Unknown Speaker  00:01
common interest in the gender genre, or what's happening has played calling for effectively gender generics. The history of John feminist critics collectively rescaled adequately to address gender. And this has resulted in an illusion which we all seek to remedy differently. And it's really fulfilling for you a couple of ways in which feminism approach the issue of gender and John and tried to place each of the papers. Feminists potential to the gender John first focused on ways in which women authors that have been entered into marginalized genres are we on as a result of their exclusion from Central cultural concerns and the consequent valorization of certain high male dominated jobs. Women these critics have shown us became custodians of the ballot tradition, and they also felt more at home with in the relatively uncodified novel form in in the Augustine high political of the century. The second school of feminist genre criticism has foregrounded women author's handling of forms or plots traditionally dominated by men, like the Gothic and the Elegy, or as Louise will demonstrate today, the Pamela plot, Louisianans reading Boston's Mansfield Park locates generic revision in Austin subversion of the master Marriage Plot of Richardson's Pamela original novel. Third, some feminist critics account for differences between male and female appropriations of the same genre by invoking their distinct psychosexual development. Bella, for example, will take us back to the eternal origins in her discussion of Krista Wolf's autobiography, the psychological and it turns out of autobiographical and therefore generic, enterprising Wolf's patterns of childhood is a search for a voice which necessarily originates in a confrontation with the mother. A final fenders challenge to John theory and my own paper locates itself here has determined that forms previously thought gender free are in fact gender specific, by asking what a text would look like if it had been written or if it were read by a woman. Writing from the feminine and the natural modes of are essentially masculine Western inheritance is to experience the displacement of a left handed person trying to pick up a right handed object. The epithelium conventionally denies female subjectivity and love and idealizes an experience of love and marriage which does not correspond to female psychic organization. All three papers today second Bathsheba is opinion Far from the Madding Crowd, that quote is difficult for a woman to define the feelings in language which is cheaply made by men to express there's the critical goal of all three projects. The three papers has been to deconstruct the normative masculine criteria and genre that can Symes feminine practice earlier, idiosyncratic or debased use of forms. What we hope to accomplish today in our analysis of vigil cases of autobiography, poetry and novels is to question a Western Generic Practice based on exclusion, limit, hierarchy and taxonomy and to lay barely gender specificity of any genre system, which pretends to rest completely upon aesthetic criteria. To confirm genre with gender is to represent the very nature of representation, and all papers I think we're just getting started.

Unknown Speaker  03:14
My paper is called in along with the title of the session representing Pamela is the version of the Pamela plot and Jane Jones.

Unknown Speaker  03:29
Watching the first half of Samuel Richardson's Pamela, the heroine is pursued by her rakish and dissolute master Mr. De plastica. This seduce or more bluntly raker web client while claiming that what's at stake is love. Pamela confronts Mr. Beast plot with their own plot, which is empowered and authorized by her virtues. Ultimately, catalyst plot neutralizes the threat of rape, as the novel marries Pamela conterminous. Indeed, what I am calling the Pamela plot, the novels master plot, married panels plot to Mr. Beast plot for the novel, which is closure through a marriage that entails a series of unequal exchanges and inscribed power within a social structure dominated by Mr. V. A marriage in short, that represents or revises the patriarchal order. Thus, Pamela is responsible for the moral reform of her master and therefore the moral regeneration Gentry to his class her master belongs, the marriage raises her in the class hierarchy, no longer is served and she's now White. While it affirms or subordination as a woman in by the structures of bourgeois and patriarchal hegemony, no longer an agent of her own destiny. Pamela becomes her husband's almoner so he describes what they're doing. She sort of almoner dispenser of charity on his behalf as Mr. V himself knows the difference in their class status intensifies and reinforces the effect of sexual difference. That is Pamela subordination in the patriarchal institution of marriage. Pamela's social transformation is echoed by a change in the status of her discourse. through much of the novel Pamela is a textual producer, author of her own discourse. For those of you who haven't read the novel is letters that she writes mostly to her father but also to her mother. through much of the novel, Pamela is a textual producer, author of her own discourse. This power, though is always already susceptible, susceptible to the authority and molestation of men. Pamela writes as a dutiful daughter, that's how she signs her still, and her text letters home is initially authorized by her father. While Mr. B's early attempts to tamper with her letters are represented as a kind of textual molestation or rape. But after the marriage, Pamela's discourse is displaced and marginalized and she's reduced to commenting in the margins of Western bees text, the rules of wifely conduct he composes for her. And you can see this in the book. It's written in two columns in his rules and her comments on his rules. So panel in the novel dramatize is what anthropologists call female Hyperkin. A structure in which women marry men whose class position is better and power is accordingly much greater than theirs. In power. This pattern of hypergamy elaborates a bourgeois division of sexual labor, which reconstitutes patriarchal hegemony. Pamela's marriage at once elevates her into a new social sphere, exalts her as her husband's moral guide, and subjects her to his considerable power and authority. This Pamela Claude lies just under the surface of a number of 19th century English novels written by women. These novels appear to revise, evade, refuse and subvert this plot to evoke it in order to revoke it. To give just a few examples, Charlotte Bronte's Jane Eyre Mary's and reforms her master but only after he is blinded and late and she is acquired independent income. Elizabeth Gaskell's Mary Barton Mary's not the Mr. De figure the rich and rakish middle owner Harry Carson, who may or may not have been trifling with Mary's affection. Rather, she marries the novel's working class, Marlon and then Jellicle hero, Jim Wilson, and George Eliot's Maggie Tolliver refusing the romantic plot that when annihilate her selfhood, neither married nor reforms the decades even guessed. If the specter of Pamela is the persistent figure in the carpet, in women's novels in the early and mid 19th century, the ways that women authors revise or subvert the Pamela plot, indicate their dissatisfaction with mystification of men's power. And more over signal these women authors resistance to the discursive fate of Pamela, which is inscription in male discourse. Nevertheless, as my cursory examples might suggest, the Pamela plot is rarely eradicated or abolished entirely from 19th century women's novels. The pressures it exerts, and the traces it leaves suggests not only the power of Richardson as a patriarchal novelistic precursor, but also the ideological power of the patriarchal hegemony that the Pamela plug represents.

