the city of the lead whispering among themselves, there are two groups of them, and talking about things that are going to affect and ultimately do realize they're all happy together. They're all plotting together. They're all planning to keep her on the outside. But from looking at them, she can't see them and she is ghostlike. In that episode, she pieces together the story of two pieces together what she thinks will be her law. Then she goes home to the dormitory, and what she expects will be her empty bed. The only empty one of 20 but when she gets there, she finds this something in bed. I had left it void and void should have found it. What then do I see behind between the halftone curtains? It's interesting that she slips into the present tense the active tense. What dark, you surfing shape, supine, long and strange. Is it a robber who has made his way through this open street door and lies there and wait? It looks very black. I think it looks not human. Can it be a wandering dog that is coming from the street and crept and nestled together? Will it spring will it leap out if I approach approach I must courage one step, my head real by the faint Nightline