Jeanette Winterson

Onega, Susana

doi:10.7228/manchester/9780719068386.001.0001

Cited by 19 publications

(2 citation statements)

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“…Her adoptive father was a worker in a television factory and her mother was a housewife. "As a Northern, low-church working-class girl she was expected to do militant religious work, to accept compulsory heterosexuality and to avoid developing her intellectual and artistic capacities" [1]. When she spent her childhood and youth devising cunning ways to fight against the religious rules and principles, as well as her mother 's ban on reading and all kinds of ridiculous demands, Winterson was also affected, and explored an array of ways of crossing those boundaries and formed a series of transgressive thought.…”

Section: Introductionmentioning

confidence: 99%

Rethinking the Boundary Between Human and Nonhuman: Jeanette Winterson’s <i>The stone gods</i> as a Transgression Experiment

Jin¹,

Wang²

2020

IJLA

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As a world-famous writer, Jeanette Winterson, as well as her novels, have been well-known for her lesbian theme and love theme. Little attention has been paid to the theme of transgression. However, studies have shown that transgression experiment is also the key theme through all of the novels by Jeanette Winterson. In the Stone Gods, she still keeps this narrative style and gives an attempt to stir the people to re-evaluate the boundary between human and nonhuman, attracting much more attention to the issues of transgression experiment and the result after transgression. In this paper, based on the Jenks' theory of transgression, we found out that there are two ways that (1) broadening the definition of body;(2) breaking the boundary between human and environment, which could be accepted to attempt to explore the issues of boundary between human and nonhuman to examine whether the boundary could be crossed in The Stone Gods. In these ways, it is found out that the real aim when Winterson regards the novel as a transgression experiment is to not merely break a rule, rebel against normative social and cultural constraints, but rather lead a dynamic trend in cultural production and diverse discourse, in order to stimulate readers to have dynamic thought about everything.

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Section: Introductionmentioning

confidence: 99%

Rethinking the Boundary Between Human and Nonhuman: Jeanette Winterson’s <i>The stone gods</i> as a Transgression Experiment

Jin¹,

Wang²

2020

IJLA

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confidence: 95%

Christine Reynier. Jeanette Winterson: Le Miracle Ordinaire. Bordeaux: Presses Universitaires de Bordeaux, 2004

Ringrose

2010

Miscelánea

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There have been a number of recent book-length studies of Jeanette Winterson's fiction, including good work by Merja Makinen (2005), Susana Onega (2006) and Sonya Andermahr (2007 and2009). It is noteworthy that Christine Reynier's fine study appeared as the first in this sequence, in France in 2004; the English texts are cited here in French translation, making this an accessible introduction to a major contemporary writer for French readers (and those who read French). The book is an enthusiastic endorsement of Winterson's work, covering the first decade of her writing, from her celebrated debut novel Oranges Are Not the Only Fruit (1990) to The PowerBook (2000). Christine Reynier leaves us in no doubt that she regards Winterson as a major talent, and gives no house room to those critics who have found her more recent work full of grandiose involution, or showings signs of a writer in decline. (The Guardian's reviewer James Wood suggested as early as 1997 that "Winterson's novels have become increasingly conservative" and that she had begun to adopt a form of "sentimental exoticism" [Wood 1997]). For Reynier, on the contrary, Winterson creates "un monde merveilleux, féerique ou fantastique" which leaves readers "à bout de souffle et enchantés" (11).Rather than deal with each novel in turn, the book blends discussion of the various texts under a series of headings. Winterson is seen first as a satirist, who condemns and mocks all forms of oppression and repression to the point of questioning the very nature of authority. It is easy to see how this satirical approach operates in Oranges JEANETTE WINTERSON: LE MIRACLE ORDINAIRE

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