Unknown Speaker  08:31
Since my time is limited, I should like to examine the way that one novel Austen's Mansfield Park attempts to evade subvert, revise that is represent the panel. I want to time to point out all the echoes of Pamela in Mansfield Park, but rather will focus on the most important ways that Austin's text confronts and rewrites Richardson's the Pamela plot, or more properly, more properly. Austin's resistance to this plot, underlies the treatment in Mansfield Park with Henry Crawford. Indeed, in the interaction of Henry's plot and fan prices, counterplay Austin was clearly subverts the master plot of Pamela, Henry Crawford, handsome, clever and rich, ordered life in the country is badly Ungratified after the departure of the Bertram sisters from Mansfield Park hatches the plot as he tells his sister Mary to make them price in love with him. This plot begins as a seductive entry, but as soon transformed as Henry apparently succumbs to Benny's moral influence, and decides without any prompting, other than his sense of her moral and intellectual superiority, and her apparent lack of interest in that he wants to marry. It seems then that Henry's seductive design like that used to be a panelist is neutralized or deflected by the moral plot of which Fanning's virtue is the agent. In other words in Henry's apparent moral transformation all evokes the Commonwealth Club which represents the neutralizing or moralizing of men's power by women's virtue. But there are some crucial differences or revisions of the situation in Pamela difference, which suggests Austin's critique of Richardson. Unlike Mr. B was motivated by lust, Henry is motivated by a need for power by event in Eagle ism that require that he be reflected by women at twice his natural size as Virginia Woolf puts it into one's own. Moreover, unlike Pamela, because blushes reflect her attraction to Mr. De fan, he betrays no sign of caring for him. Perhaps Austen demystifies, the idea of commonplace in Romantic literature written by men, that seduction can ever be rendered as love. In any case, Ben's heart is engaged elsewhere, with their cousin Edmund, who she secretly loves. Austin's heroin resist that is not only on moral grounds, but also on the basis of affection secretly engaged desires already inscribed in a heterosexual economy. But all this is fairly secret and ours. The hypothetical or virtual Pamela plot that the novel sets in motion is endorsed by most of the day 40 characters. These characters then are bad or overly credulous readers, Pamela, but Austin doesn't let them see Fanny's trump card for love of Edmund. For example, Sir Thomas Burcham envisages a marriage which balances material benefits from family and her family and her family, against the moral betterment of Henry Crawford. The material advantage is important as the price family is a Malthusian disaster area, too many children and not enough money. Although Sir Thomas's propensity to approve of marriage, the promise material without moral or spiritual benefits, such as his daughter Maria's marriage to the rich and values Mr. Rushworth discredits his authority. The scenario we're plotting sketches is endorsed by virtually all the important characters in the novel by Mary Crawford by Edmund by Henry himself and even to some extent by fans beloved brother William, by all that is except the grumbling Mrs. Norris and family who resist this plug rightly as things turned out, and refuses to take responsibility for the moral improvement. To borrow one of the novels recurrent metaphors of Henry what's wrong with the scenario that Sir Thomas lays out? First and most important, just as the master plot of Pamela insists on Mr. B's moral transformation, although ambiguously, Sir Thomas's plot relies on the possibility of Henry Crawford's capacity for real and enduring that is authentic change. This possibility force turns out to be an impossibility, but the only change of which Henry is capable, is superficial and transit. As Austin makes clear by presenting Henry is a consummate actor. Here it seems that Austin appropriates Henry Henry and I liked it It's Henry feelings critique of Pamela, his notion that it's easier to make good men wise than bed men good.

Unknown Speaker  13:05
Often also echoes Fielding and making both the patriarch and a younger son the Goodman will become wise squire, all worthy and Tom Jones and Tom Jones, Sir Thomas Bertram and Edmund Bertram in Mansfield Park, but Austin his feelings criteria of plausibility of feminine inflection, where she is particularly critical not only of the way that Henry makes his proposal with marriage, without reference to Fanny's view of the matter, but also the fact that virtually no one in Mansfield Park take Spanish feelings into account in reckoning up the benefits to Fannie, Fannie but especially to Henry Henry's proposal. Because almost no one needs finance insistence that her feelings about Academy will not change. Almost everyone further subplot that seeks to confine her to borrow another recruitment metaphor in a marriage that like a more refined version of seduction or rate, not only subordinates and devalues, but literally discounts women's desires. Fanny is especially critical of the complicity of women. Mary Crawford. This is Grant versus Norris in this plot, invoking a female solidarity notable for its absence in Mansfield Park. Mansfield Park is a novel about Sisters of legions to their brothers, not as in most Austen novel Sisters of legions to each other. As fantails Edmund in the middle of a long speech, Henry sisters should consider me as well as him. This speech like much of the novel presents Ben's point of view without the iron that usually distances Austin or her narrative from her characters. The absence of irony here as elsewhere gives a kind of tacit credence to fans view. Indeed, one of the hardest things to take about Finn is the fact that she is always right. Fanny's rightness Moreover, encompasses a secular sense of self, a sense of her rights and prerogatives as a woman. These include us we panel, the right to love as specifically Protestant sense of moral autonomy or conscience. It's the latter that makes bending respond to Henry's remark and her judgment is his his rule of right by saying, we have all a better guide in ourselves if we attend to it than any other person can be. Fanny's Protestant virtue, along with her sense of her prerogative as a woman makes her refuse responsibility for Henry's moral transformation. This refusal is an aspect of the stillness, the passivity or tranquility, that distinguishes Fanny not only from Pamela, who contemplates suicide actually tries to escape from confinement in the hall, and writes about her experience and a revision of Psalm 137 distinguishes Fanny not only from Pamela, but also from Austin's other female protagonists, beset by Henry and by all the forces he marshals on his own behalf, and alignment or alliances that defines the power structure in Mansfield four, Ben can do little more than resist, but resistance is one critical service is likely to be misconstrued in accordance with the codes of propriety, as acquiescence of the sword. Families dilemma is epitomized in chapter 35, where Henry read Shakespeare in an attempt to extort and that's the novels to extort from failure a word or phrase. In fact turn reads all the parts of Henry the Eighth and people charm facility and verb he's most authentic wings acting. In keeping styled Fanny not only refuses the role of moral guide which Henri tries to foist on there, she also refuses the role that Pamela is commentator unmilled discourse or in this case performance Famy temiz further attack is provocative attempt to get her to move, speak, act interpret with a motionless motion listener is broken only by an involuntary shake of the head, which he takes the liberty of interpreting, again attempting to provoke hurt, interpret or moralize him. As this scene is written, it appears that the only way that Fanny can evade Henry's plug is by an absolute stillness. emotionalism is so complete as to be tantamount to death. And I thought I would read you some of this. The context here is that is that sitting around the way characters and Austen novels always do? Edmund says, let's read some Shakespeare and Henry retold the parts in Henry the Eighth and then they get to talking about giving sermons because Edmund is a is a person he's just become a person and was my page

