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Fallen women, joyful girls: The lib...

Johnson, Merri Lisa.

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Fallen women, joyful girls: The liberatory female body in nineteenth- and twentieth-century American literature.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Fallen women, joyful girls: The liberatory female body in nineteenth- and twentieth-century American literature./
Author:	Johnson, Merri Lisa.
Description:	272 p.
Notes:	Source: Dissertation Abstracts International, Volume: 61-07, Section: A, page: 2714.
Contained By:	Dissertation Abstracts International61-07A.
Subject:	Literature, American. -
Online resource:	http://wwwlib.umi.com/dissertations/fullcit/9981592
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9981592
ISBN:	0599880708

Fallen women, joyful girls: The liberatory female body in nineteenth- and twentieth-century American literature.
Johnson, Merri Lisa.

Fallen women, joyful girls: The liberatory female body in nineteenth- and twentieth-century American literature. - 272 p.

Source: Dissertation Abstracts International, Volume: 61-07, Section: A, page: 2714.

Thesis (Ph.D.)--State University of New York at Binghamton, 2000.

Fallen Women, Joyful Girls addresses Sandra Gilbert's question: what ails feminist criticism? I suggest that part of what ails feminism is our disavowal of textual pleasure in favor of theoretical correctness. Refusing this critical self-abnegation, I embark on a project defined by playfulness and eroticism. Specifically, I perform a "Riot Grrrl Reader-Response"---crossing reader-response theory with feminist performance art---wherein the body of the critic interacts erotically with female images and women characters in American mythologies and the literary canon. While as a third-waver, I would rather not write about such unsexy issues as the patriarchal oppression of American women, I nevertheless muster the courage and responsibility to acknowledge the United States and its literary canon as a rape culture that suppresses autonomous female sexuality and polices its passivity through explicit and implicit bodily threats. However, I depart significantly from conventional feminist responses to this fact---indignance, anger, separatism---to discover a more rewarding (reading) praxis. I locate moments in patriarchal texts, ranging from cultural icons such as the Statue of Liberty to canonical texts such as The Scarlet Letter and Daisy Miller , that open themselves to deliberate misreadings in the service of third wave feminist pleasure, (rewriting the American as dancing queen, Hester Prynne as masturbating girl, and Daisy Miller as a cowboy feminist). I am interested in the ways women (as readers and citizens) resist rape culture, not only by such conventional forms of activism as rape hotlines and shelters for battered women, but through "performances of the explicit body" that mimic the aggressive spectacality of the Riot Grrrl music movement in which young women subvert the "fallen woman" literary and cultural tradition by donning its iconography and exploiting its rejection of patriarchal rules surrounding female bodies and sexuality. Instead of resisting the text, I raid it for liberatory social and sexual energy, taking a variety of contemporary women writers as my model. This first foray into third wave feminist literary criticism seeks a more positive agentic stance towards masculine American texts.

ISBN: 0599880708Subjects--Topical Terms:

1017657
Literature, American.

Fallen women, joyful girls: The liberatory female body in nineteenth- and twentieth-century American literature.
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500 $a Adviser: David Bartine.
502 $a Thesis (Ph.D.)--State University of New York at Binghamton, 2000.
520 $a Fallen Women, Joyful Girls addresses Sandra Gilbert's question: what ails feminist criticism? I suggest that part of what ails feminism is our disavowal of textual pleasure in favor of theoretical correctness. Refusing this critical self-abnegation, I embark on a project defined by playfulness and eroticism. Specifically, I perform a "Riot Grrrl Reader-Response"---crossing reader-response theory with feminist performance art---wherein the body of the critic interacts erotically with female images and women characters in American mythologies and the literary canon. While as a third-waver, I would rather not write about such unsexy issues as the patriarchal oppression of American women, I nevertheless muster the courage and responsibility to acknowledge the United States and its literary canon as a rape culture that suppresses autonomous female sexuality and polices its passivity through explicit and implicit bodily threats. However, I depart significantly from conventional feminist responses to this fact---indignance, anger, separatism---to discover a more rewarding (reading) praxis. I locate moments in patriarchal texts, ranging from cultural icons such as the Statue of Liberty to canonical texts such as The Scarlet Letter and Daisy Miller , that open themselves to deliberate misreadings in the service of third wave feminist pleasure, (rewriting the American as dancing queen, Hester Prynne as masturbating girl, and Daisy Miller as a cowboy feminist). I am interested in the ways women (as readers and citizens) resist rape culture, not only by such conventional forms of activism as rape hotlines and shelters for battered women, but through "performances of the explicit body" that mimic the aggressive spectacality of the Riot Grrrl music movement in which young women subvert the "fallen woman" literary and cultural tradition by donning its iconography and exploiting its rejection of patriarchal rules surrounding female bodies and sexuality. Instead of resisting the text, I raid it for liberatory social and sexual energy, taking a variety of contemporary women writers as my model. This first foray into third wave feminist literary criticism seeks a more positive agentic stance towards masculine American texts.
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