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Textual deviants: Women, madness, an...

Kuryloski, Lauren.

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Textual deviants: Women, madness, and embodied performance in late twentieth-century American literature and photography.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Textual deviants: Women, madness, and embodied performance in late twentieth-century American literature and photography./
Author:	Kuryloski, Lauren.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	214 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
Contained By:	Dissertation Abstracts International78-05A(E).
Subject:	American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10249864
ISBN:	9781369428612

Textual deviants: Women, madness, and embodied performance in late twentieth-century American literature and photography.
Kuryloski, Lauren.

Textual deviants: Women, madness, and embodied performance in late twentieth-century American literature and photography. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 214 p.

Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.

Thesis (Ph.D.)--Northeastern University, 2016.

Situated at the juncture of literary, gender, and visual culture studies, this dissertation provides a necessary corrective to traditional analyses of gender and madness in feminist thought. Analyzing texts created between the 1960s and the 1990s, by authors such as Sylvia Plath, Toni Morrison, Maxine Hong Kingston, and Edwidge Danticat as well as photographers Francesca Woodman and Ana Mendieta, I assert that authors and photographers adopt performance art aesthetics in order to challenge dominant modes of reading and viewing and unsettle artistic and social hierarchies. Depictions of madwomen in female-authored texts have most often been read as representing a form of resistance to patriarchal discourses of power. This project builds on but critically diverges from this interpretation by arguing that far from being an avenue to resistance, the condition of madness only furthers women's marginalization. In the texts produced during the latter half of the twentieth century, authors demonstrate the way in which women's madness is characterized by an internalization of frustration, anger, and despair that eventually drives characters to engage in acts of often devastating self-harm. Thus, madness and the embodied deviance it inspires are revealed to be empty forms of protest that do little to dismantle larger systems of inequality. I argue we must shift our focus and attempt to locate resistant potential elsewhere, not in depictions of madness or embodied protest, but rather in the text's adoption of subversive performance aesthetics. Reading them as part of the larger performance art tradition, the photographs, memoirs, and novels I discuss enact performances of what I call "textual deviance," disruptive strategies that trouble traditional generic and formal conventions and force audiences to engage with systems of inequality in new, often productively uncomfortable ways.

ISBN: 9781369428612Subjects--Topical Terms:

523234
American literature.

Textual deviants: Women, madness, and embodied performance in late twentieth-century American literature and photography.
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245 1 0 $a Textual deviants: Women, madness, and embodied performance in late twentieth-century American literature and photography.
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500 $a Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
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520 $a Situated at the juncture of literary, gender, and visual culture studies, this dissertation provides a necessary corrective to traditional analyses of gender and madness in feminist thought. Analyzing texts created between the 1960s and the 1990s, by authors such as Sylvia Plath, Toni Morrison, Maxine Hong Kingston, and Edwidge Danticat as well as photographers Francesca Woodman and Ana Mendieta, I assert that authors and photographers adopt performance art aesthetics in order to challenge dominant modes of reading and viewing and unsettle artistic and social hierarchies. Depictions of madwomen in female-authored texts have most often been read as representing a form of resistance to patriarchal discourses of power. This project builds on but critically diverges from this interpretation by arguing that far from being an avenue to resistance, the condition of madness only furthers women's marginalization. In the texts produced during the latter half of the twentieth century, authors demonstrate the way in which women's madness is characterized by an internalization of frustration, anger, and despair that eventually drives characters to engage in acts of often devastating self-harm. Thus, madness and the embodied deviance it inspires are revealed to be empty forms of protest that do little to dismantle larger systems of inequality. I argue we must shift our focus and attempt to locate resistant potential elsewhere, not in depictions of madness or embodied protest, but rather in the text's adoption of subversive performance aesthetics. Reading them as part of the larger performance art tradition, the photographs, memoirs, and novels I discuss enact performances of what I call "textual deviance," disruptive strategies that trouble traditional generic and formal conventions and force audiences to engage with systems of inequality in new, often productively uncomfortable ways.
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