Unknown Speaker  17:44
have you know Fanny is the only one in the novel who takes very seriously as an admin his vocation as a clergyman. Our liturgy observed Crawford has beauties, which not even a careless slovenly style of reading can destroy, but it has also redundancies and repetitions which require good reading not to be felt. For myself, at least I must confess being not always so attentive as I ought to be. Here was a glance at Fannie, that 19 times out of 20 I'm thinking how such a prayer ought to be read, and longing to have it read myself to just speak, stepping eagerly to Fannie and addressing her in a soft voice, and upon her saying, No, he did. I'm sure you did not speak. I saw your lips move. I fancied you might be going to tell me I ought to be more attentive, and not allow my thoughts to wander, are not going to tell you so? No, indeed. No, you're doing too well for me to even suppose the way we have since by the way last words a Bleak House or even suppose she stopped felt yourself getting into a puzzle, and could not be prevailed on to add another word not by dint of several minutes of suffocation and waiting. He then returned to his former station and went on as if there have been no such tender interruption. A sermon well delivered is more uncommon, even in prayers will read. A sermon good in itself is no rare thing. It's more difficult to speak well than to compose well. That is the rules and tricks of composition are often are an object of study. A thoroughly good sermon thoroughly builds liberties and capital gratification. I can never hear such a one without the greatest admiration and respect, and more than half a mind to take orders and preach myself. There is something in the eloquence of the pulpit. What it is really eloquence, which is entitled to the highest praise and honor the preacher who can touch in effect such a heterogeneous mass appears on subjects limited and long, more threadbare, and all common him who could say anything new or striking. Anything that rouses the attention without offending the taste or wearing out the feelings as heroes is a man who one could not in his public capacity, honor enough. I should like to be such a man and be left. I should indeed I never listen to a distinguished preacher in my life, without a sort of envy, but then I must have a London audience I could not preach but to the educated to those who are capable of estimating my composition. And I do not know that I should be fun to preaching often. No and then perhaps once or twice in the spring, after me anxiously expected for half a dozen Sundays together, but not for constancy it would not do for a constancy. Here fanning could not but listen in voluntarily shook her head, and Crawford was instantly by her side again intriguing to know her meaning, as Edmund, Edmund perceived by his drawing in a chair and sitting down close by her, that it was to be a very thorough attack that looks and undertones would it be well tried to sack as quietly as possible into a corner, turned his back and took up a newspaper, very sincerely wishing the deal little thing might be persuaded into explain the way that shake of the head to the satisfaction of her art lover, and it's earnestly trying to vary every sound of the business from himself in murmurs of his own over the various divertissements of the most desirable estate in South Wales to parents and guardians and a capitalist season Hunter.

Unknown Speaker  21:11
Austin rescue spanning from this novelistic cul de sac by making Henri undergo a moral lapse, or more precisely a relapse, while presumably waiting for failure to say yes, and re seduces Maria Rushworth and proves that failing was right and judging him not amenable to improvement. With his one broad stroke it seems Austin topples the pemula plot, which cannot be enacted without the authentic moral reform of the male protagonist. Yet Austin does not and cannot dispatch the Pamela plot completely. At the end of the novel after Henry seduction of Maria makes it impossible for Edmund any longer any longer to consider Mary Mary Crawford, Edie who comes to see the family was right in her views of the crop roots, and a wiser man falls in love with family and marriage. This marriage of course, raises her position in the class structure. Ultimately, although not to the same extent as with marriage to Henry or to Edmonds, older brother Tom, the heir to the Bertram estate in Mansfield Park Austin does not so much obliterate the Pamela plot as modified temperates excesses or we presented that he is responsible for the moral improvement, although not the reform or transformation per se of her husband, and for the moral and consequently the material regeneration of the entire Bertram family. Austin sidesteps and obvious parallel with Pamela for in accord with her Express theme ordination. She marries Fanny not to Tom Bertram, but to Edmund the second son, consequently minimizing the difference in power between family and her husband. What is an ordained in this novel of ordination? how and by whom is the order name. Clearly it is Fanny who ordains or underwrites the morally transformed, morally transformed, social that is patriarchal order in and of Menzies Park, the place and is invited is morally regenerated order. The family's desire is appropriate and itself transformed. But the inscription of family's desire in the newly renovated order of Mansfield Park suggests not simply the power of patriarchy as a social order, or of the gentry as a class, for these in any case are dying or changing as an as evidence in the various internal and external threats to Mansfield Park in the novel. More important Mansfield Park the novel not the place, dramatizes the ideological power of patriarchy, which inflicts women's texts, and forbids the articulation of desire outside the structures of patriarchal hegemony, seduction, romance marriage. In Mansfield Park the novel place, the only way out of the novel's cul de sac is stillness on to the standings marriage, a marriage that while it encodes Austin's Austin's resistance to or evasion of the master plot of Pamela also represents what Pamela represents the continuing hegemony of patriarchy. It is not until later in the 19th century that life without marriage becomes imaginable embraces women's novels, but that's another story.

