By Ruth Parkin-Gounelas
Women's novels have ordinarily been learn as 'subjective'. via an exam of 3 generations of women's fiction within the post-Romantic interval, this e-book demanding situations conventional readings of women's novels and argues that fiction writing for girls has frequently been a question of self-erasure instead of self-inscription. specifically, it examines the altering innovations, occasionally collusive and occasionally rebellious, which Charlotte Bronte, Olive Schreiner and Katherine Mansfield hired of their tentative venture of inscribing woman subjectivity into the radical and tale shape.
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Extra resources for Fictions of the Female Self: Charlotte Brontë, Olive Schreiner, Katherine Mansfield
Example text
Jane's life is a torment of divided claims: passion 45 Fictions of the Female Self 46 versus reason, love versus duty, independence versus submission to the will of others. Lucy's is so much so that she can barely maintain an equilibrium without giving way to schizophrenia and nervous collapse. By externalising division in two rather than in the one highly internalised character, Bronte loses much of the effect of conflict. ) And with the demands of novelistic convention, whereby both women submit to and in marriage, the final double act of complicity negates much of the effect of divided claims that the text has worked to establish.
And yet finally, when independence is achieved through the aid of full emotional self-expression, Bronte can afford to cast him off in a ritualistic drowning (the alternative happy ending, the story goes, was offered in an attempt to please her father). It is in this sense that Charlotte Bronte: The Quick of Her Nature the text of Lucy's life becomes more 'true' to Bronte than any 'realistic' account of her own life could ever have been. * * * Within the terms of life as she had known it up to the time of writing Villette, a life as the only surviving daughter of an ageing and widowed clergyman in a remote village, and above all within the terms of the discursive space she had inherited as an early Victorian woman, Bronte's definition of female aspiration in Villette was as 'real' as it could be.
32 But there was a way of at least partially compensating for Charlotte Bronte: The Quick of Her Nature this lack of public experience. She would write about a political event that had impinged, albeit indirectly, on her own life, the Luddite riots in Yorkshire in 1811-13, and fill in the gaps with information gleaned from newspapers of the time, particularly the Leeds Mercury, to which her father was a subscriber. To match her subject, she chose the new perspective of authorial omniscience, in order to eliminate as many traces of the personal as possible.