Suture in literary analysis

Finney, Brian

doi:10.1080/10436929008580051

Cited by 4 publications

(3 citation statements)

References 9 publications

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“…All forms of narrative necessitate sewing over discontinuities -jumps in time or location, switches from one consciousness to another. (Finney 1990:131) Finney (1990) went on to point out that:…”

Section: Discussionmentioning

confidence: 99%

Contested selves and postmodern hybridity: Authorial renunciation and gender revisionism in Patrick White’s Memoirs of Many in One

Graham-Smith

2022

Literator

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This article attempted to reclaim Patrick White’s final novel, Memoirs of Many in One, from the margins of White scholarship. The novel was a significant omission from the first major study of White’s oeuvre to appear in over 25 years, entitled Remembering Patrick White: Contemporary Critical Essays, edited by Elizabeth McMahon and Brigitta Olubas. Reviled by critics such as David Tacey as demonstrating White’s systematic repudiation and trivialisation of his literary legacy, most palpably commemorated in the form of the 1973 Nobel Prize for Literature, the novel has been largely ignored by White scholars. Bridget Grogan’s ground-breaking new monograph on White’s work, Reading corporeality in Patrick White’s fiction also did not include a study of Memoirs. But, this was most probably because the novel does not fit the theoretical focus of her study. As I hope to demonstrate, using postmodernist, Lacanian and film theory, the book may be reinterpreted as a conscious renunciation by its author of the realist tenets, which saw the author as a God-like, omniscient figure. By placing himself as just another character in his novel and fracturing his gendered and narratological (author)ity in the form of multiple, never fully inhabited selves, White revealed the ultimate fraudulence of any claim to authorial and narrative transcendence.

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Section: Discussionmentioning

confidence: 99%

Contested selves and postmodern hybridity: Authorial renunciation and gender revisionism in Patrick White’s Memoirs of Many in One

Graham-Smith

2022

Literator

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“…Clover (1992), who, in Men, Women, and Chainsaws: Gender in the Modern Horror Film, draws on the work of Freud ([1919] 1964) and Kaja Silverman (1992), to show how cross-gender identification, particularly between male viewers and images of women in horror films, works to destabilize normative masculinity. While Clover's analysis is specific to cinematic images, I follow the lead of theorists, such as George Butte (2017) and Brian Finney (1990), who see questions related to intersubjectivity as fundamentally similar in film and literature. In her analysis, Clover specifically seeks to understand what it means for men to see themselves in women, or as women, who suffer violence, and to what extent that position entails pain, pleasure, or some mixture of the two.…”

Section: Male Masochismmentioning

confidence: 99%

Masochism, Empathy, and Genderqueer Masculinity in Sherwood Anderson’s “The Man Who Became a Woman”

Nagy

2023

The Journal of Men’s Studies

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This article draws on queer psychoanalysis to explore links between homoerotic masculinity and heterosexual women under patriarchal manhood. I argue specifically that the genderqueer effects of male masochism—as conceptualized by Carol J. Clover—helps us to understand Sherwood Anderson’s exploration of a male protagonist who identifies with women’s pain so profoundly that he himself transforms into a woman who then experiences what it means to be subjected to male violence and sexual predation from that position. Anderson feels ambivalent about the extent to which this form of genderqueer masculinity is sustainable. It is a position that must be purged for the protagonist to survive, but it is also an experience that stays with him. The analysis then broadens to address the larger implications of the close reading, specifically what it means for a cisgender, heterosexual male author to depict men who see themselves in/as women.

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“…Whether this refinement was necessary or successful is a matter of some debate. Brian Finney has written eloquently on the ineffectiveness of this supposed distinction; 16 but, his protests notwithstanding, the term has since become a commonplace among scholars of narratology. Ironically, if understandably, the scholars who have since adopted the term tend to apply it primarily to seeing-to regimes of visual information.…”

Section: Visuality and Bodily Presence In Tang Poetic Writingmentioning

confidence: 99%

Whose Voice Is It Anyway? A Rereading of Wang Changling's “Autumn in the Palace of Everlasting Faith: Five Poems”

Varsano

2016

JCLC

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The Tang dynasty poet Wang Changling 王昌齡 (ca. 690-ca. 756), renowned for his mastery of the jueju 絕句 (quatrain) form, has been praised specifically for having brought a lyric sensibility to the heptasyllabic quatrain: a poetic genre most closely associated with yuefu themes and technical complexity. To the extent that such praise is responding to something specific in Wang's poems, they present a fine opportunity to investigate precisely how a lyric subjectivity is constructed on the basis of the limited poetic vocabulary afforded by stock themes, archetypal characters, and stylized surroundings. Noting that Wang is especially adept at using visual (and occasionally auditory) cues to convey the inner state of the personae that inhabit his quatrains, and taking into account the importance he apparently places on establishing a bodily presence within a given poem (as expressed in his attributive essay "Lun wenyi" 論文意 [On Writing]), this article performs a close reading of the perceptual cues featured in the five heptasyllabic quatrains, "Autumn in the Palace of Everlasting Faith" 長信秋詞. Borrowing the term focalization from recent theories of visual narrativity (most notably as applied by Mieke Bal), and applying it to these poems over the course of this close reading exercise, the essay demonstrates that the lyric power of these poems stems not from the communication of the poet's inner state on the specific occasion that inspired his writing but from his use of the senses to construct a fluid, shifting, and permeable subjectivity-one that can, at moments, encompass the reader and the poet.

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Suture in literary analysis

Cited by 4 publications

References 9 publications

Contested selves and postmodern hybridity: Authorial renunciation and gender revisionism in Patrick White’s Memoirs of Many in One

Contested selves and postmodern hybridity: Authorial renunciation and gender revisionism in Patrick White’s Memoirs of Many in One

Masochism, Empathy, and Genderqueer Masculinity in Sherwood Anderson’s “The Man Who Became a Woman”

Whose Voice Is It Anyway? A Rereading of Wang Changling's “Autumn in the Palace of Everlasting Faith: Five Poems”

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