Unknown Speaker  24:31
My talk is entitled The quest for crystals for autobiographical projects. On November 3 1972, celebrated East German writer Christian, author of The quest for prosperity, no place on Earth, inscribed the new beginning of an anguishing the absolutely necessary personal project, resurrection of their childhood memories in Nazi Germany. In actuality, the autobiographical project had already been done. Before the Explorer I touched point of departure 16 months earlier in the summer of 1971. She returned for a weekend accompanied by her husband to the hometown she had not seen since 1945. Upon the arrival of victorious Allies, she had been evacuated along with some but not all members of the family. And this is a quote, a girl, Nelly, stuffed and stiff in double and triple layers of clothes, stuck in history. If these words mean anything, is grabbed up on the truck in order to leave her childhood, a book, so deeply anchored in German poetry, and the German console. As the above quote indicates, will feels that a profound lack of integrity is masked by the generic use of the autobiographical eye, and to refuse she refers to herself into persons. When speaking to enough Christa Wolf, recent tourists to a strange land and contemporary author of this text, the narrator uses second person new. When referring to herself as child she uses third person naming her Nellie wolf presents the ambiguous relation between self referentiality and textuality. In autobiography as the philosophical dilemma of whether to remain speechless or to live in the third person, the first she says it's impossible. The seventh strange this form of internal distancing underscores her problematic position the text and linguistic terms is a shifting, it reflects the figure of enunciation only in the act of enunciation and carries no transcendent status. In autobiographical terms, is the original construct a stranger, always a displaced person. The Autobiography structure appears to mind the account for the journey back to Lawrenceburg, now a part of Poland, which serves as a catalyst for rendering the process of both writing a book about that experience. Returning to the source to that childhood vote is always fraught, fraught with points a rage, rage, rage and regret. The retrospective movement upon which every autobiographical quest is based, is blocked at many points, at many points along the way. In this case, however, the app describing to penetrate the inscrutability of one's past is even more difficult than most militating against Wolf's expressed desire for self understanding is the deliberately cultivated collective amnesia of post war Germany. inextricably tied to her own sense of fractured identity is a crucial point of reference that she's going to regrow but as an ambivalent, but successful member of the Hitler use, and the first passage that we're going to look at is one that has a big six on it. It just the person who remembers not memory. The person who has learned to save himself, not as I would is you. A stylistic particularity such as this can't be arbitrary or accidental. The sudden switch from third to second person which only seems to be closer to the first, the morning after a vivid dream. It took place a long time after the summer visit to in a town which wasn't your hometown, but was supposed to be your hometown. As you knew it in your dream. You find the town untidy in a state of turmoil. You buy something carried on shopping their beautiful golden apples, a man comes and accuses you of having to procreate something that has been entrusted to you for safekeeping. You will you affirm that you deposit it elsewhere. The man is not unfriendly he doesn't wish to humiliate you. He has blonde wavy hair. You can't hold it against him that he is suspicious of you. You understand? It's his job. Together, you walk through an unkempt wood, a policeman with a white cap is really roughing up an old woman who was supposedly stolen some wood, a single stick. Your escort informs you that even a petty theft must be duly and severely punished. How much more so you're serious embezzlement, not lead him into a large square Gray House at the edge of the sports ravaged wood. That's how the woods looked at the end of the war. That kind of hallway a woman is talking to another at the top of her voice about everyday things. She can categorically denies any knowledge of the object you're asking about. You desperately insist that you left it here for safekeeping. She finally points to a net which holds a few wraps little packages, and a beautiful slender bottle. That's it. You call up infinitely believed all the deep down you know that you've been looking for something else. Your escort to satisfy. He holds a bottle up against the light that is pale green and transparent, painfully unsure and flaws. You see the Ask Work says this was a true memory lapse. You're happy to have an explanation for everything, when that exonerates you and put you in a grid.

Unknown Speaker  30:08
That ravine, this hillside, the grassy, lizard populated slope was one smelly playground. She had a tendency to hide herself to shun place from which one would hope or fear contract, one could have overheard. Now you realize why you hadn't been eager to come here for 26 years. Unspoken and unadmitted excuses, the loss of your homeland, the possible pain of recognition, were no longer valid. You shy away from from an encounter that would be unavoidable. Perhaps those who haven't experienced it should not be ended. A feeling of embarrassment in front of the child, you had worked your way through this spot, up to this house, not in a straight line within a seemingly aimless The Exact Force in order to get the feel of the child, possibly with the help of a memory exposed to the impacted details. When that begins to yield items of astounding any significance. That's when you had to realize that you could never again be her ally, that you were an intruding stranger pursuing not a more or less Wilmore trail, but actually the child herself for innermost secrets that concern. Alright, when you can see something I'm going to bring up later that she uses dreams very effectively, sometimes there are. There are no there's no other way to recall the memory, either deliberately repressed or it's so deeply submerged so deeply.

