By Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M
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Additional info for A Dialogue of voices : feminist literary theory and Bakhtin
Rabelais, 240) Bakhtin is so firmly wedded to the virtues of degradation that he cannot imagine a woman objecting to his characterizing her as the mindless representative of the lower body: the endlessly reproducing womb. " The same is true of the sexual politics of festivity. 11 The woman's symbolic role in carnival practices, however, was central. "14 Simple inversion of categories reinforces hierarchy. 15 Yet Davis provides an optimistic reading of the trope of the unruly woman that may be applied to Yeats's Crazy Jane.
26 In an erotophobic culture that tried to define indecency as "calculated to arouse sexual passion,"27 he deployed the love lyric as a strategy of poetic resistance; in a bourgeois culture he marshaled the popular resonances of the ballad. Throughout the Crazy Jane poems, the symbiosis between the pure woman and the nation, a product of male fantasy, is ironized and ruptured. Crazy Jane speaks as a sexual woman, but also as one of the disenfranchised subaltern groups ignored by the new state: the rural poor.
Earlier in the essay, however, she proclaims the primacy of the mother: "A woman is never far from 'mother' (I mean outside her role functions: the 'mother' as nonname and as source of goods). There is always within her at least a little of that good mother's milk. She writes in white ink" (251). 10. Indeed, feminist readers often relegate Bakhtin to the outside for not having been (I am distilling the argument) a feminist. Such judgments are decidedly "agonistic and oppositional"; they serve "to produce a feminist monologic voice, a dominant voice that is the reversal of the patriarchal voice" — a project, it turns out, that is readily conceivable.
A Dialogue of voices : feminist literary theory and Bakhtin by Bakhtin, Mikhail Mikhaĭlovich; Wussow, Helen; Hohne, Karen Ann; Bakhtin, M