LEADER 03328nam 2200505 450 001 9910496138803321 005 20230802133932.0 010 $a9780585181764 010 $a0-520-91909-2 010 $a0-585-18176-4 024 7 $a10.1525/9780520919099 035 $a(CKB)111004366718534 035 $a(DE-B1597)542668 035 $a(DE-B1597)9780520919099 035 $a(OCoLC)1153532214 035 $a(MiAaPQ)EBC30495558 035 $a(Au-PeEL)EBL30495558 035 $a(EXLCZ)99111004366718534 100 $a20230802d1995 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe feminine sublime $egender and excess in women's fiction /$fBarbara Claire Freeman 205 $aReprint 2019 210 1$aBerkeley, California :$cUniversity of California Press,$d[1995] 210 4$dİ1995 215 $a1 online resource (216 p.) 311 0 $a0-520-20888-9 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction: The Feminine Sublime --$tI. The Awakening Waking Up at the End of the Line --$t2. "Sublime Speculations" Edmund Burke, Lily Bart, and the Ethics of Risk --$t3. Strange Bedfellows Kant, Shelley, Rhys, and the Misogynist Sublime --$t4. Love's Labor Kant, Isis, and Toni Morrison's Sublime --$tNotes --$tIndex 330 $aThe Feminine Sublime provides a new and startling insight into the modes and devices employed in the creation of women's fiction since the eighteenth century. Barbara Claire Freeman argues that traditional theorizations of the sublime depend upon unexamined assumptions about femininity and sexual difference, and that the sublime could not exist without misogynistic constructions of "the feminine." Taking this as her starting point, Freeman suggests that the "other sublime" that comes into view from this new perspective not only offers a crucial way to approach representations of excess in women's fiction, but allows us to envision other modes of writing the sublime. Freeman reconsiders Longinus, Burke, Kant, Weiskel, Hertz, and Derrida while also engaging a wide range of women's fiction, including novels by Chopin, Morrison, Rhys, Shelley, and Wharton. Addressing the coincident rise of the novel and concept of the sublime in eighteenth-century European culture, Freeman allies the articulation of sublime experience with questions of agency and passion in modern and contemporary women's fiction. Arguments that have seemed merely to explain the sublime also functioned to evaluate, domesticate, and ultimately exclude an otherness that is almost always gendered as feminine. Freeman explores the ways in which fiction by American and British women, mainly of the twentieth century, responds to and redefines what the tradition has called "the sublime.". 606 $aAesthetics, Modern 606 $aAmerican fiction$xWomen authors$xHistory and criticism 615 0$aAesthetics, Modern. 615 0$aAmerican fiction$xWomen authors$xHistory and criticism. 676 $a813.0099287 700 $aFreeman$b Barbara Claire$0549749 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910496138803321 996 $aThe feminine sublime$92857463 997 $aUNINA