Unknown Speaker  31:41
What she's saying is that this is that this form of self betrayal is a forbidden app, because not only does she work against herself by doing that, but she will, of course, implicate somebody else or something else. Because it's not only her secret that she's worried about another thing, but the secret that all that all Germany harbors, and that she's complicit as in she feels. And so her guilt is always projected on to Germany's self protected instance. So her worry is Should she go against instance, the collective good in order to do this absolutely necessary thing for herself. And, by extension, do what needs to be done for Germany to but she knows that this is a transgression. So of course in the dream, she starts off carrying beautiful golden apples because she wants it to she wants to believe that it's a benign act and an important African beautiful app to go back to your childhood. But then, of course, she's immediately accused of something. And in this totalitarian world, sort of caca like world, you're always guilty no matter what it is, so that the woman, the chrome woman who steals a stick, and she has been sent to Harper's secrets against the state are equally guilty. And as I say, you're always already guilty. So whether you admit it or not, or whether you are able to discover or name, the object doesn't really matter, because the occupant is beside the point. And when she says, you know that he has blonde, wavy hair, of course, she's invoking the Aryan model. She can't hold it against him that he's doing his job, you know, the old thing was just following orders. The levels of guilt and complicity are so are so inextricably intertwined that you can't really separate yourself from the person who interrogate circumstance because she rejects them which on what I think is wonderful about Wolf is, as much as she tries to justify what she does, she's so relentlessly honest. And she has such an acute sense of irony that she catches, she catches herself before she does it. And after you have already done it, you say, oh, no, you can't do that yourself. But she knows when she's doing it. And she really confronts it straight on. So the thing she's most concerned about, at least in this passage is what is her relationship to this other card herself? It's called Nellie? Is it an honest trip to take what what really are her deepest intentions? What is her goal? What does she really want to do with it was, what does she really after? And why is it so dangerous, of course to do this? So I say the book in a manner of speaking begins again and again because she's constantly questioning what she's doing and how she goes about it. It's a methodological Chapman's that she integrates with fearful ambivalence about writing into the fabric of the narrative, arguably making her revolt against what she calls the limits of the expressible. The text most compelling and unresolved seeing, as many autobiographical narratives are patterns of childhood is meditation on the nature of memory, guilt, truth, history, and last, but most of all, It is a relentless interrogation with all the political connotations of that word left intact of language as is intrinsically related to the concept of the subject yourself. And the ways in which it psychic and moral boundaries are most elusive to itself. And some another quotation, the lines, lifelines work lines will not cross at the point which used to be called Truth. You know, only too well you're committed to find difficult and whatnot, what you're permitted to know and what not what must be talked about and in what tone and what must be buried in silence forever, wouldn't be able to write the book. Why? Why does will say that she cannot write this book. The tension between the overwhelming compulsion to address an equally strong internal resistance against disclosure pivots on the dangers associated with the nature the autobiographical enterprise itself. The female autobiography in this enterprise represents in a distinctive way, the psychoanalytic search for origins. This is by definition, a search for maternal origins and for that part of the self, however do that is most intimately related to language. It takes wolf two thirds of the way through what could hardly be characterized as a straightforward continuous narrative, to say that her mother did not climb on the trunk that day,

Unknown Speaker  36:23
that she stayed behind for no closet. And the for all intents and purposes from the child's perspective at least, She abandoned her at the most crucial moments. None of Melis attempts to rewrite the story of that traumatic event, not because memory fails, but because for wolf language is inadequate to perform such a transformative task. In a large sense, however, we can say that the entire autobiography represents an effort to understand and reconstruct, restore and reclaim the mother's message in her absence. To do this wolf and all female are biographers must distinguish and decode the many modes of discourse, familial political site psychosexual, historical and social that surround the mother as a figure and keep her powerful, yet more inaccessible than ever. The passage I would like to look at now is one of the earliest invocations and evocations of the moment. It represents a summons, a form of address, a conjuring up and a challenge with all the attendant psychological complexities it's such an act entails and the writing crystallizes. It begins as an urgent but provisional attempt to theoretically define memory and to locate its origins. But like all the modes of discourse exam, as soon turns into something less a dream. will often relies on dreams as the crucial mode access to memories that remain beyond the limits of ordinary speech or conscious experience. What cannot be thought or articulating waking hours is most often symbolically an afternoon dream. And it is here that we see Wolf's extraordinary interpreted imagination at its best. I'm gonna go about a third of the way down the page. Memory. According to today's presentation, the preservation of previous experience in the faculty to do so. Not an organ man, but a process and the capacity for carrying it out. Expressed in one word, an unused memory gets lost, ceases to exist, dissolves into nothing, and alarm clock. Consequently, the faculty to preserve to remember must be developed. Before your inner eye, ghostly arms emerge. Welcome abandon the dense fog aimlessly, you have no way of penetrating all the layers is dramatically wasting your energy. No more result in fatigue, you go take a nap in broad daylight. Just then your mother comes in. Even though she's dead, and sits down the big room, something you'd always secretly wanted a whole family's gathered. But living in the desert, you alone are able to tell one from the other. But you have to go to the kitchen to wash all those dishes. The sun is shining through the kitchen window, you feel sad, and you lock the door so that no one can come in and help you. Suddenly a shock that penetrates even the roots of your hair. And the big mama table lies the manuscript with the first page and the one word mother in large letters. She'll read it guess your purpose and feel hurt when you get sort of close to the heart she's exhausted as you can imagine from physically and mentally exhausted from pursuing this product only she's so compelled to do it that all the resistances alone On the way on the cover. And again, you have those layers of complicity and guilt. And the guilt is now in, at least in this passage not directed against this collective memory, this state of what she's apart. This, in a sense, this destiny that she chose not to fall. But against betraying her mother who was who was, I would say, is also a part of herself. She knows she doesn't understand why her mother left her, and her mother never explained it. And so this effort to keep trying to find out why is it that she left her is a part of this whole venture. So when she launches into this dispersion, a sense about what memory is, and she does it several times in the text comes up with many different definitions. Of course, none of them, no matter how, you know, sort of lexically correct, semantically correct come up to what memory is because memory is something that none of us understand. She has to find an escape route, and she has to find another mode of language that will enable her to get out the thing that she needs to get out, but she's most afraid. And at that point, of course, things start to get distorted.

Unknown Speaker  41:18
So she talks about her inner eye, ghostly arms, groping about in a dense fog aimlessly. And in fact, she's not aimless at all. She's quite directed, but the direction that she's going. And many of you had to deal with a blank manuscript, you can imagine how many excuses you need to come up with in order to avoid you anything that you have to do. So just just a while just go take a nap, I'm so exhausted. But of course, she goes and takes me out. But what happens, the very thing that she's most worried about happening, but most want, she most wants that to happen, she wants to meet her mother, she wants to confront her challenge her. And she has to do it in the most mediated way possible, which is not to tell her directly, but of course, to leave it as a text so that her mother can read it rather than rehearse. All she has to do is leave that one word, mother and that will say it all. In perfect psychoanalytic terms to if you think about what happens at the end of the white Hotel. If you could bring your therapy around full circle, what you would do is bring back from the dead, all those people that you can no longer talk to. So that's what she does, she brings her back has this whole scene, every family member both alive and dead. Only she can interpret who they are and what they're capable of doing for her. And the person who's most important in that scene, of course, is the mother. And then how does she end the passage by saying she'll read it? Yes, your purpose and feel hurt. Now, what is her purpose? She's not sure, but she knows that her mother would misunderstand. And she has misunderstood my mother for implicit dialogue. It takes place. There are many dream narratives in this text, whose data images have to do with silence, paralysis, mutation amputation, represented in the loss of a writing hand, a man without a mouth or screen that no one hears scenes of torture, neglect, complicity, impotence, deception and death? Who is the agent and who is the victim? Is the mother is the transmitter of cultural values and the culture that wishes to pretend it has no recent history? And what is the daughter's place in that continuum? Where to start? What do I know? How do I know what I know? How to say it? These are the questions that crystals patterns of childhood scribes which one was relentless honesty and already to formulate? That there are no direct answer. This is only further evidence that the autobiography who tends to speak from a position of ontological and epistemological certainty is acting out of fiction. Certainly for some such ambiguity jeopardizes reason undermines totally autobiographies, claims for credibility within a literary tradition and as long dependent on the availability of generic distinctions. But as is usually the case, there is more at stake in the evaluation and classification of generic forms of content, and has generally been conceded the difficulty of saying I may be the most fascinating problem in the study while around that the exciting convergence of feminist theory psychoanalysis and post structuralism has helped make this explicit, which one is autobiography where it belongs in the first place?

Unknown Speaker  45:00
Ah, one more paper. Okay, this is the last one. And I think we're going to try to open up the discussion. I think in some ways my paper will be a footnote to the previous two because my paper has the same obsession, mothers and marriage. So we'll answer I think both of these. My paper is called Songs from the bride with the throne in editorial brackets, it's usually songs for the bride. When women poets right at the perlane the traditional preoccupations of western genre theories since antiquity have done the establishment of limits the drawing and exclusionary lines, the fascistic protection of idealized generic purity and poetic borders have been policed even more stringently than those of prose by homo properly understood man, taxonomic this, in fact, when the writer is able to make themselves at home in the house, the pros still found themselves exiles, when it came time to poetic genres barred access to highly codified forms like the sonnet, the LGD epic millennium, women codes have had necessarily to recuse, resist and reconstruct our western theory of inheritance. Ever since SACCOs point in debit the lady included in LNG for red Timon Am I still sad because of my last meeting, women poets have written differently of marriage resisting by an array of strategies that conventional generic treatment of that sounds, songs from the bride as the editorial insertion in my title makes clear, we'll examine the poetic genre that conventionally sang songs for and of the bride rather than by her. That is the traditional ethic Millennium centers the feminine as objective male gaze and poetic celebration, effectively denying her access to subject to the voice. How, in fact is a woman poet take on a genre designed to idealize her. How can she speak in a mode which depends upon her as object in the time allotted to me, I will attend three things more briefly than I really can sacrificing depth to what I hope will be a useful breadth of coverage in this case. First, I plan to address the genre of the epic Millennium as gender specific to the masculine that is, second, I will present women poets efforts to remake the genre in their own image, as a natural poetics of rape, rupture and loss, itself a protest or thematic and formal against inscription into the patriarchal symbolic. Last I will introduce a heartening array of contemporary poems, which suggests the possibility for a new female subjectivity of the erotic, a new poetics of marriage, new songs from the bride. The classical epic millennium was traditionally a song sung outside EPI, the natural chamber following us after the Length Upon the consummation of the marriage union in celebration of conquest one by the ton of fatalis any wedding song received the generic label. The conventional epic Millennium runs the length of the day during the spring or summer season. It describes marriage preparations and participants it features of bride virtually definable by her virginity. It projects a fiction of a rather human essential plenitude expressed in natural images, particularly the gender determined care of dependent vine and Elm. The tone may often be didactic, as the genres function is largely to exalt the patriarchal institution of matrimony, it most often bears the overlay of allegorical significance or cosmological symbolism. The marriage ritual as male authors eternally exploited, symbolizes in a series of parallel relations the wedding of man and woman came to subjects church to state Heaven to Earth, even as it seems to deny hierarchy in its transcendental celebration in the Indian order. Because epic Millennium reaffirmed social hierarchy and along with it patriarchal the Gemini we did not write these papers together. It may have found its truest home in the wedding's, which close please like Shakespeare's As You Like It, and with reservations, certainly Jane Austen's novels, the entire movement of the epic Millennium genre is toward conservative resolution and closure. Winning poets from the first straight against the

Unknown Speaker  49:06
genre by definition objectifies the feminine, even in Spencer's canonical epic millennium, which is perhaps the most benign and beautiful natural continental tradition, the paradigmatic arrangement of Orphic courtier bridegroom master at singing and master in the bridal chamber chamber as well, and passive voiceless decked and wedded bride inscribes the ceremony with familiar ritual overtones and initiation ceremony which imprisons the bride evermore firmly in anonymity, or right which makes the curtain short a cipher, while ostensibly singing for the bride, male public celebrates, and in fact to arrive her distinct psychological experience of marriage, often an occasion of separation and mourning, which women poets record eloquently and poignant. Instead, the epic millennium is often co opted, as in Spencer's at the Philemon to stage and Orphic marriage of poet and court that is an occasion poem which is finished The records personal arrangements doubles as a vocational pronouncement. Male codes even at their most personal tend to use the millennium which flowered in the Renaissance as a kind of occasion poem as a poetic opportunity for solicitation or recognition of patronage. God, politics and poetics are its proper provenance. Finally, the traditional ethnic selenium from the rhetorical epic millennium the late Middle Ages to some recent poems of stake always concludes transcendentally, a gesture replete with significance in which women poets, in their appropriation of the genre pointedly resist how love achieves literary representation depends as thoroughly and poetry as a narrative upon who is telling the story. Characteristic of the early epic blaming, for example, are a particular mocking, even sadistic tone, and a profusion of Gribble jokes and sexual taunts which addressed to the bribery may correspond to an even functionally allay the masculine sexual anxiety aroused by the winning, we might note as well as evidence of the gender specificity and literary conventions. The traditional separation between male erotica and amatory verse, natural verse. A third male and gender convention of the traditional wedding poem is the blaze on a catalogue of the bride's physical attributes. These will sound familiar, these ideal and unreal comparisons hair like gold eyes, like sapphires, lips, like rubies, etc, so disembodied the grind that Shakespeare himself was compelled to write parody in mind, Mr sizer, nothing like the sun. Generally, however, the conventional Lithuanian welcomes marriage from the masculine point of view as a handing over of title and acquisition of stature and efficacy. The project is governed thoroughly by a fulsome idealization of the bride and a simultaneous devaluation of her when John Donne and every stanza is lifted with today put on perfection and a woman his name, he exalts, of course the Virgin spotlessness, but he also gets boggled at the impending male perfection of women by the act of insemination, and suggest the dependence of women's identity upon a rite of passage into heterosexuality. When Richard Crenshaw in his advocating expose that the rich loss in exchange of dying made for donning wife, it comes brilliantly upon the little death of orgasm dependent upon the loss of innocence, but he does not do so from the frightened, anticipatory vantage point of someone about to lose hers. Woman's alternate experience of love relations, as I have defended suggests is in some ways, the counterpart of man's and the literary evidence of that difference is itself unsettlingly polarize women's sexual experiences largely into some sobering we determine the forms for textual expression, in a manner that bears directly on the epic millennium, fear of declaration and all that it implies for female identity directs the shapes of women's self conception as creative artists, as much as it determines the forms of their writing, arising from an alternative set of internalized relations women's at the millennium to speak a singularly feminine view of marriage as a rite of wounding or violation as an occasion for mourning broken bonds with female companions and mothers. And when celebratory as an experience of love more fluid, realistic and evolving that is to say, less symbolic, played nice and transcendental than that manifests in the empathy Lamia of their male counterparts. Rather than looking at the Selenium into registers other than personal and amatory the trends and mental female at the thalamus use the job to dramatize private writes about which they are infinitely more ambivalent. The tones of women's and the Fellaini are different as early as Sacco when women poets write about an impending loss of virginity in fragment 34, when a bride asks sadly, virginity Oh, my virginity, where will you go when I lose you? A second voice perhaps behind that self response? I'm off to a place I shall never come back from dear bride. I shall never come back to you never. most poignant perhaps the SACCOs Elegy for loss Maidenhead like a highest in the mountains trampled by shepherds until only a purple stain remains upon the ground. Emily Dickinson makes the same equation that marriage is a kind of death to the Virgin in her born bridled shrouded in a day. Is this the way

Unknown Speaker  54:18
the lowest class of this of the marriage as death toll booths and indispensable to a discussion of women's ethical learning is the perception in dating at least as far back as slavery representation is the American to Demeter. In this earliest dramas a female identity marriage not only takes the form of rape, it is crucially mediated through the maternal relationship. The poem begins in an all female world worker Stephanie enjoys an innocent virgin state of near fusion with her mother. The harmony of this pre beautiful paradise is then shattered by the intrusion of the male in the form of an abductor, because the prerogative to give percent me over a marriage remains paternal Zeus awards or exchange to his brother, the god of the underworld, and for 70 participate in the abduction to the extent that she reaches eagerly for the Narcissus lure associated with death, phallic power and sexuality. Marriage thus resonates doubling from perception. And I might add for women generally, it facilitates separation from the mother, but it necessitates excruciating loss of a sustained bond. The poem ends with percent and the directors return to her origin the mother by means of an uneasy solution, spending a third of the year with the rapist, lover, husband, and two thirds of the year with the mother lover, and that kind of divided life eliminated by Nancy choda rose notion of women's suspension in a bisexual triangle between mother and father between homoeroticism and heterosexual marriage cannot be greeted other than ambivalently in terms of the female maturational pattern elaborated in this poem, and recently given recent theoretical grounding by children. Hence, we get the repeated effect of a pattern and a series of contemporary poems centering upon the preset any debit or myth, and so somebody applies to Sisters of Persephone doubles the divided daughter into a pair of twins, one essentialist and one a mathematician. The first of cons predictably, the male sons bride wears quickly see and bears a king. The second resistant to absorption of rye virgin to the last goes great word with fleshly waste warm husband and yet no woman to resist marriage is to take the veil or it's equivalent to flee femininity is culturally constructed and approved. But the most arresting contemporary poetic treatment of the daughters division between two loves is that an Enid David perceptibly you have that poem in front of you if you want to follow. The first part of this poem sets up the daughters desires the second page. The first part of this poem sets up the daughters desire to quote spend my life in her kitchen, quietly watching her capable fingers going fires, street corners, crack warm eggs against a blue bowl, I wanted to be a part of that room to remain within the contours as the Assam is no doubt suggests of that wound in part two of this poem, and I'm skipping over the first part for time sake here, and part two of this poem for Stephanie considers marriage. I only went on that blind date to please her. The man was too old, his fingers were stained, yet he promised to bring me home safely. Instead, he brought me down here. Only good thing about this place is it's too baggy dark to see what he looks like. He says your mind little girl now. He smells like old clothes, his body scrubs, fingers spattered and carrots, they bring me novelty. He rocks up and down like a leaky old boat rocks on the ocean. He shipwrecks inside me every night. When he kisses me later, I call them even when allusions poems about marriage do not explicitly named the mother as first lover as named those, they tend to be more in the rhetoric significant female bonds. I don't have time to go over the first time in that thing, but I hope you'll look at it later. It's a comes from the third century BC Hellenistic code arena. And it will give you a sense of the contrast between women's time and marriage between the pre beautiful and the post nuptial.

Unknown Speaker  58:16
Other ethnic millennia, horrify in their systematic inversion of Hymenaeus imagery, their deliberate exchange of natural fire for funeral pyre and will be differences this chasm sweet upon my life is not a recognizable at the palainian by any stretch of the imagination. But the code will envision that funeral in her brain was more than capable of imagining a scenario like the following. In this problem, you don't have this. If you're looking for it. I'm just going to run it down. In this poem, the sacrum tone the addresses to sweet and darling belie the necessary truth of this brides experience. In this black marriage. She is the cork favorite of doing constrained by a relationship that contains her like a tomb. The poem ends with a terrible conceit of pregnancy, a parody of the expected conclusion of the traditional epic Philemon, this bride driven to suicide. There's your own burial being about as if it were a child in a similar ndfl in that thing, the poet HD is written a dark, dignified and solid mess called Hyman, dramatizing by means of an austere procession, the inexorable process of girlhood into wiped. Finally a number of female epic millennia are fueled arbiters of purity of genre would insist informed by rage. Class production is a poem of bridal breathing in which availed bride revolving in her sheep of impossibles here's her bride groom arrived, and suddenly unloose his from the small jewel doll He guards like a heart, the lioness, the shriek in the bath, the cloak of holes, Eve metamorphosis in this poem into Clyde minister, raising her knife to cut the murderous husband down. Women's hyperkalemia not only give voice to suppress evidence of women's experience in loving marriage They also sharply critique the implied ideology of the traditional ethnic millennia. Women poets refuse transcendence and the DIS embodiment assigned to them in natural poetry by catalogue or idealization by writing poems which locate their experience of marriage in the body. The striking shared feature of this representation is it's different emphasis in their citing a woman's experience of love and marriage and and material body. Women poets remind us that in their view, love has a body and in its vulnerability to assault that body is female. But women poets do more than resist or some furnish armor that circumscribes they also reconstruct uninhabitable forms by imagining new or alternative nuptial scenarios. In contemporary women's poetry we find a range of poems which reach cheerfully at last after new sexual configurations sound hitherto unheard arrived melodies claim of subjectivity for the woman is Lovering commanded her own songs to speak equally female but less violent fantasies of love. Imagine the possibility of marriage physically tuality HDS society camps the entire series of modern Persephone poems discussed above, by imagining nuptials other than those imposed upon the violating perception, replacing back daughters tale of a Deaf wedding with psyche story of empowerment, HD celebrates baby's ability to meet ecstasy actively and to inspire caring and Eros himself. Were Persephone to learn from psyches experience of love. Even men like Katie's might be brought back from a failure today. If I can see this God, Persephone in hell would lift her quivering lids and smile. The Mysteries hid escaping all the years alive. Both priest and Senate would smilingly prevail. Dead Men would start to move toward the to learn. Romanian poet Maria bonus is running also begins in darkness you have that on that's the third. In the natural world, there was a black cosmic undress I told him to make me warm, but it ends with a vision of the nurturing sky and lucky streak of cloud to make the kind of bond His Bride since then, however, the bride during this column has to shed the masculine armor the violent machinery of his entire civilization. The brides undressing of the technological man who's hard finally doesn't break claim or explode, but instead drops humanly makes for an audit surprisingly warming and Philemon Venus is solution is a brilliant recasting of a familiar convention. The blaze onto the bride's idealized attributes is replaced by a different sort of catalog. One of the scripts this bridal naked, free to love. First TM screws his hand the Brady like center and trying to escape the vise of his reins, or like the stopper of a bottle when it treats against the glass throat. He unscrewed his right arm with its bullet threading em screwed his left arm like a simple metallic rocket. The unscrewed is artificial right leg swearing with a truck driver at a hacking engine. He unscrewed his artificial left leg and iron ground against iron walk at the close of this corner quietly apocalyptic vision. Nature replaces the discipline